Oils, Acrylics or Water Miscible

57 Pages·2012·2.47 MB·English

Chapter 1
The Basic Techniques of Oils
PREPARATION
Art Supplies
Workstation
Canvas
Yourself
The Basic Techniques of Oils, Chapter 1 1-1 Preparation
The Basic Techniques of Oils
TABLE OF CONTENTS
Chapter 1: Preparing For Oil Painting
Preparing Yourself……………………………………………………………… 1-2
The Workstation…………………………………………………………………. 1-6
My Portable Workstation Setup………………………………………….. 1-7
Paints………………………………………………………………………………….. 1-8
Preserving Paint On Your Palette………………………………………. 1-9
Working With Old or Drying Paints…………………………………… 1-10
What Brand of Paint Is Best?......................................... 1-11
Water Mixable Oil Paints…………………………………………………….. 1-12
How Much Water Mixable Oils Can I Mix Into Oils/Acrylics.. 1-15
What Does It Mean To Be Green………………………………………… 1-16
The Paint Colors I Use (Chart)…………………………………………… 1-17
Paint Layout………………………………………………………………………… 1-18
Oil Painting Brushes & Knives…………………………………………….. 1-19
The Forked Liner Brush Cure………………………………………………. 1-23
Water Miscible Oil Painting Brushes & Knives……………………. 1-24
Medium And Its Purpose……………………………………………………… 1-25
Black, White & Gray Gesso………………………………………………… 1-29
Under-painting A Canvas With Gesso……………………………….. 1-31
Under-painting A Flower Vase With Gesso…………………………. 1-33
From Cave Walls To Canvas………….…………………………………... 1-34
Easels……………………………………………………………………………………. 1-37
Painting Accessories…………………………………………………………….. 1-39
Protective Sprays For Painting……….…………………………………... 1-42
Cleaning Brushes…………………………………………………………………. 1-43
Oval Setup For A Rectangular Canvas…………………...………….. 1-47
Transferring A Pattern To Canvas……………………………………….. 1-48
Using Reference Materials…………………………………………………… 1-49
Preparing Outside Wood Surfaces For Oil Painting…………….. 1-51
What If I Can’t Finish A Painting In A Single Session…………. 1-52
Keep Your Thinner Bucket Clean…………………………………………. 1-53
Transferring A Portrait Drawing Or Pattern Onto Canvas…… 1-54
What Age Is Best For Teaching Kids To Paint……………………… 1-56
Art Supply Shopping List……………………………………………………… 1-57
The Basic Techniques of Oils, Chapter 1 1-2 Preparation
Preparing Yourself
"I know absolutely, positively, without a doubt that I cannot paint."
There is one basic concept that must be altered in order for this book to be of value. In order for this book to suc-
cessfully guide you in learning to paint, you must first believe in yourself.
You must believe, without a doubt, that you can learn to paint.
I know this because back in 1991, I was you. I knew without a doubt that I had no artistic abilities whatsoever.
Nothing, nada, zilch. I even sweated drawing stick people.
I know that sounds like I'm over stating the facts, but the truth is I knew nothing about art. I knew what I couldn't
do. So I didn't even try what I knew I couldn't
The man who broke through my wall of disbelief is Jessie Martin, an artist in E. Freetown, MA.
At a flea market Jessie personally spent 45 minutes talking me into just TRYING. I simply did not believe in my-
self. I knew that I couldn't paint. I was rock solid in my disbelief. I had no faith in me.
I remember my disbelief!
I'd seen the fuzzy headed guy on TV now and then. Although I knew he was talented, I didn't believe him either
when he said he could teach me to .
Come on. We all know that one has to be born with talent in order to paint.
And many of you will believe me when I tell you that birth is long over with for most of us. And we were not born
with any talent for painting.
Throughout school my teachers reaffirmed this fact. They even told me there were people who had talent and peo-
ple who could appreciate art. Fortunately, I was one of those who could appreciate art.
But Jessie said something to me that day I've never forgotten.
His words got through my thick-headed engineering mind.
First thing he said was signing one's name is an art form. We spend more time in school teaching people how to
write than how to paint. And anybody with enough practice can sign their name.
The second thing Jessie said that hit me like a ton of bricks was that learning the fundamentals of oil painting was
simply learning the techniques. He could teach me the techniques and all I had to do was simply practice, practice,
practice.
In fact he went on to explain that I could practice anything if "I mentally understood what I was doing". Jessie
made it clear he would help me to understand mentally the concept of the painting techniques.
It's all history now, but let me tell you.....I sat down with Jessie, took a class with a lot of disbelief, but still faith in
myself that I could learn technique.
I asked Jessie about having talent and he said talent was nothing more than techniques second natured.
I walked away differently from that lesson.
The difference, was that now I truly knew "I could paint". I'd learned so much from the first free lesson he gave me
to become convinced that I could oil paint." I now had tons of faith in me. With enough practice, I could turn tech-
nique into talent.
The Basic Techniques of Oils, Chapter 1 1-3 Preparation
Today, I'm so amazed by all the people who tell me how talented I am. I owe it all to Jessie's comment, "Darrell,
anyone can paint, even you. Learn the techniques. Practice them until they are second nature and never quit prac-
ticing. When the techniques become second nature, than you'll be amazed at how the world opens up to you and
you literally will want to paint everything you see. You'll look at the world with different eyes. You'll be an artist."
Jessie was right.
That's why today I offer one of my full, 2-hour instructional oil painting video as an incentive for you to take that
first step. So that you can believe in yourself. No matter how disbelieving.....no matter how doubtful, sit down with
me for a couple of hours at http://www.darrellcrow.com/videos and the experience will totally transform your con-
cept, your belief in you. You will walk away with absolute faith that "Yes! You can oil paint."
My Very First Painting with Jessie Martin in a flea market in the summer of 1991. The four hours it
took me to paint this little seascape changed my belief factor in me and my whole way of life. YES! You
Can Paint.
The Basic Techniques of Oils, Chapter 1 1-4 Preparation
In this chapter we’ll begin our study of the Basic Techniques of Oil Painting by reviewing the paint brushes,
paints, mediums and accessories you’ll need to acquire, how to set up your private art studio and some methods of
preparing the canvas to paint.
Our discussions on preparing to paint with Gesso is a bit advanced for you right now. We discuss how to under-
paint landscapes and floral images on canvas with gesso as a preparation step for tackling a painting later. Just
review this material initially to gain an idea of the different avenues available in preparing a canvas. After you’ve
learned the techniques for water, trees, bushes, grass and rocks, return to those sections and practice the exercises
discussed.
Just simply focus now on the supplies, setting up your art studio and the process of painting.
Let’s begin with the workstation.
The Basic Techniques of Oils, Chapter 1 1-5 Preparation
Workstation Setup
I like setting up my workstation so I can always minimize the amount of time to begin
each painting session. I have two basic set-ups; With a Tabletop Easel, and with a
Standup Easel. It took me a long time to figure out what makes sense for the way that
I paint. And that’s the main thing you’re going to decide.
Do I have one spot in my house where I can go back to
paint or do I move my supplies from spot to spot?
In this configuration, all of my accessories are set up on
the outer edges of the work table. I used to use an old
microwave cart to hold the paper palette, supplies and a
brush cleaning station. But now I use a rolling 5-drawer
toolbox with a flat top. I store the paints in one drawer,
brushes in another, accessories & mediums in the other
drawers. One full set of painting supplies is kept in a
this rolling toolbox for instant, daily use. This set up al-
lows me to always be working with the same organiza-
tion.
I use one of three or four tabletop
easels here. Photos are in the Easel
section. The key to a great work area A beautiful accessory for your workstation area is an air
is organization and comfort. Notice filtering system. I just went to the local hardware store,
the very comfortable chair. And make explained the painting station I was setting up and
sure you always have a lid on your $125.00 later I had a good studio air filtering system.
cleaning bucket whether you use baby
I use four different table top easels as shown in the Easel section. The nice thing about
multiple easels is that I can put a different canvas on each easel and work on four different
painting projects simultaneously. I just pick up the easel with the painting project that I’d
like to work on that day (or hour). When I’m done, I just exchange the easel with a new
project. The wet canvas is out of the way and drying until I’m again ready for it.
I like to practice daily. So one of my easels always contains the practice session. Each
morning, all I have to do is put the practice easel onto the table top, paint for 5-15 min-
utes and set it aside until the next morning. I must confess that sometimes I get so in-
volved in my painting and before I know it, 2 or 3 hours have slipped by.
With a standup easel I set it up next to the work table along with my brush cleaning
bucket and a trash can as shown below.
The Basic Techniques of Oils, Chapter 1 1-6 Preparation
My Portable
Workstation Setup
I’ve found one of the best workstation setups is using a wheel-a-round
tool box.
The top serves as a painting platform for the palette and other supplies
like medium and cleansers. I’ve placed a folded paper towel to temporar-
ily store wet paint brushes while I’m working.
A trash can with liner is to the right of the tool box and I place dry, par-
tially finished paintings to the left. The masking tape dispenser is a
prized possession and located for immediate access.
I selected a wheel-a-round tool box so I could easily move the one set-up
to any of my easel workstations
I’ve organized the 5 drawers below as follows:
1. Paints
2. Soft Brushes
3. Bristle Brushes
4. Mediums and Liquid Accessories
5. Dry Accessories.
\
Spring Dream, an original painting by Darrell was the outgrowth of fool-
ing around with some students after a class in 1998. The students listed
all of the elements in a painting, location and essentially challenged me
to paint this new composition .
Once you know the fundamentals, you can concentrate on composition.
The Basic Techniques of Oils, Chapter 1 1-7 Preparation
Paints
On chart 1-1, you’ll find the list of paints I use.
I lay all of my paints onto palette paper when I’m paint-
ing in the studio. Out in the field, or in the classroom, I’ll
use a wooden palette because its such a versatile car-
rier/holder of paints. And they clean easy with Baby
Wipes or similar products.
Palette paper has a shiny surface on one side to hold
paints. The size I use is 12”16” pad. This size is appro-
priate, because I use big brushes. You can just imagine
how much space is required in order to mix paint with
these large brushes.
How do I preserve unused paint if I
am unable to finish painting?
One procedure I would en-
This is my setup for the paints courage you to follow relig- 1. IF you’re not finished with
I use. In the studio, I use pa- iously is getting in the habit of your painting and believe
per palettes. They’re avail- putting your paints down on the you’ll be back the next day,
able in pads and have many palette in a specific location. If than cover the palette with
different sizes. While on loca- you’re doing portraits a lot, put Saran Wrap. Just peel it off
tion or teaching a class I’ll use them down in a way that when you’re ready to paint
makes sense for painting por- again.
a wooden or acrylic palette.
traits. If you’re putting them 2. You could put a paper pal-
When putting the colors onto
down for florals, than in a way ette into a ‘sta-wet’ container
the palette press down on a
that makes sense to paint flow- (designed to keep acrylics
corner of the paint pile to
ers. The same is true of tall wet overnight) when you
force it to stick to the palette.
ships, landscapes, seascapes paint and then when you’re
This prevents the colors from
and any genre you like to paint. done for the day, seal up the
sliding off the palette.
air tight container.
When painting landscapes, its
best to use thick, very firm IF you’re done with the painting
paint. So choose your brand and simply want to save your
name wisely. I chose one of paints, put each color into a
the more popular brand separate sandwich
names. You will learn to adapt bag. Squeeze out all of the air
your painting style to which- and rubber band seal it
ever brand names that are out good. You can even store the
there in the marketplace. bags in the refrigerator until
you’re ready to use. To use,
simply poke a small hole into the
Now does brand name really
bag and squeeze out the paint.
make a difference?
One tool I use regularly is the
If you’re a manufacturer, your
“Tube Wringer.” Available in
answer is “Yes.”
either plastic or metal, I’ve
opted for two heavy duty metal
If you’re a student, the answer is, “It depends…” We
wringers. I believe I bought
explain this in the next couple of pages.
these from Dick Blick’s on-line
store. This will save you count-
The one thing that I found to be extremely critical is the
less time and frustration in
white paint that you choose. Some manufacturers are
squeezing out the last bit of
very specific in having a very thick white paint. You
paint from your tubes before
may need to go to some sort of a zinc white. I like using
declaring that tube empty.
the Titanium White manufactured by the Martin F. We-
ber Company, that is very thick.
The Basic Techniques of Oils, Chapter 1 1-8 Preparation
When I lay out white paint, I always place 3 piles of paint on the palette.. And the reason is TQ can
become contaminated quite easily. With three separate piles of white paint, I generally ensure I’m al-
ways able to have pure white paint that’s clean, when I need it. So if I have three separate piles, at
least two-thirds of my paint will always be white, and the other third could become contaminated be-
cause it’s so easy as white is one of the most mixed colors on the palette. A slightly dirty brush or pal-
ette knife will contaminate TW. The recommended practice is to always use a clean palette knife when
grabbing some TW for mixing. Dirty contaminates and wiping the knife prior to each use ensures purity.
Preserving Paint On Your Palette
When the day’s painting session is over, wouldn’t you like to preserve the paints on your palette? I hate losing
paint as it is so expensive. Here are a couple of suggestions that should help you immensely ...
For oils, I recommend two or three approaches.
1) If you’re only leaving for a few hours or one day at the most, place your palette into a very large zip lock bag.
2) 2) If you’re leaving for a larger period of time, wrap your palette in cling or another clear plastic food wrap.
This will preserve the paints for 2-3 days.
3) 3) If you’re done with the painting and not sure when you’ll be using that color or that mix again, use air tight
sandwich bags. Place paints into the sandwich bags and seal. If you have one of those vacuum sealers, that
works as well. When you go to use the paint again, simply take a needle and poke it into the bag and squeeze
out the paint you need. When done, reseal the hole by covering it with masking or scotch tape.
For Acrylics, I recommend that you use a wet palette system. There’s a product on the market called Sta-Wet pal-
ette. It’s essentially a 12×16″ plastic box that has an airtight lid you can put on it. The trick is always getting the
lid off.
Remove the lid from the Sta-Wet tray and place a piece of double strength glass on the bottom that fits the tray.
Fold paper towels in long strips of no more than 2″ wide. Soak the towels in water and place them saturated with
water along the outside edge of two sides of the tray on top of the glass. Place your acrylic paints on top of the wet
The Basic Techniques of Oils, Chapter 1 1-9 Preparation
Working With Old Or Drying Paints
This is a problem generally caused by one of the following:
1. (1) Your paint is drying out, or
2. (2) there’s insufficient oil in the tube to push out the soft oil paint.
If the oil within your paint is drying out, then after you squeeze some out onto your palette, simply take a mix-
ture of 50% turp and 50% linseed oil and with a palette knife work it into your paints. Use a small amount to
begin with and gradually add more until the paint is at the consistency you like.
Without getting into a lot of detailed explanations, there’s two kinds of oils in a tube of oil paint. There’s the
oil mixed into the paints which keeps it nice and soft. Then there’s the oil that is used to line the tube to help
‘push’ out the oil paint when pressure is applied to the tube itself with your fingers. This oil will not mix with
the oil paint. I’ll just call it tube oil for right now.
If your tube oil is dry and you cannot get the paint out of the tube, then you’ve got to cut the tube open and
transfer your paint to several small freezer bags. The smaller, the better. Seal them tight making sure you get
all of the air out. If you have a vacuum sealer that’s even better. Key is small bags or vacuum pouches. When
you need the color, take a small bag and poke a hole into it with a pin, squeeze out what you need and cover
the hole up with packing tape.
Dream Cabin by Darrell. This is an early painting Darrell has taught in hundreds of classes.
The Basic Techniques of Oils, Chapter 1 1-10 Preparation