oil Archives - Page 2 of 5

October 16, 2012 By Thomo

How To Use Winsor & Newton Liquin Mediums With Your Oils

This educational art tutorial contains a series of demonstrations with a resident artist showing the qualities of the Winsor and Newton Liquin range of mediums.

Traditionally mediums have been used to define oil paint itself over the years and improve its qualities, the most typical and common medium which is still largely used to this day is linseed oil and it extends the paints gloss and flow.

What the Liquin range does is retain these qualities but also increases the durability and flexibility but also makes the oil paints dry quicker. The mediums and their individual qualities like increasing viscosity, preserving opacity and richness are all displayed to you in this extremely informative video tutorial. The mediums featured are Liquin original, Liquin Light, Liquin Fine Detail and Liquin Impasto.

October 15, 2012 By Thomo

Texture In Acrylics And Use Of Palette Knives

This video fills the gap left when you move from oils to acrylic and still wish to use a palette knife and create impasto effects in your paintings. This demonstrates the use of additives which allow the prolonged use of the acrylic paint without rapid drying and it shows the use of body product which can build up the paint to a texture more akin to the oil paints.

We have put this video on the site to expressly answer a question from an artist, Elizabeth Webb, on another art site (PaintingsILove) �which we think worthy of note and even use to present some of your own works.

You can find some additional information here�http://www.artistterms.com/acrylictexturepaste.htm

October 13, 2012 By Thomo

David Shevlino: An Oil Painting Demonstration Of A Young Boy

Renowned for his loose and direct paint and brush application, fine artist David Shevlino delivers a wonderful art tutorial here where he creates a life oils portrait of his son. His paint is put to the canvas in a quick and deliberate manner which at first almost suggests he is in a rush, this however is a deliberate technique which allows him to build undertones before going on to further detail and intricacies.

Shevlino mentions the importance of a good directional natural light source when taking on portraiture so in this particular painting he has used balanced daylight photo lamps as his source of consistent light. With this you can achieve a strong sense of contrasting light and dark tones and shadowing.

The oil painting used the colors burnt sienna, orange, white and darker hues like ultramarine for the darker areas. The painting was created over a 2 day period so he used a poppy seed oil medium to keep the oil paints wet and manipulable for the second day. His style is very unique and I personally love his work. I hope you enjoy.

October 13, 2012 By Thomo

Scott Naismith: Sketch And Alla Prima Oil Painting

With a�preliminary sketch in his book, Naismith marks out and designs his drawing from which he wants to base his oils painting. This is an alla prima oil painting�of the ‘Old Man Of Storr in Skye’ It is a time lapsed video but it is a real insight into seeing how Naismith really works into his paintings with passion and a keen eye for expressive colors. He uses a variety of tools including, brushes, spatulas and palette knives. Nice inspirational work.

October 10, 2012 By Thomo

John G Heinrichs: Learn How To Paint Mountains In Oil Paints

This is a great video tutorial for learning how to paint mountains in oil paints with artist John G Heinrichs. He begins with explaining his paint mixture for a base coat for the mountains and it consists of prussian blue, crimson,titanium white and ivory black. It is then ‘turned over’ with a palette knife which in oil painting is a technique known as ‘marbling’ to blend all these colors together loosely. He then loads the palette knife with paint on one side and applies it to the canvas by pulling the knife down to form the tops of the mountains.

The next step is using a 2 1/2 inch Alexander art brush to feather out the bottom of the mountains in a blending style. There will obviously be a directional sunlight cast on the mountains so again the palette knife is loaded on one side with his titanium white oil paint and lightly applied with no pressure to the sunny side of the mountains.

The canvas texture helps this process to form very natural looking cracks within the mountain side. The opposite technique is then performed to the shaded side of the mountains but only with a more ample application of prussian blue oil paint. The painting is then finished with the 2 1/2 inch brush being used to drag up the white oil paint from the misty bottom to create a more natural painting. �A very easy to learn from art tutorial.

October 9, 2012 By Thomo

Zimou Tan: Live 150 Mins Video Of Artist Painting

This is a live unedited sped up video of artist Zimou Tan painting. The painting is of young male and in my humble opinion I think it is absolutely beautiful. his technique is very block-like with his application but as the video goes on you begin to see how he applies the details with the smaller paint brushes. The music is highly appropriate also which makes for a thoroughly enjoyable 8 minutes of master class oil painting. Sit back and enjoy.

October 7, 2012 By Thomo

Dick Ensing: How To Use A Palette Knife For Oil Painting

In this video, Tennessee based artist Dick Ensing takes control of the palette knife and guides the viewer through a step by step process where he takes on light and shade control as well as color syncing. He also shows how there is nothing wrong with combining the brush with the knife to produce his final oil painting. The palette knife is a key tool to master within any sector of the painting arena, not just oils. So get involved and become confident in no time,

October 7, 2012 By Thomo

Gregg Kreutz: A Demonstration In Painting From Life

This art video tutorial shows artist/teacher Gregg Kreutz demonstrating to his class how to paint the figure from a live model. The demonstration was filmed over the course of 3 hours during his morning class using oil paints.

He begins with the idea of laying down expressive strokes with his paint brush in the early stages to emphasise movement within his subject, which on this occasion is a young white female. Although her pose is static it is up to you as an artist to portray movement in your paintings with your brush actions and personal perception of the model or subject. It’s also another good way to test how the canvas reacts with your brand of paints and brushes setting the fluidity and ease of use for the remainder of your painting up to it’s final stages.

He also moves into color theory and how to mix up complimentary colors to promote the skins tonal values but also retain and evoke expression. It really is a brilliant video which encompasses all the values still present in traditional and even contemporary styles of oil painting surrounding portraiture.

October 6, 2012 By Thomo

Scott Naismith: Painting With Freedom In Oil Paints

Scott Naismith has been frequently asked over the years ‘How can I loosen up in my paintings and become less conforming’. Well this video tutorial teaches how he interprets freedom in oil painting. Many people learn oils from experts such as Bob Ross and Bill Alexander and will engage in their techniques and interpretations. From this tutorial you will learn how to break away from convention and use your paints so they’re not necessarily guided by lines or literal form. This is a nice length and well narrated tutorial so give it some time and grab your brushes and become looser and less guided with the oil paints.

October 6, 2012 By Thomo

Chris Saper: How To Paint In Monochrome For Oil Portraits

This art video tutorial shows Chris Saper demonstrating a few techniques to establish best results when you’re taking on a monochrome oil portrait. It goes straight into the action with the safety pin technique which involves dipping the pin into some titanium white oil paint and i then literally slightly dabbed onto both eyes to mimic reflection. Sadly there is not a brush on the market small enough to do this.

Saper tells of the importance of understating highlights rather than overstating because it gives a good tonal value variation within monochrome painting. She uses a sable cat’s tongue brush for its ability to form a point which enables thin lines as well as firm broad paint strokes; this is an extremely versatile brush which is ideal for portraiture.

The use of a Mahl stick is consistent throughout and is uses to get closer to the painting to apply greater detailing with the paint brush.She ends with how she uses thinning mediums or linseed oils to bring out a more pliable oil paint and prefers here paint to be a more sour cream consistency rather than cottage cheese. This is a very informative art tutorial for anyone interested in portraiture or monochrome oil painting.

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