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My painting is very glossy, any ideas on best reduction of shine
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Message
Posted
After all that - and I still hate retouching varnish! - your painting has come together very well. You used to post acrylics, I think? Did you find oil much harder, or just different?Hello Robert I originally touched base with Oil at college but that was a good 25 years ago now. I turned to acrylics purely for convenience, and because at the time I couldnt get the detail I desired with oils (poor technique). Now however I have more time, and I'm about to build a small studio in my garden. Friends moan at me for using acrylic, so I invested in a few oil colours and here I am. The slow drying is something I'll have to get used to. Working out mediums, glossy effects and keeping paint brushes clean is a bit of a learning curve. With acrylic it's much easier to cover your mistakes. On the plus side the colours seem richer and bolder with oils and much easier to blend. There are some advantages to slow drying, I can spend more time on my skies now, whereas normally I'm in a rushed state of panic to blend it in before it dries. I know there are slow drying agents out there, but I've not found them very productive. I've been told to work dark to light, I'm intrigued, so I've just painted my next canvas black and we will see how that goes. Either way I'm finding it quite exciting. Alicia Ps no difference in flavour, acrylic or an oil brush dipped in my coffee is still a curse.
Posted
Black! Not sure about that as a ground but good luck with that!
My preference, and that of many other artists, is to work on a mid-grey, either warm or cool depending on the subject. I also experiment with other colours such as burnt sienna and white for my Spanish scenes, but I’ve not used black. With grey, you can work up and down the tonal scale, you can’t do that with white or black!
I suggested that you work from dark to light, that’s the best way to proceed, dropping in your darkest tonal values first.
All the information you need on anything related to oil painting can be found in Haidee-Jo’s book, you’ll find it invaluable.
Posted
Black! Not sure about that as a ground but good luck with that! My preference, and that of many other artists, is to work on a mid-grey, either warm or cool depending on the subject. I also experiment with other colours such as burnt sienna and white for my Spanish scenes, but I’ve not used black. With grey, you can work up and down the tonal scale, you can’t do that with white or black! I suggested that you work from dark to light, that’s the best way to proceed, dropping in your darkest tonal values first. All the information you need on anything related to oil painting can be found in Haidee-Jo’s book, you’ll find it invaluable.Hi Alan I will be painting a night scene with stars, not my usual style but I'm of the thinking that if I'm not bold I won't grasp new concepts. It's so easy to stay safe at my level, sometimes I need a rocket. So fingers crossed. I have Haidee Jo's book on order, so there is light at th end of the tunnel. ☺
Posted
Alicia, I don’t understand this smell issue, I’m using distilled turps and stand oil as we speak without any significant smell to speak of!
Although Sansador is not liked by everyone, (I was already aware that Robert didn’t approve), at least it’s odourless, although as RJ has said previously, still pretty toxic stuff to breathe.
That’s probably your best option under the circumstances, I would suggest that you order a bottle and try it.
Just to add, I mix a bottle of turpentine and stand oil in a small bottle at 60/40 ratio, then I pour just a splash or so into a jam jar lid or something similar - this way you only have a small amount open to the elements.
Edited
by Alan Bickley
Posted
Buff Titanium has many uses, but I don't find it has any direct relevance to gloss - why would it? It's still Titanium, and needs about as much oil as regular Titanium White - gloss can be limited by reducing the amount of oil mixed with your paint, any by avoiding some of the more oil-rich pigments; but it can all be evened out, eventually, by varnish.
Posted
I used to work with oils and turps or Zest it , oderless turps linseed oil etc, and loved it, but since moving to a smaller home the smell of turps and even oderless turps was too much and affecting my asthma. So I switched to Cobra and Jacksons water miscible oil paints, they are superb, much quicker drying time especially when using Grahams walnut oil, they can be mixed with alkyds and other oils paints to a degree , which I do frequently. The drying time will vary, but overall much quicker than the pure oil paints, they are much cheaper to buy also, but the quality of these paints is really great. I've experienced no problems at all with vibrancy of colours and or glossy parts in the painting, dull areas etc., I can usually return to my painting within 24 hours to resume. What I'm saying here is, if drying time and gloss areas are a problem, give them a try. I know perhaps that to some watermiscible oils are maybe not the real thing, but so much less mess, brushes clean so much easier, just soap and water. The effects are just the same , you still have to adhere to the fat over lean process as they are still oil paints , which means that if you wish to use turps with these paints then you can, but obviously not turps and water at the same time.
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