Thank you for your report!
We have received your report and it is currently under investigation by a forum moderator.
Braving Glazing.
Welcome to the forum.
Here you can discuss all things art with like-minded artists, join regular painting challenges, ask questions, buy and sell art materials and much more.
Make sure you sign in or register to join the discussions.
Hang on Studio Wall
This is a Studio member-only feature!
Join our Studio membership and save your favourite Painters Online content, from gallery artwork to step-by-step guides, to your own online mood boards. Create your go-to place for inspiration and learning. Plus, members can also enjoy a range of exciting features including monthly art videos and a digital magazine library.
If you are already a Studio member, simply login to your account.
Not a Studio member? Why not try our free 30-day trial - no commitment, no credit card required
Message
Posted
Some of you will know I have just started learning about oil painting. I have done two small paintings so far and I am very inexperienced at it and don't know much about it at the moment. Glazing has caught my eye though. Now, I know for sure, I don't have the experience to do this and I should be leaning how to actually paint in oils first but I am curious about glazing, in fact, I've not been able to stop thinking about it for a few weeks now, when a post was put on about glazing. So, the other night, I didn't plan to do it but I ended up with a basic under painting. I did it after finishing a watercolour I was doing. I just got the black and white oils out and a small canvas board and did it. The background I have left specifically contrasting each other, that's just for my purpose so I can see how the glazes unfold and mess with the colours as I put more layers on. It will be ready for the first glaze to go on tomorrow so I thought I would put it on so you can see all the mistakes I make. Now, I don't even know what oils are transparent and what are opaque so I'm just having a quick gander now. I wouldn't want to be trying to do a glaze with an opaque. Even if I make a right mess of it, I still think I will learn a bit from the process. Here is the under painting. I'll just go for
it and see what happens.
it and see what happens.
Posted
Advertise advertise - ban me someone: but I'm not a commercial organization, and this won't make me rich. So - my little e-book Oil Paint Basics, on the Amazon Kindle store, lists the opaque and transparent colours. But in fact, almost any colour can be made more or less transparent, if you apply it very thinly. As a general rule, the metallic pigments - cobalts (which include cerulean/coeruleum), cadmiums, lead - are opaque. Ultramarine, Pthalo blues and greens, crimsons, are transparent. Yellow Ochre is opaque; raw sienna and burnt sienna transparent. Most of the other 'hot' browns/reds - Venetian red, Light red, Indian red, Mars red, are opaque; the umbers are a half-way house. Indian Yellow is transparent; Lemon Yellow varies considerably, depending on the pigment content, but is normally regarded as semi-transparent. Naples Yellow is opaque. And Viridian is transparent. So there you go = you now know which colours are which!
Looking forward to seeing where you go with this.
Posted
Denise, you may find small square icons on the paint tube indicating it's transparency/opacity. Unfilled square generally indicates 'transparent' while black-filled square generally indicates opaque. BTW, the other 2 are semi-transparent and semi-opaque. I would say it's a valuable exercise just having a go, and you can always add more layers (once dry). Good luck.
Posted
So, first glaze is on, I trod very lightly for this first glaze. I used Liquin as a medium. I chose to work in Tierra Verde, Phthalo Blue, Alizarin Crimson, Quinacridone Magenta and Raw Umber. I'll leave this layer to dry for 24 hour before putting on the next glaze. I think it will take a few glazes before it really develops but what interest me about it is, the fact that it mentions you can see the light through the layers giving a painting depth and this is what I want to see. I am interested to see what the difference is for my own eyes. That's if it all doesn't go to pot and end up in recycling.
Posted
Thanks everyone, I'm not so much bothered by any accuracy of the subject or how pleasing it may look but it's the effect of glazing I need to see. The back of the pear isn't a mistake, it should all be in a dark tone, I left half of it light so I could kind of monitor the glaze and it's effect. I know it would have made for a better picture if I had switched those tones around but, I really wasn't thinking about that. This is a learning experiment so I'm gaining experience as I go along and learning for myself with very little input apart from the bare scraps I have read. Of course, once I've completed it, I'll be reading everything. I don't like to much knowledge before hand.
