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Posted
Linseed oil does have a pong, whether it's modified for water miscible paints or not. Fortunately, I rather like it! What you clean your brushes with is a matter of choice - if you're out in the field, which Lew isn't, a supply of Turps/Turps substitute is useful, just to swish the brush clean. In the studio, whether using water-miscibles or not, you can use just a paper towel to squeeze out the excess, then soap and lukewarm water to clean the brush thoroughly. Water miscible oil paint offers no advantage whatsoever so far as I can see, given that you don't need to use spirits with either. It might make cleaning the palette a little easier - but that's making generous allowances for it.
Lew, if you're having trouble with the paint running away from you - give it a chance to "tack up": get your initial layers on, with Turps if you like, but you don't have to, add your first coats, then - leave nature to take its course, overnight. Come back to it the next day and provided you've not sloshed Linseed oil everywhere, and you're avoiding the cadmium colours and going easy on the Titanium White in the first stages, it should be tacky, sticky enough to take further paint without finding yourself ankle-deep in mud. Or you can bash straight into it, without worrying about preparation - just as valid an approach, not necessarily any more difficult, though perhaps you need a better grade of paint than Artisan or Cobra: i.e. a regular grade: Jacksons' own brand is good, and I'm just about to try some of Cass Arts' own brand paint - it should be arriving today.
Oil paint is hard to thin down to watercolour or acrylic consistency, though, without endangering the longevity of the paint film - think of it as a sculpting material, rather than as a thin colourant: Alan Bickley could explain this better, and probably will (heavy hint).
Edited
by Robert Jones, NAPA
Posted
It's just my clumsiness with the brushes Robert, the wobbly wobblies. It might be a case of getting used to the larger brushes, but I doubt it. I get so annoyed with myself when I'm trying to paint with these oils, all enjoyment is lost. I am guilty of over-thinning the oils as if it were watercolour. I did some work on the face, and, after running out of anglo-saxon wordage through gritted teeth, I decided to at least block in some colours...the sky is way too thin with the burnt umber still on show. This can be put right of course.
When it's all dry, I'll try painting smaller sections rather than the whole thing. This slow process I need to use is alien to me, once I've decided what I'm going to paint I usually get them done quickly. No need for speed, that's just how I am. Patience...not one of my virtues. There'll be a way, I just have to find it.
Posted
It's a great start, Lew. As a fairly newbie to oil, I like to use it thinly too. With the Water miscibles (Cobra - WN is not the best) I use water to thin in the first layers, then go in with neat paint. I've rarely used the mediums. But as my tutor said of my first piece, it's a good start, will be great when you put some paint on. 😉
I like the background as it is, maybe turn it to the wall while drying, see it with new eyes.
Posted
Carol, I generally use a thin coat of acrylic for tinting my surface, but have used oils sometimes if using up a bland mix of left over paint from a previous painting. The main benefit of acrylic is that it dries quicker so that you are ready to go virtually straight away.I'll be taking your good advice. While things are bubbling away on the cooker I'll get the acrylic tinting done. Get started before the painterly moment passes :)
Posted
Carol, I usually use a thinned down oil wash of Burnt Umber or Raw Umber to stain the canvas once the gesso has dried. Good luck with you painting. Look forward to seeing it.Thankyou, Denise. I know you've done a fair bit of work with oils and have studied the medium and its uses well. I don't know how long this wash would take to dry before I could get started on the main painting. I do appreciate your help and advice, this is something I will keep in mind for future paintings.
Posted
The initial ground colour wash on your support should be dry enough in an hour or so… I start immediately!
That’s because you need to apply it thinned down, then all the surplus buffed off with a cloth, I use kitchen roll.
We’re after a translucent film of colour, we definitely need to keep clear of a thick opaque surface.
Chiaroscuro is a different matter however, as we probably all know anyway.
Posted
Well, here 'tis.
I've done this wet in wet. To get it done. But I'll leave it as it is for now. This is Capel Y Ffin. I took the picture years ago, and have done a few watercolour paintings. I haven't put any of the trees in, I like the stark look, at the moment.
This was an experience, not an unpleasant one. Lets just say I've learnt. The bell tower isn't as wonky as it should be, but not to bad a likeness.
This was an experience, not an unpleasant one. Lets just say I've learnt. The bell tower isn't as wonky as it should be, but not to bad a likeness.
Edited
by Carol Jones