Learn How to Paint
Oil
with
Mediapedia
n By Greg Albert
Oils
Oil paintings have a great mystique and, in the minds of many, the medium is
somehow more prestigious than others. On top of that cachet, oils have a tactile pleasure no one can deny. Their pure colors, buttery consistency and distinct
scent are a sensuous delight. Oils are well suited for any genre and for almost
any style, from quickly executed alla prima to carefully controlled underpainting followed by glazing.
Oils’ long drying time lets you create paintings with delicate blending, fine
detail and textural affects. On the other hand, oils’ long open time doesn’t let
you make corrections immediately by layering wet over dry paint.
Oil paints are made from pigments and a binder, traditionally linseed oil,
which is pressed from flaxseeds. Oil and pigment were combined and used as
early as the 12th century, but traditional egg tempera was far more popular. By
the 15th century, Dutch painters adopted oil as their primary medium; it provided far more versatility than egg tempera.
The late 18th century heralded the beginning of shops dedicated to the
manufacturing of art materials and related items. By the mid-19th century,
paints went from being ground by hand and stored in animal bladders to being
kept in collapsible tubes similar to the type in use today. The ease of working
with paint stored in tubes spurred the movement to look to the outdoors as a
source of inspiration.
What is
Mediapedia?
Mediapedia is an encyclopedia of art
media. The Artist’s Magazine profiled
a different medium in each issue of
2009. You can find previous installments at www.northlightshop.com.
FAQs
What does “fat over lean” mean?
“Fat over lean” is a basic rule oil painters follow to prevent layers of paint from cracking as they dry. Fat paint
has more oil in it; lean paint has less. Paint with more
oil will dry more slowly and will be more flexible than
paint with less oil. If a lean layer of paint is applied over
a fat layer, the top layer will dry before the bottom layer.
A lean layer atop a fat layer will crack because it will
have dried and become less flexible than the fat layer
beneath. To avoid this, you should use more thinner in
the bottom layer and increase the oil content in each
subsequent layer.
What’s the difference between traditional oil paints and
alkyd oils or water-miscible oils?
Alkyd oil paints use a synthetic resin binder instead of
linseed oil; it dries faster but otherwise has the properties of traditional oils. Water-miscible oil paints are
made with linseed and safflower oil that’s been modified so you can use water instead of solvent-based
mediums.
Do I need to use a medium when I paint with oils?
Manufacturers use formulas to produce a consistent
product, and many artists use oil paints right from the
tube, with perhaps a bit of linseed oil to make them
more workable. If you’re concerned about the health
risk of using solvents, using linseed oil to thin your paint
and clean your brushes is a good option. Note that
using excessive amounts of oil can result in yellowing or
darkening of your painting. But using various oils, solvents and resins will let you play with the paint’s flow,
gloss and transparency.
Should I varnish my finished painting?
Varnish protects your painting from dust and pollutants. I suggest using a conservation varnish that's easily
removable—this allows generations of conservators to
clean the painting.
An oil painting must be completely dry before varnishing, which may take up to a year if the paint was
applied thickly. Traditionally, varnish was made from
damar gum crystals dissolved in turpentine—damar varnish tends to yellow with age, however. Soluvar varnish
is a good choice because it's non-yellowing, durable and
removable.
Can I use oil sticks with oil paints?
Yes and no. Oil sticks are made with the same pigments
as traditional oils, with drying oil and wax, but they
never dry completely. Try using oil sticks to create highlights on a finished painting.
Chemistry
The pigments used in oil paints are nearly the same as those in
watercolors and acrylics. Oil paints come in two grades, student and
professional, the primary difference being the concentration of pigment or in some cases the method of mixing pigment and binder.
The binder in oil paint must be a siccative, or drying, oil that
will harden over time into a stable film. When paint made with linseed oil is exposed to air, it doesn't dry by evaporation as watercolors
and acrylics do. Instead, it oxidizes into a
dry solid. The process can take days or
weeks to form a surface film, and even
longer for impasto layers to solidify.
Linseed oil is obtained from flaxseed, and additives are used to alter
the paints' drying time and gloss. A
few other options, such as walnut and
safflower oil, don’t yellow as much
as they age. All of these oils require
organic solvents such as turpentine or
mineral spirits for dilution and cleanup.
Cleanup
Wipe off brushes with rags to remove most of
the paint; then use a brush cleaner or mild
soap and warm water. Dry brushes by laying
them flat. Take used solvents to a recycling
center—never pour them down the sink.
Materials provided by Plaza Art Kenwood, 8154 Montgomery Road,
Cincinnati, OH 45236. 513/793-5300, www.plazaart.com/index.php?page=7522.
2
3
Techniques
From top to bottom:
Art Alternatives Gallery
stretched canvas, Art Alternatives cleargesso linen artist canvas, Ampersand Gessobord
Museum Series panel and Fredrix oil-primed linen.
Must-have tools
Tips
•Don’t overmix colors—it makes
them muddy and dull.
•Limit the colors on your palette to
a dozen or fewer and learn to make
the most of them; having too many
colors to choose from is confusing.
•Keep two containers of solvent:
one exclusively for diluting paint
and one for cleaning brushes.
•Student-grade paint and materials are OK for initial efforts, but
you should move on to better quality materials as you develop your
technique.
•Using a toned ground makes judging values easier than when you
use a stark white surface.
4
Brushes: There are two basic considerations when selecting brushes: the shape
and the fibers. Although there are many different types and shapes of brushes,
the most useful and versatile are rounds, flats, brights and filberts. Round
brushes have round, pointed tips and are good for linear strokes. Flats and
brights are square-ended, chisel-shaped brushes that are good for rectangular
strokes. Brights have shorter hairs than flats. Filberts have flat, oval-shaped tips
that can make linear strokes and broader strokes. Because of their versatility,
filberts are the real workhorses in your brush holder.
Brushes can be composed of animal hair and/or synthetic fibers. Animal hair
such as hog bristle has a natural springiness that’s hard to duplicate. Hog bristle is the most popular animal hair for oil painting brushes; it’s stiffer than sable
or squirrel hair and well-suited for holding thick paint. Synthetic brushes might
not have quite the same stiffness or carrying capacity of bristle brushes, but
they’re easier to clean, and they hold up well to solvents and repeated cleanings.
Supports: The most popular surface for oil painters is canvas stretched on a
light, wooden frame. Canvas must be primed or the oil in the paint will harm
the fabric.
• hand-stretched canvas: economical but tedious; good for customized sizes
• pre-stretched canvas: saves time, but avoid cheap, low-quality canvases
• canvas on panel: practical for small studies
• hardboard: primed panels are ready to use
• wood: must be primed; creates very smooth surface
Palette: The time-honored oil painting palette is the oval or kidney-shaped
wooden board with a thumbhole, and there’s an undeniable romance about
holding a palette laden with paint. You should season a wooden palette by rubbing it with linseed oil several weeks before using it. Other options are palette
paper, enameled butcher trays or glass slabs.
Easel: You need a rigid stand to support the canvas or panel. A studio easel can
be a substantial affair, but an outdoor (French or box) easel can be light and
portable.
Containers: with lids for solvents and mediums, and a jar for brush cleaner
Palette knife: for mixing colors on the palette
Painting knife: for applying paint to the painting surface
Rags or paper towels: for wiping brushes and general cleanup
glazing
Alla prima: Paint directly on the canvas without an underpainting, finishing
quickly.
Impasto: Apply a thick layer of paint that
retains the textures of the brush or painting knife.
scumbling
Knife painting: Use a painting knife to
apply a textured layer of paint. The lack
of precise control gives knife painting a
freshness that’s hard to achieve with a
brush.
Toned ground: Working on a tinted surface adds color contrast to the subsequent
layers of paint.
Underpainting: Start a painting with
drybrush
thin, quick-drying paint (such as burnt
ochre and turpentine) to block in main
shapes and tonal values before adding surface colors and detail.
Glazing: Apply a translucent layer of color
over dry paint; use a glazing medium to
increase transparency and flow. Patience
is required.
Scumbling: Apply a broken layer of paint over dry or
semidry paint, allowing the bottom color to peek through.
Make sure to observe the “fat over lean” rule here.
Drybrush: Paint lightly over a textured surface with a
brush bearing only a small amount of paint. n
Greg Albert, author of The Simple Secret to Better Painting
(North Light Books), lives in Cincinnati, Ohio.
Safety
Many of the traditional pigments
used in oil paint are potentially dangerous, in particular, some that contain lead, cadmium and cobalt.
Materials that bear the CL (Caution Label) seal of the Art & Creative
Materials Institute (ACMI) should
be used with care and according to
instructions.
Solvents such as turpentine and
mineral spirits evaporate at room
temperature so you must work in an
area with good ventilation.
Solvents are flammable and
shouldn’t be used near open flames;
keep them in closed containers with
lids until you use them.
Don’t eat, drink or smoke
when painting. Don’t spray oil paint
unless you’re in a room with excellent ventilation and are wearing an
appropriate mask. Consider using a
hand-protecting cream, and wash
your hands well after painting.
In a recent five-day workshop,
Joshua LaRock offered
students problem-solving tools
for painting luminous portraits
in the classical tradition.
Lessons in
Layering
By Louise B. Hafesh
“I stumbled somewhat haphazardly
into becoming an artist after I got
my degree in the music business,”
says Texas native Joshua LaRock, recalling that growing up he had
always been interested in making art, but was simply not aware of
much art or art history. “I had taken some drawing and painting
courses in high school and college, but nothing too intentional, and
I hadn’t yet discovered the underground atelier movement, or that
there were even living artists painting in the representational manner.
My only real connection to oil painting had been watching Bob Ross
on PBS,” he admits unabashedly, “and while I rarely painted along, I
would come home after school and try not to miss an episode.”
Teaching Himself
Realizing that the music biz wasn’t for him, LaRock took an internship at a management/record label in Virginia, which yielded the
opportunity to check out East Coast art schools, most notably, the
renowned New York atelier of Jacob Collins. Encouraged by Collins
to do a cast drawing when the fledgling artist returned home to
Houston, he did just that. “It took me several months to figure out
just how— using books and the Internet,” he remembers, “but I
finally completed a drawing of the ear of Michelangelo’s David, sent
a copy to Jacob, and more than any sense of its quality, or even my
skills at that point, I believe it was my determination and seriousness
that led him to accept me.”
Having discovered his niche in the art world, LaRock eagerly
moved to New York to study with Collins for
three
years, and in 2009 joined the ranks of
left: Song Without
the Grand Central Academy (GCA) faculty
Words (oil on linen,
15x15)
alongside his former teacher. “Jacob’s ability
7
painting from life,” as evidenced
recently at a five-day workshop in
his New York studio, where via daily
demos and articulate commentary
he coached 15 students through the
stages of creating luminous portraits.
The portrait as shapes,
light and volume
“The human figure is so captivating
and challenging, and most accessible
to the viewer as well,” explained
LaRock at the outset. “We are, to
ourselves, our most interesting subjects. The figure provides so much
opportunity for emotion, meaning
and storytelling, but also from a
physical, tactile standpoint, there is
little else as beautiful as light falling
on flesh.”
Positioning the model to best
take advantage of that glorious light,
LaRock fostered a congenial and
enlightening atmosphere, encouraging discussion while he began
a block-in drawing. “We bring so
much psychological baggage to
looking at a face that it can be difficult to get around that and see a
portrait more simply as shapes, light,
volume,” he offered at one point.
“The features, in particular the
eyes, seem so important that they
become sort of a black hole of attention when drawing and painting,
at the expense of everything else.”
Advising that it’s a good rule to
treat the cheek, chin and forehead
as being just as important and interesting as the eyes, nose and mouth,
he explained: “Too often we place
these features without considering
the bone structure that holds them
up. Beyond that, getting a true likeness comes down to being extremely
observant to small breaks in contours and shapes, as well as being
incredibly connected to the surface
form in a tactile rather than flat way.”
above: Laura In
Black (oil on linen,
20x16)
8
to explain technical processes and
ideas is unmatched today,” he says
about his mentor. By all accounts,
LaRock, also a much respected, classically realist painter, is a similarly
inspirational instructor. Participants
at his sold-out workshops consistently marvel at his ability to unveil
the mysteries and acquired concepts
of what he calls “indirect portrait
Drawing from life
That first morning, students witnessed LaRock render a delicate
drawing in graphite and white chalk
on toned paper and, following suit,
photo BY LOUISE B. HAFESH
Problem Solving
by Joshua LaRock
Master drawing: Learn to put
aside assumed ideas of what you
are looking at, and educate your
eyes enough to see what is actually in front of you. The maxim is
“Draw what you know rather than
what you think you see.”
To begin the drawing, think
in two dimensions: Flatten the
portrait as if looking at it through
a window (the picture plane) and
tracing on the surface of the glass.
1. Point relationships: Analyze
where one landmark is relative to
many others—the tear duct to the
edge of the nostril, for instance.
You may use two established
points to locate a third in what is
often known as “triangulation.”
2. Tilts: Think carefully about
the angles of relationships. Are
the eyes perfectly horizontal or
tilted slightly one way? The nose
and mouth should also be at the
same tilt as the eyes.
3. Shapes: Attempt to see the
shapes that make up the features,
and, of extreme importance, do
not ignore the shapes around the
features that make up the cheek,
forehead, chin, etc. Abstracting
these shapes often helps you
observe more acutely, and the portrait then becomes an interlocking
puzzle. As examples, attempt to
see “a bird” for the combined
shadow shape of the nose and
eye, or “a cartoon man in profile”
for the light shape of the cheek.
4. Comparative measures:
Use a pencil or paint brush, held
at arm’s length, perpendicular
to your line of sight, to measure
various proportions and compare
them to others. I always begin
by judging that the distance
from the chin to the tear duct is
almost always the same as the
distance from the tear duct to the
top of the head. I establish this
as an anchor point, calling it the
vertical half.
Now think in the round: The
flattened portrait, now in proper
proportion, can be further understood and refined by imagining
it in three dimensions. Try to
re-create an imagined space
behind the canvas or paper.
Work with values by working
with form: This is perhaps the
most vital method for analyzing
value—and the most difficult to
fully grasp. In short, consider only
the fact that the planes, which
are more perpendicular to the
direction of your light source,
are brighter in value than planes
that are less perpendicular—and
forget almost everything else
you think you are seeing. Please
don’t misunderstand me! The
phenomenon of light on form is
more complex than this (not least
of which is understanding the
“highlight”), but thinking about
this physical truth will take you a
long way in your ability to refrain
from the improper practices of
copying values one for one and
copying what you perceive as
local contrasts.
9
demo
From Darkness, Light
By Joshua LaRock
Most perpendicular plane
Planes turning
away from
light source
Highlight
1
2
3
4
began drawing their choice of two
models’ poses. Working his way
from easel to easel, he proffered such
pointers as: “Be a pure observer; put
aside assumed ideas of what you are
looking at. Break down what you see
into abstract lines and shapes, and
stay away from features. Learn to see
your drawing as a sculpture, modeling as if your pencil is a chisel and
you are chipping away at stone.”
Stressing good drawing as the
foundation, he allotted the better part
of two days for students to complete
their sketches. By day three, having
completed an oil transfer (raw umber
slathered on the reverse side of a pho-
above: Thirst (oil
without the preson linen, 8x10)
sure of making
it perfect right
away,” he said. “The aim is to create
a thin, neutralized rendering of the
Painting in layers
final portrait—a broad underpainting
Poised to start the painting demo,
that establishes graphic light and dark
LaRock explained that an “indirect”
patterns, form and color.”
oil method was distinct from alla
Working diligently for three
prima, or wet-in-wet. “Done in layers, hours, LaRock transformed his canit can achieve wonderful and subtle
vas. Having completed the first pass,
effects by the use of semitransparent
he turned to be met with spontaneveils of paint,” he explained while set- ous applause from a transfixed auditing up his palette and launching into ence. Setting the canvas aside to dry
“dead coloring” (the underpainting).
overnight, he again made the rounds
“An advantage of the first pass
helping students solve their individual
is that you can put something down
issues and, given permission, painting
directly on their canvases by way of
“show and tell.”
tocopy of the image, placed face up
over a toned canvas and outlined with
a pen), we were all set to begin the
next step.
“Learn to see your drawing as a sculpture,
modeling as if your pencil is a chisel and you
are chipping away at stone.” Joshua Larock
10
Not simply what we see
The following morning, expanding
upon the previous days’ foundation,
5
Step One: Diagram of light on form:
Planes facing the light are bright in
value, darkening as they turn away.
6
Step Three: Transferred drawing to
canvas and neutral underpainting.
Step Four: Finished underpainting
Step Two: Preparatory drawing in
graphite and white chalk on toned
paper.
after day one: Brightest lights are
exaggerated for future glazing.
Step Five: Thicker paint on day two:
lighter lights, darker darks.
Step Six: Glazes and scumbles refine the
form, painting surface and coloring.
above:
Kelly (oil on linen, 16x14)
11
Palette
Red Umber
Michael Harding
Alizarin Crimson
Michael Harding
Magenta
Michael Harding
Meet Joshua
LaRock In 2012 the
Genuine Vermilion
Rublev
Raw Umber
Michael Harding
Transparent
Oxide Yellow
Michael Harding
Yellow Ochre Deep
Michael Harding
Aureolin
Michael Harding
Lead-Tin Yellow
Rublev
Lead White no. 2
Rublev
Viridian
Michael Harding
Ultramarine blue
Michael Harding
Cobalt violet Dark
Michael Harding
Van Dyke Brown
Gamblin
Ivory Black
Williamsburg
Materials
Brushes: Rosemary &
Co. small to medium soft
synthetic and bristle—
mostly rounds.
Canvas: oil-primed Belgian
linen by Artfix (84C)
12
LaRock began by using slightly
thicker layers of paint and darker
darks; he simultaneously launched into
a discussion on values. “We cannot
recreate the illusion of three dimensions by trying to copy the values we
see. Reality has a far greater value
range than anything we can attempt
to match with our pigments on
canvas. The highlight on a nose, for
instance, is many times brighter than
the whitest titanium oil. Similarly,
ivory black is still not as black as the
entire absence of light in a dark cavern or jet-black hair in shadow. So
we must submit to the limitations of
our medium and learn to make value
decisions from another angle, namely
by understanding how light interacts
with form.” (See “Problem Solving,”
page 57). Building lights up to the
brightest white, he further noted
that glazing over these areas later on
would make them more chromatic.
Glazing at Last
With LaRock’s demo close to being
realized after the second pass, and
students having kept pace on their
own canvases, the final day was set
aside for polishing, glazing and scumbling over the underlayers. Extolling
the benefits of glazing, he emphasized
that laying down transparent veils
of paint on top of dried opaque layers unifies a painting—and interacts
optically, which facilitates a luminous backlit glow (a signature of his
own beautiful work). The studio was
buzzing as everyone made finishing
touches and reflected on the wealth
of knowledge that had been shared.
Student Shane Marie Forbes seemed
to speak for all. “Finally,” she said “a
clear roadmap to understanding!”
“No Substitue for Good
Drawing”
Summing up afterward, LaRock had
this to say: “So much of learning to
make art is getting students to ask the
right questions and convincing them
above: The Entrance
to let go of preconceived
(oil on linen,
ideas. The ‘magic’ is in
36x40)
the way of thinking and
not in the medium or a
opposite: Bather (oil
specific process. Many
on linen, 16x10)
workshop participants
obsess about specific brushes and/or
paints, but there is no substitute for
practice and good drawing. When
teaching, and in my own work, I try
to break down the whole process into
distinct phases which allow for more
focused thoughts, rather than trying
to juggle everything at once, which is
always overwhelming. There is then a
set of ideas, or problem solving “tools,”
at each stage that help with evaluating
accuracy, overall cohesion and harmony. More than anything, they are
what I hope students take away from
my workshops.” n
Louise B. Hafesh is an award-winning artist and writer and contributing editor for The
Artist’s Magazine. You can see examples
of her work at: louisebhafesh.com and
paintersportal.blogspot.com.
artist’s portrait submission
of his wife, Laura, was
celebrated as “deserving
special attention” during
the historic America China
Oil Painting Artists League
(ACOPAL) exhibition at the
Beijing World Art Museum.
Reproductions of Laura
became the best selling
souvenir throughout the
Chinese tour, and the artist was commissioned to
paint many other Chinese
personalities, including
Mrs. Wang Limei, director
of the Beijing World Art
Museum, and Mr. Brian Lu,
vice president and general
manager of Apple Inc. in
greater China. This past
June, another painting of
the artist’s wife, Laura
in Black won the 2016
BP Portrait Award at the
National Portrait Gallery
London.
LaRock is represented
by Collins Galleries,
Cape Cod; Portraits,
Inc., New York; Stephen
Ling - Beijing. He has
participated in exhibitions
throughout the U.S. and
China, has received a
number of awards from
the Art Renewal Center,
and is a much sought after
workshop instructor.
Self-Portrait (oil on
linen, 18x14)
above:
online:
Visit LaRock’s website
at joshualarock.com.
13
Did you enjoy this article?
Order your copy of
The Artist’s Magazine’s
2015 Annual CD today!
Get the best
art instruction all year long!
Celebrate & live a creative life
with your year-long subscription
to The Artist’s Magazine, one of
the country’s top art magazines
featuring work from artists in all
media & styles. Discover your
new favorite painting or drawing
technique with your subscription
to The Artist’s Magazine.
Subscribe today at
subscribe.artistsmagazine.com.
2011-2015 Annual CD
2015 Annual CD