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Oil on black hmm
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Message
Posted
Ok, so I didn't need a black start, blue would have been better. It's obviously not finished yet. I'm trying to use bigger brushes to avoid my obsession with detail. I'm also getting used to layering, a bit.
Like you say oils cant be rushed, thus might be a good thing for me. Gives me more time to stand back and observe progress.
I've picked a subject that could easily end up with the Disney twee effect, so it's my challenge not to go there.
Alicia
Ps photo just off my phone, there are a few mauve tones that cant be seen and all black has been hidden, that was just an acrylic undercoat 
Posted
Our perennial old mate Bob Ross sometimes used a black canvas - but really as a parlour-trick: he'd paint transparent colours over it that were obviously hard to see: the canvas still looked black. But then he'd go in with the white, and people wondered where on earth the colour was coming from. Apart from that, blowed if I see any advantage to using black canvases, generally at least. Still - haven't done it, and if a black, dark blue or other base coat works for you, why not? Do you use stretched canvas, or a more rigid support, as a matter of interest? Because of the differences in drying rates and flexibility, there are some issues about overpainting acrylic with oils on a stretched canvas: but I'm not aware of any issues on a rigid support (can't do it the other way around, but then you know that).
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Posted
The reason why many professional artists opt for a neutral coloured ground, at the risk of repeating myself, is to be able to establish tonal values, working up and down the scale from light to dark.
If you place a light colour/value onto a white canvas, it’s impossible to judge this, same applies to black, although I’ve never used a black ground.
Place this same colour/value on say a grey ground and you'll see the reasoning behind it. It’s easier to demonstrate with an actual board and paint rather than words!
Bob never put tonal value as a priority in his paintings, neither did he consider aerial perspective, which is why it’s not a great idea to work in his style.
Posted
I would never use black anyhow ...in pen form sketching or charcoal.
But oil or acrylic....why?. In some of my flower paintings I use a very dark background using a mix of blues ,reds ,purples ,ochres. I like the contrast, but cannot see the point of black....in my view it’s a “dead “ colour...to be used with great care ,if at all.
Posted
I’m working on an oil painting at the moment where my canvas has been primed with black gesso. One or two of you on the forum may know that I attend a tutored weekly art class, the tutor not only allows us to use black as a base but also uses it himself. God help you if you use black from a tube of oil paint mind you....definitely not allowed.
He is a very experienced teacher, professional artist and art historian...Mr. Bickley knows of him.....so if it’s okay for him, I’m not adverse to using black as a base.
I will say, in its defence, that paintings done on a black gesso base absolutely sparkle.
Try it! Go on, I dare you! Lol
Posted
Of course it’s great to have a change and experiment Fiona, that looks an interesting piece on the easel. But I wouldn’t think that your tutor used black as a matter of course, I could be wrong!
Generally though, in my experience, and I’m talking about very successful artists such as Fred Cuming, Ken Howard, Haidee-Jo, Peter Brown (I could go on), all paint on a neutral colour ground - and for the exact reason that I’ve outlined previously.
Posted
Re black, if you already know about tonal values, using black as a base makes the colours zing. I agree with Fiona here. It's exciting to work on black. The way I work with it, the black doesn't figure much in the final result - eg I wouldn't use black just because I'm doing a night scene. Then, I would make use of many colours to make " warm" and " cool" darks. I would stress again that you need to be aware of tonal values, you don't use a black base necessarily because it's your darkest value, you're using it to draw attention to the colours. Black gesso is lovely to spread on the support and when you start to build your painting, it's magical. Like Fiona, I would say give it a go!
If I may, here are some paintings I have done on a black base...
Posted
I love a ‘Dark” background to work on. But as I previously stated I mix it from various other colours . I can see the zing in both Marjories and Fionas. . Yup we are all different and have very decided ideas on this forum ( as it should be) interestingly Fiona you say your tutor doesn’t allow black straight from a tube is that because he mixes as I do ? Good man.
Posted
Using black as a starting point is just a variation. I think Fiona agrees with this too ( if I'm reading it correctly). It's another way to keep enjoyment and enthusiasm going. I'm not saying I always do it, in fact I usually work on a mid tone background for the reasons Alan has mentioned but doing something a different way should never be ruled out - I know you'd agree here, Sylvia. Understand the basics first, perhaps, then play around. And no, I'd never use black to portray a " dark", I'd mix the darks, but I may add black as well. Working out what we all mean is tricky on here🤔
Posted
You’re correct Alan, he wouldn’t use a black as a matter of course, only perhaps for abstracts and still life work, not for landscapes. Being a very successful and experienced artist himself....over forty years worth.....who still exhibits in London, Edinburgh and Harrogate, he will I’m sure, have tried all manner of bases and uses whichever he feels will add the most to the painting he is working on at the time. In the class we all, in the main, start off with just the white of the gessoed canvas, some are primed with rabbit glue, then we draw in, with a turpsy wash the subject, then block in with thin layers of paint and build up from there. It’s all done the old fashioned way, turps, white spirits, a couple of brushes and paint....oh and a long shirt to wear to wipe your brushes on.
I completely agree with Marjorie that working on black isn’t about using it as your darkest tone, it’s about how other colours painted on top of the black spring out from the canvas.
I’m still at the learning to build a kite stage, not anywhere near flying one yet...in other words, again agreeing with Marjorie, understand and get the basics, then play around.
Marjorie your examples show perfectly how colour behaves on black, it’s striking and if anyone cares to read the comments on the above work of Marjorie’s, I would put money on the fact that most refer to the light and colour.
Sylvia, if he found a tube of black in your paints he would take your hand off at the armpit! Your none painting hand of course.
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