I'm so grateful you have put up alllll these lessons on RU-vid. Something I would never have a chance to learn in person. I have watched your videos on and off over the years and learnt a lot. I feel like I'm your student already. Super thankful.
Your videos and information are the best I have come across...as a 61 year old grandmother who has been trying to learn to oil paint but never had a proper teacher you are definitely the best I have ever come across. You are very generous with your teaching and information...and very few artists (masters), ever do that. Thank-you so much!
First time looking at a few of your videos. Think I've learned so much in 45 mins. More than lots of classes. Love two things - we don't paint things and be in love with what you're painting , or "the hardest thing to paint is what you're not in love with." Thank you so much.
Thank you so much for going through the mediums and explaining how they work! This really helps me to understand the placement of these things within usage... Oh, by the way, I am "that guy" that will argue with you about acrylics, but not because I use acrylics, but because of what I know about acrylics vs how they are made sold and can be used. Latex paint is a low-grade acrylic which basically has more base, consisting of various modifiers to make the paint product more durable as "house" paint. Plastisizers, elastics, and acrylic go into the base. You have three main bases, to achieve different colors. Deep base, medium and white base. Each one of these has different qualities as far as spread, coverage, and opacity. Latex paints do not thin according to the amount of water added, never add water to latex, only use clear base, otherwise known as clear acrylic varnish, or faux clear. This creates the same circumstances as that of oils mixed in linseed oil. The biggest difference is the ability to get a more saturated color without washing out the colors to white, or greying them, by using Faux acrylic glaze, because, the more Faux glaze you use, the less pigment there is to base and the base begins at some point, to show through. (Somewhere around 2/3rds Faux to paint which is about the same as for thinning oil painting ) So, to combat this, I have the Home Deathspot mix samples at 350ml of pigment solution to base, and this give me a super saturated color mix which I can thin out almost 4 to 1! Oils do give you many more avenues to add differently thinned layers, washes, and the ability to retain luminosity in a way that latex is not native for, but experience can bridge that gap rather well. In terms of cost, I buy paint samples in gloss exterior grade ultra deep base at $5.00 per 32oz, one gallon of Faux acrylic clear, and this only costs me about $100.00 every four to five years or so, for about 16 basic colors. Compare that to the couple hundred an artist tube colors could cost you for only primary and some secondary colors, not to mention the Liquid, Damar, Linseed Oil, Turpentine, Stand Oil, Japan Drier, are we at $300.00 yet? Past it by at around $450.00 when I got to Linseed oil! So yes, I have to stick to Latex! Recently I have been working with alkyd resins which allow me to mix with acrylics (my latexes) giving me a really nice build of glaze. One thing I really enjoy is the ability to switch from thick to thin with no consequences in terms of cracking. I can do what is needed and have no fear of acrylic not being cured, after just one day the latex or acrylic of the mix is more than dry enough and more than playable enough to hold up over time. I can tell you that I really WANT to make the switch to oils, but my budget just will not allow it!
This was very interesting and helpful, thank you. Understanding the vanishing nuances and process in particular. So for a 16x20" canvas, you want to empty the can. Make sure it's consistently wet all the way across. Got it. Thanks so much and God Bless! ❤🙏❤😊
Maroger (pronounced mare-a-jay) was an artist (studied with Louis Anquetin), conservator (Louvre), and teacher (Maryland Institute of Art) who did research on various mediums used by the old masters. The two mediums he developed are both use black oil - one uses mastic, the other uses beeswax. Black oil is available from Rublev and Zecchi, if you don't have the facilities with the safety protocols to make it.
Thank you! Watching the section on Damar... I have just found out that you can dissolve Damar crystals in a non-toxic solvent like spike lavender or orange essential oil. Chelsea Classical Studio do a ready-to-use version of this as regular varnish or a retouch Damar Lavender varnish. You can dilute the former (and I am sure the latter, too) with a little linseed oil and/or spike lavender and voilà you have a toxin-free Damar painting medium. They explain and elaborate on this on their website.
Happy to see a new video today. I used to use Liquin when painting but now use maroger for its fresh wet look and sculptural quality. Looking forward to more great videos.
This video is SO helpful. I am getting back to painting (mainly oils) after a very long hiatus and this really helps. All the products have changed since I was actively painting before.
True. But it helps, for example, to know what this stuff called Liquin has in it and how it behaves before I buy it. Lets face it when I was actively painting all I needed to know was how linseed oil and turps behave (and various combinations of them that I mixed myself). I can't use turps where I live because the smell bothers the others ... so I learn. Anyway, I can hardly wait until I can afford to have your instruction more directly. Until then ... thank God for RU-vid!!
I watch All {Stefan Baumann - 1 of the best teachers out there} of his videos . Usually more than once ... & the book {free !} on his sight {download} is Awesome !! Thanks Stefan . Peace / Love
This video warrants a follow!!!!! Sooooo much information. I should have been an art major/ went to art school. My 4 art college classes weren’t enough . 😂
I have to say something...thank you so very much I wish I was rich so I could pay you for how much I've learned from you dear sir...thank you so very much...if I we're in your art class your class would be beloved portions of my day..thank you so very much.. using the automotive primer because the oil burns up the cardboard in acrylic primed panels...I knew it! I knew it but I wasn't sure..Soo so much I didn't know but had a faint idea since working with oil pastels I did a few pieces they all sold long time ago but I was always intimated by oil paint...for some reason...scared me shitless...I don't know why maybe because you can blow yourself up with them but thank you..I'm starting to get a handle on this beast and your an extremely valuable resource thank you so much...as an artist a fear of a medium...ahh!! It needs to be confronted..agreed? And your giving me a strong sense of this beast...thank you ..sincerely
Great video thank you. It was extremely demystifying to me as a beginner oil painter working with new materials like glazes, varnishes and mediums, etc. Well done!
Mr. Bauman, I was a wood finisher by trade for years & saw first hand how dangerous oil products & rags, etc...can be in relation to combustion. Because I live in an apartment with no industrial space, I chose to paint with acrylics. Knowing they had products to reduce the odor, my first concern was fire. My question is: Am i being paranoid? Are the low odor products less likely to combust (on a rag or solid waste)?? Also, where or how do home artists/oil painters dispose of their liquid waste?? (another reason i felt stuck to acrylics-dirty water is easy to dispose of) I sincerely respect your opinion & would love to consider switching to oils. Thank u for ur videos & instruction....Even with acrylics on my brush, u have taught me very much. Ur love of art is truly inspiring. Stay well!
Really enjoyed this video! I have honestly always followed the recommendations for damar varnish. Not anymore. I feel much better about not having to wait 6 months anymore. Sincerely, thank you!
Awesome explanations for mediums and their use. Liquin is an "Alkyd" based medium. It's not a traditional oil based medium, but more like an "oil based acrylic" is the way I understand it, and makes it dry much faster, and it is stable but will yellow if you are using more than 35-50% or more in your paint. Also, you have to be careful about mixing overtop of other mediums, always use Liquin under, not over true oil based mediums. What occurs is not always cracking, but the oil medium can "wrinkle" the alkyd medium in the Liquin up and cause deformations in the paint layers.
@@lordofthemound3890 true, but the recent philosophy of conservators is that alkyds and oils are not a good long term mix :( However, this can be offset by limiting the percentage to paint ratio, I personally feel it is just as easy to learn how to use oil straight up rather than bother with another medium to worry about, but that's just me. :P Resins are a rather large family of chemical mysteries, and alkyd family is but one branch fyi.
I loved the awesome information regarding the linseed oil. I've never heard that before. Most articles or videos about mediums sorta skim over the effects made, so I never really looked into them much because I don't have the money to try them all, so I just used linseed oil as a thinner to practice. I've only used turpentine a couple of times when I could keep the window open. Now here's the question I have regarding to what I also heard in the video. On a cold day I decided to try a character (monster) sketch with oil. So I just used my colors and linseed oil to thin it. I just made a sketch with darks over a general tone, and a mid tone for all the light areas and let it. I thinned all my paint. I didn't relook at it until a day later because with all that linseed oil it was shiney, any lighter (or darker) paint wouldn't stick easily and it was slippery (I didn't know what I was doing). When I saw it the next day, indeed it looked like there was a thin layer of glass over the paint and I resumed my exercise over this tacky layer. After finishing and letting the whole thing dry I saw that the 2-3 layer sketch seemed to have more depth in the shadows and specially in areas where the top layers broke and the lower layers could be seen. In other words, this "glass" layer created a separation and enhanced the volume of the character and the luminosity. I haven't achieved this since, tho I've never tried using so much linseed oil, because I wanted to be able to paint longer. Now, is there a way to achieve this effect without cutting the session down and without eventually not being able to paint over said "glass" layer?
+Stefan Baumann Yea that happens when you use linseed oil Liquin works better and the first layer and the other layers on top of it but I have found that think paint and not adding to much oil, almost like a dry brush can achieve the same effect. its the oil drying to a glassy finish and the second layer trying to stick to it. a dry brush, a thin film of paint with little or no paint will stick to that.
I tried a couple of sketches a few days ago before seeing your reply. I tried a 5 tone sketch of a face, using nothing but linseed oil and in only 1 layer. Needless to say the effect isn't the same (not even close) as in the sketch I had mentioned. Now, I also tried a second sketch the same day, just a base layer with the darks thrown in and a lot of linseed throughout. It was a little tacky the next day and I got the "glass" effect again, so I painted the lights over, varying the amounts of oil to make it more transparent at points and to observe the results. Today it looks very much like the last piece, sort of like panes of glass, each with a layer of paint and I love it. I couldn't see myself working with more than one color per area at a time though, it's really hard to paint in a stroke that changes or refines a previous one made in the same session, it's too slippery. And layering things up this much would make the time it takes to finish an illustration unpractical, and this makes me sad. What would oil of clove do? I've never heard of it before, I'll research it.
One important difference between walnut oil and linseed oil that he didn’t mention is that walnut oil gives you a longer “open” time as it dries slower. So if you’re painting wet on wet and you want more time, walnut is better. Also it doesn’t form a skin on top that dries first. It just dries all at once.
I have a large quantity of sal dhoop resin lumps which I bought in Nepal several years ago and I have just realised this is damaar from the same species of tree. I will experiment with making varnish. I love the smell of gum turpentine and have never had a reaction.
Mr. Baumann, I would like to see you do a video on the " fat over lean " theory if there is any sustenance to the rule. By error, I once put a fast drying medium over a slow drying medium and it cracked the surface and ruined my piece. I think you are a wonderful teacher, hence my request. Thanks
5 parts turps, 1 part stand oil, 1 part damar varnish. It thins your paints and gives them a lasting shine that doesn't dull as it dries. Richard Schmid used this for decades. It's based on an old master recipe. I cant recall the name.
I paint with oils and oil stick and crayon and pastel and charcoal, all on the same canvas, and sometimes with pasted-on paper as well, a la Basquiat. I'd like to know how one should varnish a work that has multiple materials on the surface. Can the pastels be varnished, if they are used in combination with the oils on the same canvas, or in combination with acrylics? I also plan to create works like these using acrylics plus the oil sticks, pastels, inks and so forth, given that the drying time of the oils hinders my productivity. Can one use the Damar varnish you mention on multi-media works such as these? Many thanks for the terrific tutorials. I refer to them continually and really value the technical information and the importance of understanding the science behind these materials and their use. You are an invaluable resource!
It would probably remove the pastel charcoal off the canvas. I could be wrong but I'd just experiment with it on a little canvas or something before risking it on a finished work.
Please check out your facts on the Maroger medium. Marker spent a lot of his life restoring and working on old masters works at the Lourve in Paris. Have you ever read the articles in our art magazines on artists interviews...notice how they name the manufactures.This helps but do you also that the manufacturer has purchased an ad on the following pages.This is how it works..I spent many years in the advertising world and thats ok too. I have one of Marogers books...He also stated in our class that many good methods and products will come.I have been around now for 88 years now and find out we all have to have like what we do to do it well.I tried most of the products you mention and could say as many bad as good things about them.Take care..your videos are very informative.
Walt :I have the original book that Maroger wrote with all the information he said on how to make it, So I'm sure I am correct! and since Moroger Medium is named after him I think he would be the expert on making it.
I have read that linseed oil is tougher than walnut oil but walnut oil is a little more archival. Though being a bit flimsier in the short run, the walnut oil will break down less in the long run.
Hi Mr. Baumann! Thanks for your courage of saying that you can use Liquin (R) as a final layer. We read everywhere on the internet that it's not possible, that it will darken, but I never had a problem.
Yes, I also was warned not to use it as a 'final layer' but did try it anyway and it appeared to create a very nice finish. But as Stefan said, it isn't removable so that may influence your decision to use it.
I thought if you put Damar Varnish on too early, the turps inside it can dissolve the top layer, but when the varnish sets, it will fuse to the top layer, which won't cause issues to the image, but will cause issues when removing the varnish for restoration? I've heard of other artists who use ReTouch Varnish when they're done to give it the glossy look, as that lets the paint dry. Once it's done drying, they'll finally varnish the picture?
I learned the same thing in art school. The first stage of the painting I will only use turp and a little linseed oil. The Damar/linseed/turp mixture after that.
I am fascinated by your connection to the early painters. To see what glazing can look like, who should i google. Since i have your attention would you list your 3 fav painters?
This was very good, but I still do it the old fashioned way with honey with beeswax. Urine alkaloids make a nice firm paste for alla primo and never EVER use cadmium- they cause decay. Try clay kettles. Skim the batter CAREFULLY. tape helps in cleanup
Dear Sir, you have shared very good information. Thank you very much. I'm still puzzled that which medium I should use as a beginner? If I use stand oil what should I add into it? Or should I use Mixed ingredients at home or the readymade Liquin ? I want my paintings slow drying so that I can correct it on the second or third day and the other requirement is I want it glossy and many times transparent. I love pallet knife use. Which type of medium, consistency it requires? Please help with your guidance. Awaiting your reply. Thank you.
TY! I used to paint with hardware store turpentine many years ago, as that was what was available at the time. I recall when the odorless (or less odor) turpentines started showing up in my area. They still bothered me, and since acrylics had hit the market, I stopped painting with oils. Acrylics have come a long way, as have oils. Water soluble oils had come out, yet were expensive, and some had consistency issues back then. I'm going to give oils a try again. I love oils, and although acrylics have some incredible qualities I really love, I still love oil paints, as they are different. I wonder if you have any recommendation for water soluble oil paints? Some of the "odorless" turpentines aren't exactly odorless too, and you are SO right about getting a headache from them! That cannot be emphasized enough! Minimizing your exposure to evaporating volatile chemicals is pretty darn important to your health, so for anyone younger reading this, please heed the warnings (& I would probably add a few that aren't generally listed on the label. There's a reason that our bodies react to the smell of turpentine as it does, and thus a reason companies make it evaporate slower than before (Thus you aren't breathing as much in)! The use of some essential oils was quite interesting. Orange peel oil has an added benefit of being toxic to bugs! I love that you encourage people to experiment with oils! There are some really fun things to discover through using different oils & resins in oil painting! I love both acrylics and oils, and for different reasons (& not speed, in fact there are acrylic retardants that slow down acrylics, and despite the plastic smell of acrylics, they do have some qualities that are unique to acrylics, AND the allergies/sensitivities seem to be less of a problem for most people (although some people absolutely have sensitivities to acrylics too!) Thanks for the interesting lectures! Experiment, yes! But having some chemistry knowledge is very helpful!
The turpentine in hardware stores is now pretty defunct, as a painter, (industrial and residential painter) I know that the stuff in the thinner, and turpentine in hardware stores has been filtered to be "less powerful" and is now almost not worth buying even for us residential painters. They clipped it's contents due to health reasons around 2009-2010ish.
Another artish on you tube said that you cannot put your damar varnish on over an oil painting until 6 months or more because the base oils have not finished drying, so If you do as you say wait until a couple weeks go by then varnish , the varnish will crack and peel ruining the painting. He says the oils are still moving around a bit as it dries, guess he means contracting a bit . That leads to the cracking or even peeling.. But you say in 30 years you have never had any problems with varnishing in only a couple weeks. If you use a heavy layer of paint, could he be right as I do not know what or how much you apply that would affect drying time a lot. I know thin dies faster. Please help!
Heh, I just commented on one of your other videos about something missing in my acrylic paintings.....well I used to say that they looked too flat. Then you explained the difference between oil and acrylic binders(which I know of and about) but when you said that the effect makes acrylics look flat because light can't pass through, I had an "ahha" moment mixed with an "oh duh" moment. Though I have recently switched to w&n professional acrylics because they changed the formula of the binder to dry clear instead of cloudy. It has helped quite a bit. Still plan on playing with oils though 😉
Oil paint is way better I think than acrylic. I started out with acrylic, and feel i wasted my time because they didn't suit my style with them drying to quickly.
At the end of a day painting, looking at this video with such a white background is painful on the eyes. How about a mid grey backdrop? Thanks for your tutorial.
Hi Stefan, thank you so much for such useful information. I am going back to oil painting, but I want to do this in a more responsible way since the respiratory illness are my weakness. I would like to know if you know about spiked lavender oil as medium as an option. Thanks again for sharing your knowledge.
Aleyda Kniestedt I wanted to respond to this query as I teach painting and the school has a rule against turps. Some teachers started using spoked lavender oil which sent several students running for the door. The reason is that this oil is part of the camphor family of plants and many people are extremely sensitive to this. Severe headaches and breathing issues. The best product is Gamsol which has can be used in classroom situations with the covers respectfully on the jars when not in use. Still, leave the door open!
research has been done, with practical years long tests on youtube even, you can really clearly see the difference, you really need to wait like 6 months-a year before you can varnish a oil painting, the paint gets dry to the touch within a week / a few weeks , but the molecules inside the paint keep moving for many months , and if you apply the varnish too fast, later in the life of the painting it causes cracks.
Really then why is it that you can put varnish inside mediums as part of the recipe, use a little common sense, Grumbacker also tells that you can use retouch varnish, whenever you wanna paint over a dry paint while you’re painting it, the ingredients and retouch varnish is exactly the same ingredients as demo varnish. No research needed just some common sense, read the labels.
@@stefanbaumann1979 look on RU-vid for the video called "what happens if you varnish oil paintings too early? Real life experiment" by painterinyou. He went through the trouble of doing a 2 year long experiment comparing varnish applied at different times after painting.
Stefan, I know this video is fairly old by now, and I haven't checked if you've posted about this elsewhere. I'm wondering if you've worked at all with lavender spike oil, or clove oil as part of oil mediums to extend drying times, especially for burnt umber, which tends to dry very quickly.
Hello Mr. Baumann Quick question. I recently varnished an oil painting, but dull spots still appeared. It did not even out the sheen. The varnish did not adhere properly. Not even the second time. Have you ever experienced something like this? Thank you sir and have a lovely day 🤠
I bought black oil from Oldmaster Maroger. I like this product but wondering if I should wear gloves when using it? I also bought Flemish maroger I'm sure you know because this product comes from texas, usa. I'm Canadian and I sent this product by mail, it's a gel and when you use it, it liquefies better than the liquin to make beautiful lines, it's going great. Are these products dangerous for my health?
Have you ever used vinegar to keep lactic compounds from biodegredatuon. I'm getting tapioca-like globular gel clumps in my maroger. Any thoughts please! God bless.
13:15 Liquin. . What are the drying gloss level differences between Liquin and Galkyd ? Is Galkyd glossier ? Can layers of liquid and layers of retouch varnish be used ?
So, I'm now interested in oils and I want to work with M Graham to start. They don't use solvents.. but I'm not sure if that means I don't either if I paint with them? I'm confused and I wish I could find a vid that covers a how to paint with oils for the COMPLETE BEGINNER, specifically for the M Graham brand of oil paint. Actually, as soon as I figure it out, I'll do the video to share.
When using Liquin, since each layer dries fast, can we just forget the fat over lean rule since the under layer is already drying faster than the next layer?
Question: Do I have to leave my windows open in hot weather for enough ventilation when using Liquin? or can I keep my air conditioner on. I paint in a 10x10 size room. How much ventilation is required to be safe from toxic fumes coming from my wet paint that has Liquin in them? Our heat index here at the beach is often 100 degrees these days.
Great channel, really informative. I was wondering what happens if you don't prime your canvas and paint directly onto the bare canvas? It is a necessity to put a base?
Paint flows more slowly with oil so you should be able to get finer detail with oil than with any other medium including inks. It would be interesting to see an ink drawing done with oil paint. I know some people do miniature paintings in oil. I wonder what kind of brush would be used to do fine detail in oil.
Ink drawing done with oil paint ? Wouldn't that just be an oil painting? You could thin it down so it is the conistansy of ink. I think they would not be much difference.
In one of your videos you recommended priming a piece of plywood for instance, with rustoleum auto primer. I just sprayed a piece of high-quality plywood with auto primer. Is it supposed to be chalky?
Thank you for all your videos, Stefan. They are brilliant. I have a question regarding spraying damar varnish, do you buy the varnish in a spray can or do you put it in a spray gun purchased from a hardware store? Also, do you wear a mask to avoid breathing it in?
what do you think of Mona Lisa oderless thinner ? Can it be mixed happily withstand oil. that is what I have been doing.. ?? Ps.Liquin makes me sick. so toxic to me..
sir , i always use camel artist oil colours, but yet i want to ues wilson &Newton oil colour first time so please tell me what midium should i use..like linceed oil,..which linceed oil..is liquin is essencial thing with linceed oil..
Thank you for your valuable information I have lots of problem with terpentine oil I get headaches and joint pain when I use terpentine oil for washing my brushes. Is there any other alternative?
