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 post is Element II, so if you have not still, read through Element I first! There I examine oil mediums, solvents, and the mediums that I Will not use or advocate.

Strong, Particle-Primarily based “Mediums”

Technically these are additives, not mediums, but exploring their properties potential customers me to the medium I at present use and recommend, so it is helpful to explain them in this article:

Fumed Silica (warmth-processed sand)
Fumed silica is an ethereal, feathery, powder dust made from granite sand. The particles have a big floor spot and lower mass, so when it is really combined with paint or oil it normally takes on “thixotropic” properties. This means when you mix it or implement pressure it behaves like a comfortable flowing liquid, but when you will not touch it, it retains its condition like a gel. I have made use of it by mixing it right into my oil paint with a palette knife ideal on the easel, and alongside with a little oil, it can be a great way to lengthen the paint whilst preserving it clear to make glassy glazes. The correct way to blend it is with a muller, but I have relished the paste I can get just with the knife. Having said that, there is an easier way to use it which I will include beneath.

To bear in mind its homes, keep in brain: Silica is clear! It truly is sand, and that is what glass is made of, so use fumed silica for clear glazes.

Check out my video demo for how I incorporate fumed silica to my oil paint here

Chalk (floor calcium)
Chalk dust is the exact same things small children for generations have clapped out of blackboard erasers, and it is really just as messy! I have applied it by mixing it right into my paint, and it tends to make the paint “chunky”, dry, and effortless to pile up into craggy impastos. I come to feel certain it can be possible the primary ingredient in any accurate “top secret medium of the Aged Masters”. Like fumed silica, you can also combine it more properly and extensively with a muller.

To recall its properties, keep in head: Chalk is OPAQUE. That is why we use it to write on chalkboards! So use chalk in your whites and light-paint mixtures, to create up chunky impastos, force 3D styles ahead into the gentle, and actually catch the light with vibrant peaks of texture.

Enjoy my video clip demo for how I incorporate chalk dust medium to my oil paint right here

My Favored Mediums
And now is where by we get to the excellent component: The mediums I most highly recommend! It is really in fact pretty simple: They are just the dry solids I stated previously mentioned, but conveniently mulled and tubed with linseed oil. Pure Pigments would make these mediums. They are very basic and affordable, and you could also make them easily at dwelling, but Pure Pigments has accomplished the get the job done for me, and I favor to just open the tubes and start portray.

Tubed FUMED SILICA Medium for Glazes:
Oleogel medium by Organic 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 operating area of my portray with a makeup wedge (still left impression). Since it has sound particles combined into the linseed oil, it really is substantially more stable than employing linseed oil by yourself, and it helps make a actually stunning clear glaze. Out of the tube it seems like a very clear gel, you can see it in the middle of my palette in the middle image. (Natural pigments also makes speedy-drying model named OleoRESgel, which I consider has alkyd included, so that could be a a great substitute for Liquin or Galkyd. And Natural Pigments lists all their substances on their labels and simple fact sheets.)

Tubed CHALK Mediums for Impastos:

Impasto putty medium by Normal Pigments
Impasto medium by Natural Pigments
Velazquez medium by Pure Pigments

These are 3 different proportions of the similar ingredients: Chalk dust blended with linseed oil. Impasto Putty has the most chalk, and it is really thick, just about like a dry peanut butter, and it forms shorter peaks when you “raise off” the palette knife.

Impasto Medium is in the middle, the consistency is much more like home-temperature butter, with medium peaks.

Velazquez Medium is my beloved, it really is a little bit significantly less chalk and a lot more oil, and so you get lengthy ropey peaks, and the regularity is extra like a stretchy sour cream.

All of them allow for you to pile up your paint into thick impastos that seem like old-master paint effects to me.

These chalk-based mostly mediums also make it possible for you to extend out the paint very skinny, so I use it for my lead white less than painting layer as effectively, exactly where I am utilizing the opacity and transparency of direct white paint to develop a vary of values around the brown raw umber underpainting….

View my online video demo for mixing Oleogel and Impasto Putty into my paint listed here

Watch my online video demo for how I use Oleogel and Impasto Putty in my current painting

I will be sharing much more about producing a guide white beneath painting when I launch my new portray video clip class later this calendar year: Glazing and Scumbling a Even now Everyday living with ROSES. My online online video training course Glazing and Scumbling is a terrific introduction to the tactics I will be sharing in the extra sophisticated Roses course.

Signal up for my mailing listing to be notified as quickly as the new on the web video clip class is unveiled!

I teach Alla Prima, Direct, and Oblique oil painting here on the net, available as completely pre-recorded video clip programs you can check out any time, such as my Intro to Oil Portray which is fantastic for novices. I also offer mentorship systems if you want aid and aid though performing by means of the programs.

Your Concerns about Mediums Answered:
These are much more inquiries men and women requested me about mediums on social media that I couldn’t match gracefully into the write-up:

Do you use various mediums for plein air vs studio operate?
Performing en plein air or even alla prima in the studio, I uncover I am racing in opposition to time so I use just a single medium, a basic combination of 50/50 linseed and odorless mineral spirits.

Do you use distinct mediums for distinct grounds or supports, like chalk primed panel, or oil primed linen?
No, but I use distinct grounds for different types of paintings: I use a chalk gesso ground on a smooth hard panel for Oblique painting, and I like RayMar’s oil primed linen panels for my immediate and alla prima paintings. You can see my components lists with back links to my recommended merchandise.

Why do some mediums make the paint keep on being tacky, and should really you paint on a tacky layer?
If the prior paint layer is tacky you are almost certainly utilizing far too considerably oil – or maybe other ingredients that are not drying speedy sufficient. A superior way to gauge if your former paint layer is dry more than enough to paint around is the “thumbnail exam” – If you can make an indentation in your paint film with a organization press of your thumbnail, you must wait around for it to dry extra ahead of painting on it.

Can you mix various mediums together?
As extensive as they are basic mediums, likely indeed, but you really should be familiar with just about every ingredient in your paint. I like to maintain transparent mediums and impasto mediums separate, since I use them for diverse reasons in distinctive components of the portray.

Are some mediums more destructive than many others?
Solvents (paint thinner or mineral spirits or turpentine) are far even worse for your overall health than any other ingredient employed for painting, so do anything you can to restrict your exposure to fumes.

Is Galkyd fat or lean?
Fast-drying or slow-drying is far additional significant theory than fats or lean. Alkyd mediums are speedy-drying, so use it only in the least expensive levels of a portray, or for damp-in-moist approaches, as in alla prima or plein air portray.

How do you stay away from sinking in?
I don’t, I just dwell with it! The dark locations of a painting seem lighter-value and “matte” rather of glossy and dark for the reason that the oil is sucked into prior paint layers. The additional layers there are, the even worse the sinking-in gets. I do “oil out” the space I prepare to paint into that working day, but I go away the relaxation matte. When the painting is carried out and dry, I do oil out the full surface once to get a great picture of the painting, but later on I wipe that oil off with odorless mineral spirits and a make-up sponge.
When the portray has had quite a few months or months to dry, I varnish it, and then all the prosperous shiny dim hues return.

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