12-02-2019, 10:26 PM
Generally speaking, the more medium is in your paint, the harder the paint is to control. Modern paint manufacturers include am excess of oil in their tubes so it comes pre-loaded with medium, making it already fluid enough for most thinly painted styles and can be a difficulty for direct painting. You can of course work around this but you either need to have a process suited for it or you need to get good at paint handling with soft paints. I recommend just removing as much oil as you can from the paint so you can first learn to work with paint in a state where it's easier to control, excluding mediums or solvents from the process.
When first learning how to paint in oils, an option to consider is to just finish most of the painting without white, then adding white at the end. You do this by painting in scumbles and just build up the whole impression, wiping off paint to get the light back. Then once you're done, you really only need to address a few small areas if you want the light to feel more solid. It's a very simple way to transition from drawing into painting because it doesn't rely on much paint-handling in order to get good results and it slowly introduces how to handle paint.
http://www.art-catalog.ru/data_picture_2.../11612.jpg
https://www.russianphotographs.net/artic...van_08.jpg
Another option is to work similarly but matching the colors and values on the palette and placing them thinly in their right spot. If you use stiffer paint with no medium, this will be very easy to control and there won't be any slipping and sliding going on outside of your control.
https://i1.wp.com/emilcarlsen.org/wp-con...091%2C4587
If you find yourself going thicker constantly, try switching over to a shorter bristle brush and pressing into the painting with every mark. It will cut through the surface and instead of just slathering on paint on top of paint, you can replace the paint on the surface. The bristle brush will deposit some of the paint in the brush and it will also pick up paint from the surface, replacing it rather than constantly adding more. Oil painting isn't suited for a free for all approach where you throw around paint and hope for the best. Every mark you make will effect future marks so it's best to work thinly with less fluid paint to minimise this effect until you have the basics under control.
Generally you want to avoid layering wet pigments as much as possible. Pigments have different drying rates and something like a lead white over ivory black will cause the surface to dry and isolate the lower pigments, causing them to dry much more slowly, causing an internal tension in the pain layer, making it more susceptible to cracking as it ages. It's one reason bristle brushes are so good, they penetrate the surface of the wet paint causing a more homogenous paint layer.
In this last painting, if you find your modelling of the light feels slippery, it's usually because of the paint consistency. You'll find consistently that older oil paintings always preserve a very stiff white for the lights, even if the overall painting is very thin. It helps in modelling the subtle light half-tones as well as helping the effect of showing solid lights and transparent shadows.
https://arthive.com/res/media/img/oy1200...478342.jpg
When first learning how to paint in oils, an option to consider is to just finish most of the painting without white, then adding white at the end. You do this by painting in scumbles and just build up the whole impression, wiping off paint to get the light back. Then once you're done, you really only need to address a few small areas if you want the light to feel more solid. It's a very simple way to transition from drawing into painting because it doesn't rely on much paint-handling in order to get good results and it slowly introduces how to handle paint.
http://www.art-catalog.ru/data_picture_2.../11612.jpg
https://www.russianphotographs.net/artic...van_08.jpg
Another option is to work similarly but matching the colors and values on the palette and placing them thinly in their right spot. If you use stiffer paint with no medium, this will be very easy to control and there won't be any slipping and sliding going on outside of your control.
https://i1.wp.com/emilcarlsen.org/wp-con...091%2C4587
If you find yourself going thicker constantly, try switching over to a shorter bristle brush and pressing into the painting with every mark. It will cut through the surface and instead of just slathering on paint on top of paint, you can replace the paint on the surface. The bristle brush will deposit some of the paint in the brush and it will also pick up paint from the surface, replacing it rather than constantly adding more. Oil painting isn't suited for a free for all approach where you throw around paint and hope for the best. Every mark you make will effect future marks so it's best to work thinly with less fluid paint to minimise this effect until you have the basics under control.
Generally you want to avoid layering wet pigments as much as possible. Pigments have different drying rates and something like a lead white over ivory black will cause the surface to dry and isolate the lower pigments, causing them to dry much more slowly, causing an internal tension in the pain layer, making it more susceptible to cracking as it ages. It's one reason bristle brushes are so good, they penetrate the surface of the wet paint causing a more homogenous paint layer.
In this last painting, if you find your modelling of the light feels slippery, it's usually because of the paint consistency. You'll find consistently that older oil paintings always preserve a very stiff white for the lights, even if the overall painting is very thin. It helps in modelling the subtle light half-tones as well as helping the effect of showing solid lights and transparent shadows.
https://arthive.com/res/media/img/oy1200...478342.jpg
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