Professional artist Bill Inman shares how-to videos unlike any you've seen before - you get to watch every brushstroke and all his color mixing as if you were standing right beside him - it's better than a workshop because you can watch the techniques as often as you like. "My goal is to help viewers feel like they are looking out a window or doorway into a beautiful scene, one that beckons to forget the world for a while and simply enjoy the peace and serenity, the incredible beauty Heavenly Father has provided."
He holds an MFA in studio painting and sells his work through galleries around the country as a full time artist. Bill has been painting professionally for almost 30 years and has exhibited consistently since 1983 when he was a Congressional Art Award recipient. He sold his first painting in a professional gallery at the age of 17 while still in high school. He and his wife Kristie have 7 children.
What technique would you use when keeping all this in mind for painting à la prima or wet into wet? Have you tried other oils besides walnut oil that may have a thinner texture, such as fractionated coconut oil? Thinking of experimenting with that it has a similar consistency to turpenoid
What a wealth of knowledge in 40 minutes! I was glued to the edge of my seat like I was at a movie theater through this brilliant undertaking of a video because I could see how much your experience has made you articulate on the subject to help guide us on the path to being painters.
You just let me know I’ve been doing it right! I do my Wash in acrylics, and I do several panels/canvases at once, so it’s always several days or a week before I get to painting. And, I live in Utah, which is SUPER dry, so I know they’ve been dry. From now on, I’ll make sure my underpaintings are truly dry. Thanks!
I have been playing around a bit with this and have opted for using an isolation coat (Golden) over the acrylic and then continuing with oil paint on top.So far I haven't encountered any problems.
Next time, please write down what you are going to say beforehand so that the videos is a little bit more professional, your presentation is so unprepared that it is difficult to listen to
Great video and very basic advice - use good Oil paints straight from the tube and if you want the paint a little bit more fluid maybe a little bit of medium e.g. olieogel or just a little bit of walnut oil or linseed oil but most important use good oil paint preferably straight from the tube. Cleaning the brushes - wipe them off with kitchen paper, and clean with soup. 🙏🌺♥️
You took a very long time before explaining that you doubt water mixable oils are archival. You get into a lot of side topics. Explaining the advantages of the natural cleaning product you like is helpful. It would be great to simply state you can clean brushes safely and dissolve old oil paint with Turpenoid Naturals. But other than that, if you stick to your thoughts about the non-archival quality you would hold my interest. I don’t know that you have the true authority to make the archival claim. Had you explained that further you would be on topic and win this one artist’s respect.
Can I ask how long does it take your paintings to cure in Indiana? Here in maine it’s humid but also cold. My first oil painting is not showing signs of curing after a few days
Glad to have stumbled upon your video (and channel). I had this exact question in my mind for a few weeks now and was happy to know your insights about it. I currently use oil paints straight from the tube whenever I paint and this was what my fine art teacher taught me a few years back. I did not question why it was so. 😅 Now, after watching your video, I understand why she taught me that way. ❤
Bill, have you tried the Rublev lead oil paste ground? Did you have to thin it? Do you know what the difference is between the Rublev lead oil ground (not paste)? Thanks.
Great video thanks! Sorry, I'm from France, what do you mean by Olio gel ? Did you have any brant to indicate please ? I don't know what does it refer to. !
I'm sorry that I didn't clarify that. The medium is Oleo Gel from Rublev (Natural Pigments art materials). I rarely use it. I mostly use paint straight from the tube, but two products I'm experimenting with from the same company are Impasto Medium and Pale Drying Gel. I experiment quite a bit and I encourage all artists to do the same. Find what works well for you and your techniques.
@@masteroilpainting Thank you so much for details! I come from watercolors, and I see oil painting as a udge different world (I just bought WMOils years ago, but have never really deep in oil world..). But your video really gave me courage as we can make it pretty simple, straight from the tube :) I just painted today and it was challenging but quite fun. Thanks for giving me motivation to go with oils ! I subscribed by the way :)
Yes. The recommendation is to wait 3-4 days for the acrylic to finish drying and then you can paint oils over them. Most artists I know who use acrylics for the underpainting only wait for the acrylics to be touch dry, and possibly, they will never see any problems arise. But George O'Hanlon from Natural Pigments cautions against it. In a training with him a couple weeks ago about art materials, he told us museums are seeing a lot of problems with modern work compared with historical paintings because we artists tend to ignore best practices. I occasionally use watercolor as the underpainting washes now, which has been used quite a bit historically, but even that could possibly have issues because of the gum arabic. The researchers at JustPaint,org and George believe watercolor is fine, but they admit there isn't any real research to know for sure.
I certainly understand, turpentine is so much nicer to paint with than mineral spirits. I avoid it because the fumes are highly toxic, but every artist needs to determine their personal goals and what will help them achieve those goals. Besides creating beautiful artwork, strong brain and body health is one of my goals.
No doubt. I love the 'indestructible' nature of ABS, but the overabundance of plastic in the world does keep me searching for better alternatives. Lately, I've been attaching canvas to ACM (aluminum) panels. That way if the panel is dropped I can transfer the painting to another panel. Although, ACM still has a plastic middle, so it doesn't reduce the use of plastic. I wish there was a perfect art panel or substrate, but alas, they all have fatal flaws.
if you use olieo gel in the wash/under painting stage (to make a grisaille) , is it okay to use linseed and alkyd in the following layers for the glazes?
Great question Rhyannon. It's recommended to use faster drying pigments/mediums underneath slower drying. If you're painting alla prima (all in one sitting or before the first layer dries) then you'll be fine. If you let one layer dry before adding the next, if you don't let it dry thoroughly, it's possible the next alkyd layer could dry so much faster that the first layer causes the second layer to crack as it contacts and expands during the longer drying process. In reality, I don't know how often it causes problems, but you might want to experiment with a small panel you don't care about. Natural Pigment has a lot of info on their site that might help you decide.
I've heard several artists who like Geneva paints. I haven't tried them because of the clove oil they add to their paints to slow the drying time. I'm glad they're working well for you, though.
Hi! You mentioned that there could be a problem with cradled panels. I have used Ampersand cradled panels for years and I have never had a problem with them. I felt they prevented the wood from warping. What type of problems have you seen with them? thank u.
Excellent question Peter. I haven't personally had any trouble with them, maybe because I've only used one of their cradled panels years ago. I added that caution based on reports from conservators about cradled panels in general, not Ampersand in particular. The cradle tends to expand and contact at different rates from the panel and causes issues with the painting. If they are working for you, my personal opinion is to keep moving forward with what you like to use. George Hanlon from Natural Pigments has some great information about it, and Mitra I believe, but it's been a few years since I studied it, so I will need to revisit it to refresh my memory. I study from so many conservator sources, I don't remember off hand the best research on the topic.
I make my own cradled panels: gluing Masonite to 1x2 common pine. It’s worked great for panels under 36” on any side for over 45 years. Acrylic over gesso after sealing panel front and back with PVA. However, most recently a 48x78” panel warped significantly! I back-primed panel and pine with shellac, front of panel with gesso and painted acrylic art over!
I honestly don't buy the story that they don't know what happens in the future. These people aren't stupid, they have chemists and other experts that use different techniques to estimate how well these paints age. They can benchmark the performance against oil paints that they are familiar with. I don't actually hear you give a good argument other than: I don't like them and I dont see the issue.
Hi. Thanks for the valuable info. Technical question. I’ve read that the Galkyd/Alkyd is considered to be a “fat” medium and that it should be used as with any other medium for the “fat over lean” principle. I like the smooth/enamel like surface it gives and haven’t been thinning it at all using the alkyd as is. Could I use oil paint straight from the tube over a dry layer where I used alkyd as medium?
