Master Your Mediums: A Guide for Oil Painters: PART II of II

Master Your Mediums: A Guide for Oil Painters: PART II of II

This article is Portion II, so if you have not still, read Portion I first! There I examine oil mediums, solvents, and the mediums that I Never use or advocate.

Stable, Particle-Based mostly “Mediums”

Technically these are additives, not mediums, but exploring their qualities qualified prospects me to the medium I currently use and suggest, so it’s beneficial to describe them in this article:

Fumed Silica (heat-processed sand)
Fumed silica is an airy, feathery, powder dust produced from granite sand. The particles have a big area place and lower mass, so when it truly is blended with paint or oil it will take on “thixotropic” houses. This suggests when you mix it or implement force it behaves like a comfortable flowing liquid, but when you really don’t contact it, it holds its form like a gel. I have employed it by mixing it straight into my oil paint with a palette knife proper on the easel, and along with a minimal oil, it truly is a fantastic way to extend the paint even though preserving it clear to make glassy glazes. The good way to mix it is with a muller, but I have loved the paste I can get just with the knife. On the other hand, there is an much easier way to use it which I’ll deal with down below.

To bear in mind its attributes, maintain in head: Silica is transparent! It really is sand, and which is what glass is created of, so use fumed silica for clear glazes.

Observe my online video demo for how I insert fumed silica to my oil paint right here

Chalk (ground calcium)
Chalk dust is the exact same stuff kids for generations have clapped out of blackboard erasers, and it is just as messy! I have employed it by mixing it directly into my paint, and it makes the paint “chunky”, dry, and straightforward to pile up into craggy impastos. I truly feel particular it truly is most likely the main component in any real “mystery medium of the Aged Masters”. Like fumed silica, you can also blend it far more correctly and carefully with a muller.

To don’t forget its homes, hold in mind: Chalk is OPAQUE. That is why we use it to generate on chalkboards! So use chalk in your whites and light-weight-paint mixtures, to develop up chunky impastos, push 3D designs ahead into the light-weight, and virtually catch the mild with dazzling peaks of texture.

Watch my online video demo for how I insert chalk dust medium to my oil paint here

My Preferred Mediums
And now is where we get to the good aspect: The mediums I most hugely recommend! It truly is actually really simple: They are just the dry solids I mentioned above, but conveniently mulled and tubed with linseed oil. Pure Pigments helps make these mediums. They are extremely uncomplicated and low-priced, and you could also make them easily at residence, but Purely natural Pigments has accomplished the operate for me, and I like to just open up the tubes and get started painting.

Tubed FUMED SILICA Medium for Glazes:
Oleogel medium by Natural Pigments
I use Oleogel by mixing it into my paint ideal on the palette with my palette knife, and I also use it to oil out my doing work area of my portray with a makeup wedge (still left graphic). Since it has stable particles mixed into the linseed oil, it really is substantially additional steady than working with linseed oil by yourself, and it would make a truly wonderful clear glaze. Out of the tube it looks like a clear gel, you can see it in the center of my palette in the middle picture. (Organic pigments also would make fast-drying edition termed OleoRESgel, which I think has alkyd additional, so that might be a a good replacement for Liquin or Galkyd. And Pure Pigments lists all their elements on their labels and truth sheets.)

Tubed CHALK Mediums for Impastos:

Impasto putty medium by Purely natural Pigments
Impasto medium by Pure Pigments
Velazquez medium by Natural Pigments

These are 3 different proportions of the identical ingredients: Chalk dust mixed with linseed oil. Impasto Putty has the most chalk, and it is really definitely thick, nearly like a dry peanut butter, and it varieties brief peaks when you “raise off” the palette knife.

Impasto Medium is in the center, the regularity is much more like room-temperature butter, with medium peaks.

Velazquez Medium is my favourite, it really is a bit considerably less chalk and additional oil, and so you get prolonged ropey peaks, and the consistency is extra like a stretchy bitter product.

All of them allow for you to pile up your paint into thick impastos that glimpse like previous-learn paint outcomes to me.

These chalk-based mediums also allow you to stretch out the paint very slim, so I use it for my guide white beneath portray layer as properly, the place I am making use of the opacity and transparency of direct white paint to build a vary of values in excess of the brown raw umber underpainting….

View my video demo for mixing Oleogel and Impasto Putty into my paint below

Observe my online video demo for how I use Oleogel and Impasto Putty in my recent painting

I am going to be sharing much more about making a lead white beneath portray when I launch my new portray online video class later on this 12 months: Glazing and Scumbling a Nevertheless Everyday living with ROSES. My online video clip system Glazing and Scumbling is a great introduction to the techniques I am going to be sharing in the much more advanced Roses class.

Indicator up for my mailing listing to be notified as shortly as the new on the internet online video system is launched!

I teach Alla Prima, Direct, and Oblique oil painting in this article online, made available as absolutely pre-recorded movie programs you can watch any time, together with my Intro to Oil Painting which is perfect for newbies. I also present mentorship programs if you want assist and help when performing by the classes.

Your Issues about Mediums Answered:
These are far more issues persons questioned me about mediums on social media that I couldn’t in good shape gracefully into the submit:

Do you use unique mediums for plein air vs studio operate?
Doing work en plein air or even alla prima in the studio, I obtain I am racing from time so I use just a person medium, a uncomplicated combination of 50/50 linseed and odorless mineral spirits.

Do you use diverse mediums for distinct grounds or supports, like chalk primed panel, or oil primed linen?
No, but I use different grounds for unique sorts of paintings: I use a chalk gesso floor on a smooth tricky panel for Indirect portray, and I like RayMar’s oil primed linen panels for my direct and alla prima paintings. You can see my supplies lists with one-way links to my advisable items.

Why do some mediums make the paint continue being tacky, and need to you paint on a tacky layer?
If the earlier paint layer is tacky you are almost certainly using far too a lot oil – or it’s possible other elements that are not drying speedy plenty of. A good way to gauge if your past paint layer is dry sufficient to paint above is the “thumbnail check” – If you can make an indentation in your paint movie with a business push of your thumbnail, you ought to wait for it to dry additional just before painting on it.

Can you combine various mediums jointly?
As long as they are straightforward mediums, possibly yes, but you really should be familiar with each component in your paint. I like to continue to keep clear mediums and impasto mediums different, considering that I use them for different uses in different sections of the portray.

Are some mediums far more unsafe than some others?
Solvents (paint thinner or mineral spirits or turpentine) are much worse for your overall health than any other ingredient utilized for portray, so do everything you can to limit your publicity to fumes.

Is Galkyd excess fat or lean?
Quickly-drying or slow-drying is significantly far more critical theory than unwanted fat or lean. Alkyd mediums are rapid-drying, so use it only in the most affordable levels of a portray, or for damp-in-wet techniques, as in alla prima or plein air portray.

How do you steer clear of sinking in?
I really don’t, I just stay with it! The darkish areas of a portray appear lighter-value and “matte” as a substitute of glossy and dim for the reason that the oil is sucked into preceding paint levels. The a lot more layers there are, the even worse the sinking-in becomes. I do “oil out” the space I plan to paint into that working day, but I go away the relaxation matte. When the painting is performed and dry, I do oil out the complete surface area the moment to choose a very good picture of the portray, but later on I wipe that oil off with odorless mineral spirits and a makeup sponge.
When the painting has experienced numerous months or months to dry, I varnish it, and then all the abundant glossy dark colours return.

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