8 posts tagged “oil painting demonstration”

You Can Learn How to Paint Like Monet: His Techniques and Color Mixing Approach

Have you ever wondered how to paint like Monet or wanted to paint like he does?

When you see his works, like the huge water lily paintings in the Orangerie Museum in Paris, you know that he was truly a master colorist.

Those paintings made such an impression on me that to this day I’m still inspired to follow in his footsteps. I want to venture outdoors, see the natural world around me, and paint it the way that he did. It is an invigorating change from the studio painting approach I normally use.

Learning how to paint like Monet is easy. There are three aspects to keep in mind: how he mixed his colors, his technique of applying the paint, and his process for creating paintings...

Read the rest of this tutorial on how to paint like Monet here.

Step 1: Prepare to Paint

For this 18″ x 24″ studio painting I used Claessens double-oil-primed linen canvas, #15 (my usual painting surface), mounted on 1/2″ Gator Board. I applied an initial wash to the canvas with a color that I hoped would end up being pretty close to my final color for the creek bed in the foreground. I don’t use any medium with my paint, just mineral spirits (Gamsol made by Gamblin) that I sometimes use to thin the paint (which I did for the initial wash, then lightly wiped it with a paper towel). I also laid out all my palette colors (listed below).

Brushes:

Holbein Killington bristle flats and Utrecht bristle flats, sizes 2 - 12

Royal Langnickel sable flats (series 5590), sizes 2 - 12

Assorted palette knives for painting, mixing paint and cleaning my palette

Paint:

(Starting from the bottom left on my palette and working upwards and to the right.)

Titanium White (Utrecht)

Cadmium Lemon (Winsor & Newton)

Cadmium Yellow (M. Graham & Co.)

Cadmium Yellow Deep (Utrecht)

Yellow Ochre (Winsor & Newton)

Cadmium Red (M. Graham & Co.)

Venetian Red (Gamblin)

Permanent Alizarin Crimson (Gamblin)

Transparent Oxide Red (Rembrandt)

Viridian (Gamblin)

Cobalt Blue (Winsor & Newton)

Ultramarine Deep (Rembrandt)

Ivory Black (M. Graham & Co.)

The last pile is a gray mixture made from mixing the leftover paint on my palette from my last painting.

Step 2: Draw the Scene on the Canvas

Using a #4 Holbein Killington bristle flat brush, I used some of the gray mixture on my palette to draw my scene. (It really doesn’t matter much what color is used for the drawing since it will eventually be covered up anyway. I usually just try to use a color that isn’t too intense and that is dark enough in value for me to see it over the initial wash.) I thinned the paint with some mineral spirits so that it would flow off my brush easily and tried to keep the drawing simple and accurate.

My next step was to determine the color and value of my darker foreground shadows and to mix it right next to the color I used for the drawing step. I had already decided that I wanted those shadows to be lighter than I had painted them in the plein air painting, so I compared the shadows between the two paintings to make sure I was on the right track. I used a #6 Utrecht bristle flat brush for these block-in steps while being careful to keep my paint consistency just thick enough to cover each area. (I apply thicker paint in certain areas later in the process.)

I then continued to the shapes next to the shadows and blocked them in with the approximate values and colors of each shape. (Notice that I continue to mix the colors on my palette right next to (touching) the other colors. This allows me to squint and compare the values right on my palette, then I can double-check value and color accuracy once I block in the shapes on the canvas.) Throughout this process, I did a lot of squinting at my palette mixtures, my source painting and at the larger painting to compare the value relationships between shapes.

Next, I continued by blocking in the mountain areas while trying to keep them simple. I wanted to get the majority of the canvas covered with the most accurate values and colors I could before I got into much detail. (It gets easier to accurately compare values and colors as more of the canvas gets covered.) Notice that I continued to work outward from my initial block-in areas to the areas next to them.

Please visit this link to view this Landscape Painting Demonstration in its entirety

Image Copyright Elin Pendleton

Here's a great new demo by artist Elin Pendleton.  The title of this oil painting lesson is "Painting Horses in Landscape with Figures".  This painting lesson will show how Elin moves from an original idea, through the entire process as she paints an equine subject in her studio.

Follow this link to view the oil painting lesson...

Hi All,

Just wanted to share a new step by step oil painting demonstration that was created by the very talented artist Jennifer Young. 

The title of the painting is "Vineyard Patterns"...

Jennifer Young is a professional artist from Richmond, Virginia, most known for her vibrant landscape paintings of France, Italy, and the American South. She is inspired by the beauty she observes on her frequent travels, and paints on location as often as possible.

Click here to view the oil painting lesson

Oil painting brushes come in a wide variety of sizes and shapes and this can sometimes overwhelm a beginner. This article will provide you with an overview of the various oil painting brushes available and help you decide what kind of brushes you should invest in.

BRUSH TEXTURES

Oil painting brushes come in two different textures basically, and they are classified as hard and soft. Hard brushes are generally referred to as “bristle brushes” and they are quite resilient. Hard brushes are made from hog's hair and they are strong and stiff. They will hold a good amount of paint and can handle the oil painting medium quite well. I personally prefer working with bristle brushes exclusively as I tend to paint rather rough and direct.

Soft oil painting brushes are made from softer hairs that come from animals like sable, squirrel, or mongoose. Softer brushes will generally give your painting a softer smoother appearance and are more often used for finishing or detailed work. Sable brushes are the most expensive usually but there are synthetic brushes made of nylon that are very good substitutes for sable. They are more resilient and cheaper than sable.

BRUSH SHAPES

There are five shapes to brushes that are generally used and each is meant to have its own function. I prefer to paint with flats, brights and fliberts of various sizes, and only occasionally make use of the other shapes. This is my preference and you will certainly develop your own the longer you paint with oils.

Flats

Flat oil painting brushes have a wide square end with medium to long hairs. Flat brushes generally have a lot of spring to them and can hold a lot of paint. You can use these brushes for broad sweeping strokes or you can turn the brush on its edge to create fine lines. Flat brushes are great for earlier stages of a painting when you are blocking in large areas.

Brights

Bright oil painting brushes are similar in shape to flat brushes but the hairs are shorter. They are best used for making shorter controlled strokes. They do not hold nearly as much paint as a flat brush.

Filberts

The filbert is also similar to the flat brush only the edge of the brush comes to a rounded shape. The hairs of the filbert are medium to long in length. This rounded shape will give you more control then a bright. The filbert is great for blending and figurative work.

Rounds

A round oil painting brush has a round or pointed tip. They hold a nice amount of paint and are great for making thin or thick lines. Use this brush for dabbing on dots or blotches of color. Round brushes are also good for washes, fills and detailed work. They are not suited for creating hard straight edges.

Fans

The fan oil painting brush is a flat fan shaped brush. The fan brush is a specialized brush. It is either used very often by the artist or not at all. It really depends on your style of painting. This brush is not suited for holding paint. It is used more often for blending colors and you should keep this brush clean and dry if you plan to do a lot of blending during a session. The brush will begin to lose its effectiveness when it becomes filled with paint. You may want to keep a few extras on hand.

BRUSH SIZE

Oil painting brushes come in a variety of sizes indicated by numbers as in 1,2,4,6,8,10; size 1 being the smallest and 10 the largest in this example.

BRUSH MANUFACTURERS

Oil painting brushes are made by a number of different manufacturers. A few of the more popular brands are Winsor & Newton, Silver Brush and Robert Simmons. Some artists prefer one brand over another. Other artists like to have an assortment of different brands available. The only way you will know what you like best is by working with the brushes yourself.

CARING FOR YOUR BRUSHES

No matter what brush you buy, whether they are top of the line expensive brushes, or cheaper ones, you will definitely get more life out of them if you care for them properly. There seems to be a difference of opinion when it comes to brush care, especially when it comes to drying your brushes. I personally have two products on hand for cleaning and conditioning my brushes: Masters Brush Cleaner and Preserver and Mona Lisa Pink Brush Soap. I have found that the Masters Brush Cleaner works great on brushes that are deeply stained and hardened with paint, that I would have otherwise thrown out. I use the Mona Lisa Pink Brush Soap to clean my brushes right after a painting session. These cleaners will also help condition your brushes.

After washing my brushes with either of these cleaners, I then attach a clothes pin to the handle of the brush and rest the clothes pin on the edge of a counter or table so that the brush is hanging with the bristles pointing toward the floor. Gravity then pulls the moisture from the brush so that it does not collect in the ferrule, which can damage a brush over time.

I hope this article has helped. Best of luck and happy painting!�

For more free oil painting lessons visit: http://www.creativespotlite.com/oil-painting.htm today! Be sure to also check out the Creative Spotlite Art Instruction Blog for more free art lessons & instruction.

To accurately convey your feelings about the subject you are painting, you should learn and understand the fundamentals of oil painting like drawing, color theory, value and composition. I hope to give you a better understanding of these fundamentals in this article. This article is meant to be an introduction. You should study these topics further on your own when you have time.

DRAWING

Learning to draw, as a foundation for oil painting, is one of the most valuable skills a beginner oil painter can have. Many new artists usually frown upon the idea of drawing first. They would rather jump right into painting, as most beginners do. Nothing is more rewarding for a painter, than working with color, but if you want to gain experience working with values, form, and space, then drawing is something you should consider learning. This is not to say that you should master drawing, as it is an art form all in itself, but do spend time drawing and sketching your subjects before you work with color. Did you know that in art schools, many years ago, students were not permitted to work with paint until they successfully spent at least a few years drawing first? They must have been very restless, but imagine how skilled they became before they ever lifted a brush. You should at the very least have a basic understanding of drawing techniques before you begin. Check out Amazon.com for some great beginner drawing books that will give you a well rounded introduction to drawing and techniques. A book that is highly recommended by artists is: "The New Drawing on the Right Side of the Brain, by Betty Edwards".

COLOR AND VALUE

Color is probably the single most exciting part of oil painting. It is truly amazing how an artist can take a two dimensional surface and create the illusion of depth and distance using color. To accurately depict a three dimensional scene using color requires much practice and an understanding of color theory and how to mix colors. The basics of color are value, hue, saturation and temperature. The value of a color is how light or dark it is. The hue refers to the color itself as it appears on the spectrum of colors. The saturation is the strength or purity of the color. The temperature of a color is how cool or warm a color is. For instance a cool color is blue and a warm is red. Artists can use temperature to give the illusion of distance. Cooler colors tend to recede into the distance, as in a distant mountain range, and warmer colors tend to advance closer toward the front of a picture. Color theory is a very broad topic, one that deserves more thorough attention. A great book on color theory and mixing is "Color Mixing the Van Wyk Way: A Manual for Oil Painters".

COMPOSITION

Have you ever visited an art museum and a particular painting just grabbed your attention and drew you in? Something in that painting kept you there looking and studying it. One element the artist successfully used in that painting was composition. The artist laid out the shapes and divided the space in the painting in such away that appealed to your senses. Here are some points to consider when developing your composition:

1) Avoid putting the main focus of interest in the center of your painting.
2) The areas of your canvas should be divided into parts of different sizes.
For instance, if you are creating a landscape painting, do not put the horizon right in the center of your painting.
3) Do not place all the interesting parts of your composition on the left side of your painting. People read from left to right so they will have no reason to continue viewing the rest of your painting.
4) Avoid placing an interesting or important element of the painting too close to the edge of the canvas.

There are other elements that contribute to good design in an oil painting. Here is another good book to study if you would like to learn more about this fascinating aspect of painting: “The Simple Secret to Better Painting: How to Immediately Improve Your Work with the One Rule of Composition by Greg Albert”

I know all this information seems overwhelming at first. Oil painting can be very challenging in the beginning, but don't let that intimidate you. The most important thing to remember is to never give up and keep painting. You will learn from your mistakes and grow as a painter. Everything will come together in time. Happy Painting!

If you enjoyed this article, then be sure to visit CreativeSpotlite.com today for more great oil painting tips and instruction, including step by step oil painting demos from experienced artists. Also be sure to visit the Creative Spotlite Art Instruction Blog for more free art instruction.

Oil painting is a wonderful medium all on its own, but there are modifiers that you can add to the oil paint that can change its behavior. This article will give you an overview of some of the more popular oil painting mediums available to today's oil painters. The use of oil painting mediums is really a matter of taste and not a requirement. Many artists do not use any mediums at all other then a bit of oil to make the paint more workable, as some paints are quite thick straight from the tube. Other artists swear by certain mediums. It should also be noted that artists differ on opinion when it comes to the effectiveness and quality of oil painting mediums, so you should experiment on your own and form your own opinion. Make sure before using any oil painting medium that you read all warning labels and always work in a well ventilated area. It is also recommended that you work with gloves to protect your skin.

LINSEED OIL

Linseed oil is made from the seed of the flax plant. During its early history, linseed oil had a different role then it has today. Originally it was used as a final varnish for paintings that were created using the egg tempera medium. Linseed oil is used as binder in today's oil paints. Linseed oil dries thoroughly and forms a strong paint film. Because linseed oil dries slowly, the paint remains in a workable state, enabling the artist to continue working on the painting for some time. When linseed oil ages, it does tend to yellow unfortunately. Many painters avoid using linseed oil with lighter colors like whites and yellows. Below are a few varieties of linseed oils that are available to today's oil painters.

COLD PRESSED LINSEED OIL

Cold pressed linseed oil is made by extracting the oils from the raw flaxseed. The oil is extracted by using pressure and not heat, thereby creating a linseed oil in its purist form. Cold pressed linseed oil can be used as a binder in oil paints, but can also be used as a medium to thin oil paints, heighten gloss and transparency, and reduce the visibility of brush strokes. Many painters and manufacturers alike feel cold pressed linseed oil is superior in quality to other linseed oils because there is no refinement made to the oil. Cold pressed linseed oil results in a low yield, so this oil does carry a heftier price tag.

STEAM PRESSED OR REFINED LINSEED OIL

When the flaxseed is steam heated and then pressed it yields more oil, thereby making refined linseed oil a more affordable medium for artists and for use as a binder in oil paints. The process of steam heating the flax seeds produces more waste, so this waste has to be removed through a refinement process. The oil is treated with an acid which removes the waste materials. The acid is then neutralized with an alkali solution. Refined linseed oil can be used to thin oil paint and increase brilliance and transparency.

SUN THICKENED LINSEED OIL

Sun thickened linseed oil is a thick bodied medium that is produced using the heat of the sun. An equal amount of both linseed oil and water are mixed together in a container and left in sunlight for several weeks or longer. The water and linseed oil eventually separate resulting in a thicker oil with a honey like consistency. Sun thickened linseed oil is not used as a binder in oil paints but as an independent medium that improves flow and increases gloss. Sun thickened linseed oil has less of a tendency to yellow and speeds drying.

STAND OIL

Stand oil is also a thick bodied medium like sun thickened linseed oil. Linseed oil is heated at a high steady temperature, in an air tight container, which results in a very thick honey like consistency. Stand oil is useful as a glazing medium when mixed with turpentine and damar varnish. Stand oil helps improve the flow and has good resistance to yellowing. Stand oil is a slow drying medium that produces a strong enamel like paint film.

POPPY SEED OIL

Because linseed oil has a tendency to yellow as it ages, other oils have come onto the market. Amongst these oils are poppy seed and safflower oil. Poppy seed oil is extracted from the seeds of the opium poppy. Poppy seed oil is a pale slower drying oil and is less likely to yellow when compared with linseed oil. It is often used with whites, blues and pale colors.

SAFFLOWER OIL

Safflower oil is similar to poppy seed oil in that they both are suitable for whites and light colors. It has less of a tendency to yellow when compared to linseed oil.

WALNUT OIL

Walnut oil is a pale oil that helps make paint more fluid and has good drying power. It has less of a tendency to yellow when compared with linseed oil. Walnut oil has to be stored properly or it can spoil.

LIQUIN

Liquin is a popular oil painting medium. Many artists swear by it and it is definitely worth a try if you have never worked with it before. Liquin improves the flow of oil and alkyd colors and helps in subtle blending and fine detail. It speeds drying and serves as a good medium for glazing.

I hope this article has served as a good overview on oil painting mediums. Remember that working with oil painting mediums is not a requirement. If you are feeling adventurous then choose one medium at a time, experiment and have fun. Happy Painting!

If you enjoyed this article, then be sure to visit CreativeSpotlite.com today for more great oil painting tips and instruction, including step by step oil painting demos from experienced artists. Also be sure to visit the Creative Spotlite Art Instruction Blog for more free art instruction.

An oil painting support is any surface that oil paint can be applied to. There are a variety of different surfaces that artists use to paint on. Everything from certain woods, canvas, and even metals can serve as supports for oil paint. This article will introduce you to those various supports and hopefully help you decide which support is best for your style of oil painting.

LINEN

Linen is made from the fibers of the flax plant. The plants are harvested and then left to soak in water until the outside of the plant rots away leaving the fibers underneath. The fibers are then processed into yarns or threads which are then woven into canvas. The fibers of the flax plant are long and quite strong and make for a very interesting and durable painting support. Paintings executed on this surface have withstood the test of time. It is for this reason that linen canvas is a favorite amongst professional oil painters. Unfortunately linen canvas is rather expensive and may not be the best option for beginners. If you are interested in learning more about linen canvas, check your local art store or go online and do a search. There are a variety of different linen canvases available, from rolled canvas to pre-stretched. It comes primed for acrylic and oils, or you can get it unprimed as well.

COTTON

Cotton canvas is the most popular support for beginner oil painters. It is a relatively strong material and much cheaper than linen. It has a very even and mechanical weave. There is a big debate going on in the art world over which is the better painting support, linen or canvas? What support will last longer? This is really a matter of personal opinion and taste. I know many artists, including myself, who use cotton canvas exclusively. Other artists swear by linen. If the surface is sized correctly, then your painting will be well protected from rot and will last a long time. So when deciding between linen or cotton, I feel your decision should be based on how you enjoy working with the material itself and not whether or not it will be around in three hundred years. If you are really concerned about the durability of cotton, then purchase a heavy grade cotton canvas and try stretching it yourself. Cotton canvas is available in rolls or pre-stretched, primed or unprimed.

CANVAS PADS

For those artists who may be on a tight budget but still want a descent quality surface to paint on, then canvas pads are a good choice. Canvas pads come in a variety of different sizes and are great for beginners who are just starting out. Canvas pads are great for practice or doing studies. Make certain you get a heavy weight canvas pad suitable to hold oil paint.

MASONITE OR HARDBOARD

Masonite is another popular oil painting support for artists. Masonite is actually a trademarked name for a synthetic hardboard made from wood particles. Hardboard is inexpensive and rigid. If you plan to use large hardboards, it is recommended that you reinforce them with a frame, as they can bow or bend. You can purchase plain hardboards or other varieties like canvas boards, which are hardboards covered with a ready to paint canvas material.

WOOD PANELS

The earliest known oil paintings were created on wood panels made of oak or poplar. The wood was covered with a uniform ground made of animal skin glue and chalk. The ground was then polished smooth to create a surface suitable for oil paint.

Pure hard wood panels are not the most popular ground for oil painters today. They are costly and rather difficult to lug around. A good alternative that oil painters use is plywood. There is good quality plywood available made of birch, poplar or mahogany that is suitable for oil paints if prepared correctly. Do not paint on soft woods such as pine because they contain more resins and do not resist moisture very well.

The above are the more popular oil painting supports in use today. There are others that artists use when they are feeling adventurous. Metals like copper and aluminum are sometimes used as a painting support. Obviously metals are quite heavy, so paintings on this type of support are usually on the smaller side. There are also other fabrics used in oil painting like jute, which is a strong natural fiber with a rough texture.

Your choice of oil painting support really depends on your style of painting. Experiment with the variety of painting supports available and have fun. You will eventually find one that works best for you.

If you enjoyed this article, then be sure to visit CreativeSpotlite.com today for more great oil painting tips and instruction, including step by step oil painting demos from experienced artists. Also be sure to visit the Creative Spotlite Art Instruction Blog for more free art instruction.