getRealism
Want to create realism in art? You've come to the right place.
Stop struggling with oil paint. Follow this no-nonsense guide and learn everything you need to know to get started painting with oil.
Common surfaces for oil painting are a stretched canvas or a wooden painting panel. Before painting, these surfaces should be coated with several layers of gesso. Gesso is a type of sealer and a primer. There are several types of gesso available. Gesso should be applied in thin layers, one at a time. Allow each layer to dry before applying the next one. It's important to let the gesso dry fully before painting. If you're looking to save time, pre-primed canvas and panels are readily available as an option.
Both acrylic gesso and oil-based gesso are available, with the latter being considered the best option for longevity. However, acrylic gesso is a popular choice. It works fine. Colored gesso is available, but it may impact the luminosity of the oil paint. Some artists may choose to tone the canvas before painting. Toning can be a risky endeavor. Some tone with thinned acrylic paint which can affect the adhesion of the paint. I suggest that you paint directly onto the white gesso for best results.
The composition can be sketched onto the panel or canvas with charcoal. Traditionally, the composition is painted onto the panel using one paint color thinned slightly with a solvent such as turpentine or mineral spirits. This first layer of an oil painting, painted with a single color, is called a grisaille underpainting. It helps to establish light and dark areas of the composition. It's important to let the first layer dry before applying the next one.
When it comes to drawing or sketching on the canvas, the most reliable method is drawing with paint. Other mediums may show through the paint layers or resist the paint, creating issues in the upper layers of your painting. If you dislike drawing with a paintbrush, a light charcoal sketch is a sufficient alternative.
Color can be applied over a dry underpainting. Some artists apply thin, transparent layers of paint, building them up slowly over time. Others apply thicker, opaque layers. Either way is fine. Oil paint can be thinned slightly by adding a few drops of linseed oil or painting medium. I like to dip the tip of my brush in linseed oil before loading paint onto the brush, keeping the added oil to a minimum. I use only as much as necessary to increase the flow of the paint.
The first layer of color can be applied loosely, blocking in large areas.
When applying color, it's important to paint in layers and let each layer dry fully before applying the next. Layers of thin paint dry faster. Transparent layers can be applied over time to create an illusion of depth.
When painting in layers, it's best to let each layer of oil paint dry fully before applying the next. The drying time can range from overnight to more than a week, depending on factors such as the amount of oil added to the paint, temperature, and humidity. Brushstrokes look different when applied wet onto dry versus wet onto wet. Oiling out, which involves applying a thin layer of linseed oil to the dried oil painting before applying new paint, can solve these issues and renew the shine of the colors.
A glaze in oil painting is a thin layer of oil paint thinned with linseed oil or painting medium, typically used to darken areas. Clothing and shadows can be enhanced or darkened by applying a glaze. It's important to keep glazing in the final layer and avoid excessive oil or painting medium to prevent paint cracking. Glazing is optional, not always necessary.
Oil paintings should be varnished using the instructions provided by the varnish manufacturer. Varnishing restores the sheen and protects the painting. Allow the painting to dry for the recommended time before varnishing, which depends on the type and brand of varnish used.
Finished oil paintings are typically framed unless they are painted on a gallery-wrapped canvas or thick panel. If framing, a wire hanger is often added to the back for easy hanging, achieved by screwing two D-rings to the sides of the painting and running picture wire between them.
Author: Sonia Reeder-Jones