Oil Paint Technique

OIL PAINTING TECHNIQUE

There are many different ways to paint but the two most commonly used ones are, Traditional  (indirect painting), a slow and controlled method. Wet-on-wet (direct painting) with this method, the painting is usually completed in one sitting, often referred to alla prima - at the first.

The traditional method often uses tonal under-painting as the basis of the picture, usually grey (grisaille) or brown (bistre) in colour. The tonal values of the finished under-painting should be lighter in tone than required in the finished work, because the application of the glazes will lower the value. Often more complex in application, whereby transparent and opaque layers of paint are applied in succession, opaque layers can also be applied as a scumble. The transparent layers are usually applied as a glaze of thin colour over the more opaque layers, the opaque layer being allowed to dry before the glaze is applied. The final layer of paint can be painted directly into the last glaze. Colours applied by this method usually bring a greater luminosity to the finished work than can be achieved in the direct method. Acrylic gesso can be used successfully for under-painting, especially if you wish to make a quick start.

With the wet-on-wet method, the painting is completed with, in effect, one layer of paint, which is usually opaque or semi-opaque. There is a need to make definite decisions about the work, before and as it progresses. All the elements of the painting have to be mentally handled at the same time, with regard to tone, composition, shape, form and colour, etc.  Doing a sketch or drawing before starting the work can be very helpful.

When working in the traditional way it is important to work 'Fat over Lean'.  'Fat' is paint straight from the tube or with linseed oil added, this makes the paint more flexible when dry. 'Lean' is paint with no added oil or thinned with solvent. The way it works is to start with paint that has low oil content (lean), followed by paint with high oil content, then paint with added linseed oil (fat). As a general rule of thumb, working from dark colours to light colours helps to maintain this principal.

Whites

Vary considerably, and have different uses,

Painting whites are not usually suitable for priming or under painting.

Cremnitz slow drying.

Flake white lacks opacity.

Titanium whitest and most opaque slow drier.

Zinc least opaque cold white for tints and glazes.

The Fat over Lean Principle

First layer of paint thinned with solvent.

Next layers of paint have less solvent.

Next layers are tube paint - no solvent.

Next layers are tube paint with a little linseed oil.

Final layer is tube paint with more linseed oil.

Mixing the Paint

You can mix paint on the palette, on the brush, with a knife or on the canvas, each will give a different effect - try them all. The flat, round bladed 'palette knife', is the best for mixing paint on the palette. Mix small amounts of paint at first until you feel better able to judge quantities.

Dark colours will overpower light colours very quickly. It's very easy to 'over mix' colours on the palette, this can lead to very flat, dead looking paint. Something to be avoided!

When mixing colour on the brush, try not to use it like a palette knife, instead pick small amounts of the colour up with the brush, either by tapping the brush into the colour or pulling it through the paint.
It's easy to use a painting knife like a palette knife, but painting knives are engineered to give the correct edge for applying paint to the canvas. You can load one colour at a time or several on the blade edge. There are a variety of shapes and sizes of painting knives, recognised by their cranked handle.

Georgian Oil Colour

By Daler Rowney These oil colours offer artists high performance colours at an economical and uniform price across all 57 colours in the range. Georgian Oil Colours are produced to the same exacting standards as Artists' Oil Colour. Georgian Oil Colours are carefully blended and tested to produce the most brilliant colour, and match tint, and texture from batch to batch. All 57 colours have fine working qualities and a high degree of permanence.