Simple! Get a flat screw driver and insert it betweeen the white cap and the inner screw cap. Lever it until it’s loose. Carry on around the cap. You may need to use scissors to cut it but the white push down cap can be loosened, cut and discarded. You’ll be left with the screw cap which is easy to open and close! It works 😻
As a diehard Liquin Original user for over 20 years, painting outdoors en plein air, I love it because you can add a small bit to your white paint and then anytime you add white to a color, like the sky, it automatically has a bit of Liquin dryer in it. In the old plein air days, I would paint a painting on Monday using Liquin, and the next day or two the painting was dry "to the touch", then I would frame it on Friday and sell it on Saturday, Yes the paint under the dried skin is still soft but will dry in the collectors home. Some thing to think about. As an alternative I have experimented with Gamblin Solvent free gel. I like it painting outdoors, BUT it dries very quickly and becomes tacky in less than an hour. Probably the sun and wind help the fast drying. Some folks like that feature if they are adding subsequent layers the same day! Just some thoughts...
I have a few oil paintings from 1988 to 1989 where I only used a bit of turpentine or nothing at all added to the paint and they look the same today as they did back then.
Great info… The more I hear about 6 month dry times, the more I’m like… Wow, acrylics actually rock. 😂 Stresses me out just to think about a painting not being completely dry & durable after that long.
As for fat over lean, blooming is sometimes the result of painting over not yet dried paint. Also, the subject matter does play into the relative consistency of one's paint. Sometimes the subject matter dictates not only the kind of surface finish, but the texture of the paint overall. I love the fact that all manners of application can apply to a single painting.
This is a good explanation for lots of beginners to watch and understand. Things are always more complicated depending on if you're trying to create certain "effects" where then the artist breaks the rules of fat over lean and later on you can see evidence that the rule was broken for the sake of effect. If you ever go into a museum and see that some paintings have cracked differently due to thickness, glazing, scumbles etc. Some paintings will appear to be in much better shape with minimal cracking because of all of these variables. Also certain pigments are either more stable or less stable than others, when you read Ralph Mayer's book this becomes evident. It's also a reason why some pigments have fallen out of favor. When you begin with a color and Add any color as you are mixing will either stabilize that initial color more or destabilize depending on what you add. For example if you start with a brittle color like certain black pigments and add a more stable color to it, essentially you are improving that color's stability- in addition to changing it's stability you are also changing it's properties of transparency or opacity and coverage etc. Hopefully that makes sense.
Your video is going to make painting much more enjoyable from now on because I finally understood two big mistakes I was making: Mistake #1. Because I had learned to mix less thinner in subsequent coats or none at all, as you mention yourself while describing the early stages, I thought this rule also applied to oil so I ended up trying to use less and less oil in later stages of the painting. I was effectively making the mistake of applying lean over fat instead of the other way around. Mistake #2. While I was trying to apply lean over fat, the wrong thing to do, I found myself more and more frustrated with the paint's thickness and added oil to make it more fluid while what I should have done is to use a lot of paint. I had been using a minimal amount of paint indeed.
Hi Alex, I've tried 5 parts turp + 1 part stand oil + 1 part damar varnish. It's like Ralph Mayers recipe without the driers. It's a formula used by Richard Schmidt and other Alla Prima painters. I like it, it allows you layering better wet on wet and makes the paint flow.
I add nothing until the final layers and then I add a small amount of added linseed oil to the paint. If I need to oil out. I use a small amount of linseed oil and make sure to remove any excess, (if any). Thanks for a great video, very informative and good to see how others like to work and why.
hi Alex, oiled-out areas will be prone to yellowing (if not painted over), true, but they will not necessarly sunk in again (unless the underneath layers are reeeeeally 'thirsty'), as the oil is being absorbed and fill the underneath layers as well as the current one. Also, retouch varnish is a suicidal idea in the event of wanting to paint again over it (acceptable as a momentary varnish waiting for the final one). Retouch varnish is removable, so it means you're going to build the next part of your house on an instable foundation. An alkyd resin is better suited as an ingredient for a retouch varnish, as the paintfilm is flexible, yellows minimally and most of all it's not removable by common solvents. 1 part liquin into 5 parts OMS is a good ready made retouch varnish far superior to the damar one. Best regards
Thanks,. You sound much more knowledgeable on the subject than I am. I rarely use either method. I sometimes add a drop or two of medium to my colours if I when I paint over darker areas after they have dried. I've found this helps avoid sinking in in the first place. I thought I'd show people what oiling out was and how it was done properly, just so people knew what the term meant. As for retouch varnish, I'd heard it could be problematic. Though interestingly, I once to a lecture by one of the conservators who worked on the Sargent exhibition at the National Portrait Gallery in the UK back in 2015. She said that Sargent apparently used loads of retouch varnish and that his paintings have proved to be remarkably stable.
@@SIMPLIFYDrawingandPainting I've heard that too about Sargent but I had the strong feeling that he painted 'into' his retouch varnish (a varnish-out, so to speak), by doing that he would be basically mixing an oleoresin medium on the go, reducing the introduction of new oil to a minimum level. Van Dyck did something kind of similar but for different reasons, introducing diluted pine resin and let it become tacky to paint fine details into that. Bodied oils also should have a higher molecular weight, making them less prone to sink in (your medium is perfect for that!).
Yep, when it comes to mediums, there's a lot of "peer - pressure". When I was younger I never bothered with it, only using turps to get the underpainting done quickly. I started to notice other painters with all sorts of dippers for this and that and it made me feel maybe I wasn't doing it right.🙄
That's how I paint. I never use linseed oil or any other medium. I thin out with mineral spirits for the underpainting and to clean my brush. That's all.
I was painting long before this guy was even born. Started in 1963 and kept painting till 1983. I still have many of my pictures from that time. Only one is showing cracks from aging and all the rest still look great. I just used artists turpentine as a tinner. Note: I look at my pictures now and think what a poor artist I was. Third rate. Now I am going back to it at the age of 74 after being a photographer for years. I wonder if I have learned anything to make me better and pleasing to myself??? :D
I have 12 years painting with oils but because I struggled economically I haven’t been able to do a lot of paints. Since The beginning I have only used mineral solvent and linseed oil and that’s it, it works great for me and I don’t need anything else. Well , also I have used varnish at the end of the painting but I might try this recipes that you are giving! Thank you so much!
I was having trouble figuring out how to make my brush strokes in the darker areas level-out without using so much medium... this video gives me some insight on how to make that happen!
Bravo on another great teaching video, Alex! Thanks so much! I was taught a number of years ago to use Walnut Oil and found it to be easy and odorless. I have since tried a number of different mediums but find that I keep going back to plain ol’ walnut oil as it makes a good medium, I can clean my brushes with it, and it tastes great on a salad 😋 ... really!
Thank you! Glad you liked it. I know other artists who use walnut oil. I've never tried it. Do you use continually through painting, to increase the flow. Or just in the later stages?
I have settled on Walnut oil as my medium of choice. I just use it with a medicine dropper and drop a few drops when needed. I also find that certain brands of oil paint need more, some less. Most of the time I can use Michael Harding oil paints with no need for medium.
I do not why I loose notification every time you publish something. But, I say in a thousand of subs, I look only for your new videos, so full of great information and experience. You are making this beautiful art chaotic world, just easy and "simple". I think you are getting exaclty what you want. Thank you!
I am a beginner who feel.inlove with Bob Ross during lock down. I never understood why my paintings were cracking. This vid has explained it so simply and probably saved me a lot of money.
I use just Liquin (Original to speed up drying and Gel to speed up drying and keep a bit of texture) and Drying Linseed Oil (not as much as Liquin). Also, I cover canvases and boards with non-absorbent primer (Michael Harding). I use retouch varnish to seal and secure finished painting. Thank you for great video!
Virgil Elliot has pointed out that the umbers in an underpainting, can suck the oil from the overlayers and create sinking in. Umbers are fairly lean in their oil content and thus thirsty for oil. Recommended is Mars brown, a synthetic earth that lacks manganese. If you wanted a grisaille that dries quick , add Prussian blue to anything brown to get a quick drying black...add lead white and presto you have an underpainting that won't suck the life out of upper layers. Also ACRYLIC gesso will drain oil as well....use gamblin fast matte alkyds for underpaintings and imprimaturas, which also has tooth and you will have less problems. Personally I chuck down an Alkyd primer and use W&N griffin alkyds as driers added to their standard artists' colours of the same colour. Speeds up the process and you have less problems...but ventilate your studio properly.
I’m having a hard time finding gamblin fast dry white at my local Blick so switched to M. Graham Titanium White Fast Drying Formula which I love even better. In fact, their whole product line of oils is really good. But I’ll never give up my Galkyd Gel, which is superior to liquid Galkyd or Liquin for my purposes.
Great informative video! I have always used a mix of boiled linseed and Turpentine. I just started experimenting with Liquin to speed drying. It seems to leave an undesirable gloss. So I cut it with a little mineral spirits and seems to be working better. One thing that I have discovered is that different paint pigments react very different to mediums. Darker earth tones and black flow really fast with a tiny bit of medium. A high grade cadmium with a lot of pigment seems to work very with mixing mediums and can arrive at desired colors in less mixing time. The same for high quality cobalts and viridian. I started preferring the cheaper less pigmented paynes gray and raw umber for my toned out areas where a lot of paint and less pigment is needed.
@@SIMPLIFYDrawingandPainting Yes, it is in the way they absorb or reflect light. Of coarse we know that the gold and silver in the cads greatly reflect light and the dark earth tones absorb. The reason I started using more Purssion blue mixed with Cerulean instead of Ultramerine in my Skies is because the Purssion seems to give greater transparency. For along time I was using way too much Crome Oxide green and now Sap green is my more go to base for quick mixing shades of green. I save Crome Oxide for when I need more transparent and lean towards it to calm my violets while keeping them semi transparent. But Titanium white seems to break rules opacity but leans towards transparency
I coat my canvases with five layers of gesso to give them the surface I like, with plenty of sanding. There have been times that I’ve sanded paintings part way through, showing my roots in the printmaking departments of London’s illustrious art schools. Other than that, liberal amounts of odorless paint thinner, almost impossible to find in California now, is what I use, and Galkyd Gel, to thin my oil paint. A couple of months ago, I started using Linseed Oil to soften up some stiffer oil paint I had because I was too cheap to throw it away. I mean, COBALT BLUE? So expensive! But, as you say, it’s yellowing. Galkyd Gel ❤is also very glossy and I don’t always want such a shiny look to everything, especially if one is going for a less traditional portrait look. ….. Sometimes matte is preferable, so then what medium would one use, just turps? That’s what Peter Doig uses, and it seems to work for him. Off to buy some Stand Oil and rectified turpentine! Thanks much for a great video.
i much prefer to use a mix of stand oil and gamsol - diff ratios for various layers as it leaves no brushmarks behind. i also add a touch of linseed oil to gamsol for my underpainting.
I started using oil paints to paint my small military figurines. I use a touch of Galkid to help it dry faster so I can keep going. It almost acts like enamel paint.
I wonder how you first grant us most of the knowledge we'll ever know about mediums, and then go on to say that you aren't an expert at this . . . You are actually very knowledgeable.
Thank you Nidhi. This video really just covers the essential things you need to know about mediums in order to use them. The reason I say I'm not an expert, is because I don't use mediums very much in my work. Another artist who uses them a lot in their work, would probably have more experience with different recipes and stuff like that?
So many people seem to just exclude water mixable oil paints. I don't know if it's because they feel it's not traditional enough or whatever but who literally cares. They're oil paints except they can be broken down with water. Their great from blocking in because you dont need harsh chimecals or mediums. Just good'oll water. Plus they work like traditional oils, in that the fat over lean rule applies. They dry slow, and they can mix with mediums if you want. Water mixable oil paints can be mixed with regular oil paint to. However, the moment you do this, you can no longer add water to thin the paint, you'll need a medium. Because you've just created a more normal oil paint once you mix the two together. Nonetheless its completely possible to just use water mixables without mediums and the clean up is just soap and water. Truly a genius invention.
My issue with water mixable oils is that they don't contain the same amount of pigment as professional quality paint. Most water mixable oils are the equivalent of student grade paint. I've heard the best brand is Cobra by Royal Talens, though I'm not sure if it's the same quality as Rembrandt there better quality oils?
Actually . Lavender oil for layer one and walnut resin oil for other layers dries very quick. I use nontoxic odorless turpenoid for brush cleaning and. A tiny bit to thin paint if needed . Plus no toxic fumes
ok, so I know my mistake now. For the underpainting, I have been using linseed oil to thin down the paint. Thought there is not difference between thinning medium and linseed oil, both lead to a glazing effect. But I had this problem with matte surfaces. So one really needs to stick to medium for lower layers and oil for the top layer to make the paint usable.
You should only use solvent in the very early layers. Really just for if you tone your canvas as the start and then mayble only a few drops when you block in the larger shapes. After that you should just use paint out of the tube. If you need the paint to flow more, it means you aren''t using enough. So, intead of adding medium you need to mix more.
This was well done brother, lotta good info in there for early painters! I like liquin, liquin fine detail/impasto, and linseed mixed with galkyd, also stand oil with 50% turps. Just depends on what mood I'm in or the subject lol. Solvent free gel from gamblin is decent too. havent tried Rublev Oleogel. Dont know if I will, I'm pretty content with my collection so far. And I use Gamvar retouch varnish after 3-4 weeks. Or Windsor spray gloss varnish if it's a big painting. Cheers mate
Thank you very much Derrick. You've had a lot more experience with mediums than I have. Do you work Alla Prima, and if so do you use different mediums for the start of a painting and the later stages? Do you work with glazes etc? I suppose, if you use alkyd resins like Liquin and galkyd because they are fast drying, they eliminate the fat over lean rule to some extent?
@@SIMPLIFYDrawingandPainting only Alla when I can, which is not too often cuz I work fulltime as a welder-fabricator and have a home weldshop as well, where I do metal art and repairs and what not. Also a Dad so, lol having a few hours of free time in one sitting is unusual for me. However I will use alla prima methods alot with landscapes, using medium(clear gel, fluid, thin lins oil, or galkyd lins mix) base coat in the sky, blending, and then drawing the foreground in. And then come back in the next day a d block in my middle/foreground with either clear gel or liquin, next day put in more modeling with liquin or impasto medium when necessary, then day or 2 later finish with liquin fine detail or the stand oil/turp mix. Lol works for my schedule. Hey, thanks bud!
Very informative video! Ralph Mayer's book was my main art bible, although I now find bits of his info outdated. When needed, for a medium I use the non toxic Oleogel from Rublev Natural Pigments, which can also be used for oiling out and glazing. Even though with the abundance of transparent pigments that are so useful for glazing, a little medium is necessary for opaque and simi opaque pigments when glazing.
I know several artists who swear by Oleogel. I don't use them, but modern alkyd mediums might be the way forward for glazing? So that you don't have to worry about fat over lean? One of my favourite British painters Kenny McKendry creates amazing colour effects with Liquin glazes.
@@SIMPLIFYDrawingandPainting Thanks for the reply! I get it Alex, I have long done away with Liquin and all alkyd versions. Although there are less potent formations of alkyd mediums, for me they are unnecessary and the odor is so unpleasant. As my underpainting is kept thin (no medium) and so few layers of finish paint, fat over lean is not a worry. Again I find completely transparent colors work great for glazing and if needed a touch of the terrific odorless Oleogel. Cool, I'm a bit familiar with Kenny's work, mostly his landscapes.
Thanks for another great vid! If you do make one about varnish - one thing that I find interesting is Gamvar varnish and how soon it can be applied to your painting, as there seems to be a lot of differing opinions on this. Some say gamvar can be applied as soon as your painting surface is touch dry, others say it works like any other varnish and shouldn't be applied until 4-6 months of drying time.
@@SIMPLIFYDrawingandPainting this is a pretty good explanation of gamvar from Gamblin, who make the product: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Z7aBhe6k2ts.html. I've used it quite a lot and have been pleased with the results, and needless to say the benefit from being able to apply an easily removable varnish much sooner than the traditional way.
Gamvar is a retouch varnish. It is considered breathable which allows application to the surface once the thickest application of paint is dry to the touch.
You are so helpful! I recently started oils, and made the mistake of using too much linseed oil. I now stick to turpentine. Loved your videos! Do share some basic tips for beginners. 💕
Thanks Minka! You should try not to use too much turpentine either, because it breaks down the oil in the paint. You can only use a little in the very early stages of the painting. But after that try to use the paint on its own as it comes straight out of the tube. If you need it to flow more, try to mix more paint.
@@SIMPLIFYDrawingandPainting Oh I see! That's the mistake I made. Because I usually work with water colours and started trying my hand in oils, I struggled with thr consistency. My one painting with linseed o took weeks to dry. I have a question, how long do u have to wait between layers to paint? Mine takes time to dry, if I use just paint without medium it moves about
The one thing that kept me away from oil painting is toxicity concerns surrounding solvents. I have hypochondria, so it's hard for me to justify the potential risks.
I personally find that a mixture of Oil of Cloves and Gum Turpentine works really well in Alla Prima painting. By the way, Alex you have the same last name with a friend of mine back in primary school.
Whereabouts are you? I've only ever met one other person that I was not related to in Greece, but there appear to be quite a few people with the same surname in the USA and Australia?
@@SIMPLIFYDrawingandPainting Athens, Greece. It's great you mentioned Ralph Mayer, I think his book on Materials and Techniques is a must for every artist out there. I really enjoy your videos and your work is wonderful. Thank you.
How fat/lean is paint right out of the tube? Is it inbetween pigment w solvent and pigment w oil medium? How fat/lean is walnut oil (WITH alkyd) Thx!! Usa
It depends on the quality of the paint. Cheaper paint contains more oil so I suppose that make it fatter? Adding solvent will make the paint leaner as it will dilute the paint. Adding more oil will make it fatter. Most paint is made with linseed oil, but some paint uses with either safflower or Walnut oil instead. They are all "fat". Walnut oil dries slower than linseed. Alkyd medium speeds up drying time so if you use it, I think you can paint multiple layers without having to worry so much about the fat over lean rule.
Impressive assortment of mediums on your backdrop shelf. thank you for mentioning more than once that en plein air oil painting does not really require medium. As a newbie oil en plein air wanna be this was 👍
how do u thin down oil paint that has come straight out of the tube, without using turps or mineral spirit for the initially wash or toning of the panel? Im really struggling with this basic thing, as i do not want to use toxins. I find that when i take the paint from the tube it' is far too thick and stiff to spread it onto the panel for that initial tint. And if i use a bit of oil to thin it down... it does thin it, but then it wrecks the fat over lean rule. can u help please. id be so grateful. honestly dont know how to resolve this. I have to do all my paintings wet into wet, alla prima because of it
There are some non toxic alternatives to solvents available these days? www.jacksonsart.com/michael-harding-miracle-medium-1000ml Or you could you acrylic paint and water to tone your canvas. It's perfectly ok to paint oil over acrylic, tho you may find it more absorbent to work on?
Thanks. I tried this (accidentally lol) 3 days ago, and it worked out great. I did an acrylic painting of the sea and mountains that I didnt like, so the next day I went back to same location and did an oil painting over the top of it. Also your tip of ''just add more paint'', really works. Yesterday i went up mountain to paint young wild ponies, using just paint from the tube, no medium. I added a lot more paint to my palette and found that did work out well! ,,, so cheers for that,,, and i found it especially good for painting thickly and quickly. I also used a small stubby brush , which i think helped too in the application of the paint without a medium .. and the surface i used was a loose peice of oil primed linen. (im assuming thats wat known as a slick surface... havent got a clue as im new to painting. thanks for the info@@SIMPLIFYDrawingandPainting
I've been scrubbing in the initial tonal layer on canvas using paint straight from the tube. (which makes it too thick) And subsequent layers on top, Im adding a little linseed oil as I need it. I'd like to paint in layers though over days or weeks, rather than only being able to do a painting in a day.. Ive been having bad health reactions to turps and mineral spirits and driers. Thats why i need to find another way. I cant use them. I'd really appreciate your advice
thanks. i tried zest it at the start and really couldnt use it because of reactions. I just heard about MH miracle medium,,, so I think I will def give that a go... though its made from oil extracted from a vegetable... so a little worried about the fat level content in it. but will defo look into to it. thanks @@SIMPLIFYDrawingandPainting
Siccative speeds up drying time, but you only need to add a tiny drop, so you can't glaze with it on its own. To glaze, you need to use some sort of mixture containing oil or an alkyd.
Hi, i have a problem with my painting. When i try to glaze a new layer, the surface wont accept the medium and it ending up with multiple spots of oil on the surface.
Yes, varnishing after the painting has fully dried, will remove sinking in. You can also use retouch varnish on areas that have sunken in, inbetween sessions when you're working on the dame painting.
That's a great Idea, I shall definitely do that at some point. In the meantime, I did a plain air demo for my video on oil paint and and in that I used my palette knife to achieve some of the textures. It's only a brief mention but you may find it helpful? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-J09PLnBtUMo.html
I HATE the fact that all my paintings turned out so glossy, the light reflection off the paint really bothered me. Finally I understand that mixing linseed into the paint was the problem. But I have a real phobia against turp and other noxious mediums.
@@SIMPLIFYDrawingandPainting I was thinking the problem with people not usind enough paint including myself, is the expense! I keep wanting to save money lol
