Liz Gridley is an Australian Artist, focused on figurative oil painting.
Drawing on her background in life sketching, Liz's paintings reveal a love for intense colour, light and emotive content. Liz is a self-proclaimed 'art nerd' and is enthusiastic about sharing her studio practice, inspirations and accrued materials with others through youtube Livestream and her channel.
For more info please visit: www.lizgridley.com.au
(You can now support Liz by donating a cup/can of energy beverage at her Ko-Fi page here: ko-fi.com/lizgridleyartist Caffeine makes the artist paint and the videos upload faster!) or view current work and updates on Instagram and Facebook with @lizgridleyartist
No not at all, real Copper naturally gross onto the oil and bonds - that's why it's a substrate that Rembrandt sometimes used. The expense is the main reason it isn't used more widely
Thank you Liz, inspiring for a beginner in everything and lovely to see the result from working on paper too. I am aiming to paint solvent free - I learnt recently that odourless solvent is even worse because you can't smell the impact of the fumes in the studio space.
The more you can restrict solvent use the better - I still use traditional oils too but I use solvents only for cleaning up at the end of the session & leave the studio with an ajar window so it can vent easily without me sitting in any fumes - as long as you can do the best you can for you, it limits how much exposure you could be under.
I love the Cobra paints! They are a revelation after all of my frustrating experiences with other brands of stiff, unworkable paint, the Cobras are soft and buttery. Quick question: you painted on pastel paper, doesn’t the tooth chew up your brushes?
This is the 'colourfix smooth' art spectrum made a less toothy version of their paper and I find it perfect for oils 💕 it feels like painting on fine suede
hello liz, i was just wondering if you’d be able to assist me with a study i’m doing about your artwork! i have just had spinal fusion and have taken a while off school but i picked you because your art really speaks to me with the whole body image part of it, as obviously now i have a huge scar. please let me know if you would be willing!! thank you xxxx
Send me a dm on Instagram with more about what you're doing! Just need to work chatting/messaging around everything else and that should be fine 😊 thanks for asking so politely
Soflat Black is fine but the Green in Soflat is TRASH! I know what some veteran painter will say "should have thinned it Der her" duh I did using multiple ratios and multiple methods and multiple mediums and other such products balancers etc. But unlike the Black it can't be fixed it drys wrinkled no matter how thin the coat. Black applies JUST FINE!... And I use it over citidel any day or army painter because I HATE coating. I want potency AND coverage and SoFlat Black has it. "Bleep" green rawr!!!
woooooah thats so interesting! I wonder what pigment they used for it that sounds so weird, especially for a brand like Golden! Glad the black at least didn't give you trouble
@@LizGridleyArtist ah thank you for watching it! yep sometimes it can be hard to work with certain materials, noted for next year, if I do it I’ll be getting a fancy diary 😂
I get the metal chemically treated with a conversion coating to passify the oxidation process - it's the same technique they use to paint aluminium boats etc 👍
I actually had no idea there was a glazing specific medium. I learned glazing through an online course called 'Paint the ocean'. It actually was run by a QLD artist who does beautiful ocean paintings. Anyway he has his techniques where he makes his own mediums by mixing a few things together. I think I recall him talking about using transparent paints and thinning it down a bit more with the medium mix. But this is what I am worried about and struggle with. No 1, I have not really ever got the consistency right and have probably made it too runny, where it wasn't really able to do what I wanted. The other issue is I know people say to be cautious about the quantity of what you mix with the paint and if you add to much medium, you could have yellowing. I obviously want to avoid that, so I have kind of avoided glazing too much and it has been on my list of things to learn. I mentioned questions I have which don't relate to this video. I bought the Gamlin sample pack that has 6 of their products and I got this from your store. I have only previously used the solvent free gel (which I used too much of and it made my underpainting very very sticky) and I gave used Lindseed and Gamsol too. There is also somethings I have never used or know anything about in the kit (Cold Wax, Galkyd Lite and Neo Megilp). Have you used any of these things and have experience? I am passionate about oils and prefer to paint without all the heavy toxins and I know Gamlin have so many great products that are better than the traditional ones. I think people write off oils as being a really toxic medium and don't really understand that it doesn't have to be. Most of the toxic pigments are gone and those that remain are probably also in watercolor and acrylics too and there is also no need for turps in this day and age.Yet people have written off oils and they don't really want to believe that oils can be used pretty safely.
Firstly the oil mediums: these are only needed to be used when the colour straight from the tube isn't behaving as you would like (might be too thick, too slow drying, too thin etc) my main aim with mediums is to keep it simple. If I'm painting a piece with an average 2-5 layers I like to use a medium that dries fast and just helps the paint spread a little bit. Linseed oil on its own with no additives will do the job and I normally use a small shot glass to dip my brush in, wipe it on the edge of the glass then pickup paint - it's basically using enough to keep the brush moist, this gives me a good consistency of spreading the paint if from the tube its a bit thick. If I don't add any solvent to my Linseed oil I can use just that for the whole painting but I need to be sure each layer is quite dry before doing more - so this can take a week or two between layers. Liquin(fine detail) or Galkyd are both fast dry mediums I like that have similar consistency to Linseed oil but dry faster. If you are very concerned about yellowing (the amount of medium I use to keep the brush moist doesn't cause me yellowing concern) you could try Safflower oil instead which is much less yellowing. Yellowing happens over a very very long period of time (50 years +) and is normally dependant on how the painting is hung/stored too
Glazing medium in general has a much higher oil content than general painting mediums, which allows it to spread thin so well but also have a very slow drying time 👍 I use it specifically when I know the majority of the painting is complete but I want to do considerable colour 'tinting' of what's there and I don't mind the slow dry time - every tool for the right job 👍
The Gamblin website and RU-vid channel (made by the company themselves) is pretty great with introductory info on every medium so definetly check that out but in summary: Neomegilp is thin gel medium, a good all rounder with much less yellowing than traditional mediums, it will feel like it has more body on the paintbrush than a liquid medium Cold wax will give a matte effect to your paint and thicken it, it's interesting but less is more in my experience - often it's easier to buff some wax over a finished piece with a lint free rag than paint 'with it' though so you have a more consistent finish and drying time Galkyd lite is a thin (less oil) version of normal Galkyd the Gamblin fast drying liquid paint medium. If you are starting a new piece it's often advantageous to do your first 'sketchy/block in' layer in a thinner medium so the paint flows very well and dries faster, then when working on detail or the guts of the painting switch to a medium with more oil content to give yourself more control and a longer dry time to get it right 👍
Completely agree with the safety of oil paints comments - the word toxins doesn't really suit the conversation - the majority of danger is either 'ingesting pigments with heavy metals such as cadmiums or cobalts' Note: they specifically are harmful when ingested, don't eat your paint! Or the evaporation fumes of solvents being harmful. Solvents can be used much more minimally these days, I only use them for cleaning at the end of my session rather than throughout 👍 maintain good ventilation and or breathing protection (I use a filtered face mask when doing a lot of cleaning or varnishing)
That red panda is soooooo adorable. I obviously mentioned I was thinking about getting this paint. I have ordered it (well I ordered 4.0 new one) and hope it comes soon. They seem to be mixed reviews on how long it takes to ship things with so many people saying it was months or they waited months and the order was eventually refunded (various products). Don't they realise I am not a patient person? 😝
They should!!! Especially with how urgent their products drop always seem 😅 I got this one gifted to me for Christmas (love it when family knows the artists wants new weird art supplies) so sadly have no idea about the shipping side of things - if you want a sneak peek I watched a huge video by @stuffbysunshine reviewing a bunch of the more recent 'Blackest Black' stuff including 4.0 (but you might also want to wait to experience it yourself first!!)
