Questions and Answers in Oil
|STAGE BY STAGE
a change, this is not a stage by stage project of a landscape, this is quite
simply answering a few of the commonly asked worries or questions that people
have about oils. Because there is no doubt that oils are commonly thought of as
an easier medium to paint with than watercolours although sometimes more labour
intensive. There are a lot of questions asked “how do I” or “what do I” and
before you even start painting there are worries like for instance there are
lots of substances commonly associated for mixing in with the oil paint.
So now lets
answer the other question of “how to get rid of my brush marks” as I am
turning it into a proper sky. Just with a gentle ragging together with
the colours at the top, then roll the white into the blue to form the
clouds, you’ve got rid of your brush marks and made that general mess
into a lovely soft sky.
Another question commonly asked is can I get the same effect by using these techniques with acrylics the answer to that is quite simply yes, but obviously you need to paint the acrylics in an oil fashion rather than with loads of water and painting it in a watercolour style, but remember however you treat it, your acrylics are going to dry that much faster so work quickly.
Another common problem is that of trees. Lots of people say “can I add the light into my trees as I can in watercolours?” The simply answer to this is yes if you wish, but the difference with oils is you don’t have to do all that pre planning of where you want the light because with oils you can paint your light on top afterwards.
In watercolours you would leave plenty of white paper showing here and there. Which is a good way of getting light in. In oils, never leave white canvas. It wont look natural and occasionally when the entire painting is dried, any white canvas you have left will dry yellow. Instead paint white on, or paint light on.
Take for instance this very simple little tree that I have done, for all of that foliage I have used hookers green and burnt sienna. The I put a mixture of cobalt blue and paynes grey to make some good dark strong bits here and there.
Look at it now it looks dead and flat, until that
is with addition of a little bit of light in the form of naples yellow
it has a new life breathed into it with shape and depth.
When I say double loading, this is
the kind of this I mean. Have a close look at my brush you will that I
have dark green mixture on one side of my brush and naples yellow on the
other side of my brush and with this, this is the effect I can get. By
simply tapping on with one side of my brush and then the other I can
have a very simple middle distance tree.
This is the first big tree that I did, just take a look of how effective the exact
same technique can be in a landscape painting, where you will notice the
big tree on the left hand side is done in exactly the same way.
Another statement rather than question is “I always tend to get too fiddly with my landscapes, how can I loosen them up” well for all these bits and pieces that I have just done, I have used a number 18 wash brush a No 10 filbert and a number 12 filbert, in other words no small brushes, this will stop you getting tight and fiddly with unwanted detail. Because all of these question, queries and answers are aimed at the landscape painter, a landscape is a big free open, moving thing, don’t make it stiff and lifeless using tiny little fiddly techniques and brushes.
With my no 10 filbert I have just scrubbed on hookers green and raw sienna, followed by hookers green and burnt sienna for a darker tone, and literally with the side of the brush just scrub it into the canvas, and look at that you have go bushes from nothing.
Now using the double loading technique that I have just shown you tap on and get a tree on there. And again with my No 12 filbert just slap on a little bit of raw sienna followed by a bit of cobalt blue mixed with permanent magenta for a bit of ground. Once the sky wash is done the rest took about 10 minutes and one big brush.