OIL

Often described as “rich” and “buttery,” this classic painting medium is a favorite among fine artists. The paint consists of ground pigment suspended in oil, which traps light and creates a luminous effect on the canvas. The slow-drying properties of oil allow artists to create smooth blends and rework their paintings over multiple sessions. This large window for manipulating and refining a work of art can result in an impressive degree of realism.

OIL PAINT

Oil painting is notoriously messy and calls for quite a few materials. Because it’s not water-based, you’ll need special liquids for thinning the paint and cleaning your brushes. You’ll also need to take safety precautions such as working in a well-ventilated workspace. Most manufactured paints contain a linseed oil base, but other drying oils, such as walnut or poppy seed oil, can be used. You can use drying oils or resins mixed with solvent to change the properties of the paint, building up a lustrous painting from thin initial washes of color to thick, dimensional highlights.

OIL ESSENTIALS

• Set of oil paints

• Solvents

• Drying oils

• Set of brushes

• Mixing palette

• Paper towels and soft rags

• Easel or painting board

• Vine charcoal for sketching

• Safety items

SAFETY & OIL PAINTING Oil painting involves a number of hazardous materials, so it’s important to know safe handling habits before you begin.

• Work in a well-ventilated area, particularly when using paint thinners and harsh solvents such as turpentine. They release toxic fumes during use and as they evaporate from the drying paint.

• When making paint or handling dry pigments, use a respirator mask, safety goggles, and rubber or vinyl gloves.

• Use rubber or vinyl gloves when handling solvents and paint. Consider using a barrier cream on your hands to reduce any potential absorption.

• Do not work near heat or flames. Solvents, especially turpentine, are highly flammable.

• Do not throw solvent-soaked rags into the trash, due to their flammability.

• Do not pour paints or solvents down the drain. Contact local disposal companies or environmental government agencies to determine the best course of disposal.

• Do not pile up or throw oil-soaked rags into the trash. As they oxidize in open air, drying oils (particularly linseed) pose a risk of spontaneous combustion.

• Do not put your hands, brush handles, or other art materials in your mouth during a painting session; also, avoid eating and drinking while painting.

• Know the ways toxins can enter the body: through ingestion, inhalation, and contact with the skin or eyes.

PAINTS & DRYING TIMES

Unlike watercolor and acrylic paint, oil takes a very long time to dry. It can take several days for a layer of paint to feel dry to the touch, but for varnishing purposes, an oil painting needs to dry for six months to a year. Even after this long period, the oil continues to dry for many years. Be sure to keep a wet oil painting well protected as it dries by storing it in a dark room with very little risk of scuffing.

Colors dry at different rates. Avoid layering a fast-drying paint over a slow-drying paint; this can help prevent ripples and cracks in a painting. Listed in the chart below are common pigments, categorized according to their drying rates.

DRYING RATES OF OIL PAINT COLORS
FAST	• Cobalt blue (medium-fast)
	• Burnt sienna
	• Burnt umber
	• Flake white
	• Mars black
	• Naples yellow
	• Prussian blue
	• Raw sienna
	• Raw umber

MEDIUM	• Dioxazine purple
	• Perylenes
	• Phthalo blue (medium-fast)
	• Phthalo green (medium-fast)
	• Pyrroles
	• Ultramarine blue
	• Viridian

SLOW	• Alizarin crimson
	• Cadmium red
	• Cadmium yellow
	• Cerulean
	• Ivory black
	• Lamp black
	• Quinacridones
	• Terre verte
	• Titanium white
	• Yellow ochre

Oil paints are available in metal tubes in the following quantities: 12ml, 37ml, 150ml, and 200ml. It’s a good idea to purchase a larger tube of white, as you will use this paint in mixes more than any other color.

DRYING OILS & MEDIUMS

Drying oils and mediums allow artists to change the consistency and reflective qualities of the paint. Although you can technically paint straight from the tube, most artists add medium to extend the paint and to build an oil painting in the traditional “fat over lean” layering process. The drying oils and resins mentioned on the following pages can be used as mediums, but the term “medium” in oil painting generally refers to a mix of oil and solvent, with the solvent accelerating the drying process.

Linseed Oil

This oil is the most common choice for use in both oil-based paints and as a medium. Pressed from flaxseed, the oil is slightly yellow in hue and increases a paint’s gloss, flow, and transparency. It also slows the drying time and creates a sturdy film when dry. There are several varieties of linseed oil available, each with its own properties (see “Types of Linseed Oil” below).

Linseed

Artists traditionally begin an oil painting with thin layers of paint that have been diluted with solvent. They then build up their subjects slowly, using thicker, more oily paint as they progress. This method prevents a canvas from warping and upper layers from cracking during the drying process.

TYPES OF LINSEED OIL
Refined Linseed Oil	This thin, slow-drying oil is great for increasing the transparency of paint.
Cold-Pressed Linseed Oil	A yellow oil, this option increases gloss and flow, while drying faster than refined linseed oil.
Stand Linseed Oil	This viscous, slow-drying oil is the consistency of honey and settles to a smooth, glossy finish. Mixed with solvent, stand oil is great for glazing and detail work.
Sun-Thickened Linseed Oil	Adding body and gloss to paint, this syrupy option is a bit thinner and faster-drying than stand oil.
Sun-Bleached Linseed Oil	Bleached by the sun, this oil yellows less than its linseed counterparts.

Stand linseed oil’s thick and slow-drying qualities make it ideal for the upper layers of an oil painting. Use it for luminous glazes and finishing touches.

Poppy seed Oil

This thin oil pressed from poppy seeds does not yellow as much as linseed oil, keeping whites and lights pure and luminous. However, paints mixed with this oil have a longer drying time. When using poppy seed oil alongside other oils, use it in the upper layers to avoid cracking.

Poppy Seeds

Walnut Oil

Pressed from walnuts, this oil is a wetter and more expensive alternative to linseed oil. It yellows a bit less and has a wonderful glossy sheen. Walnut oil is a great choice for painters who do not want to work with harsh solvents; you can use it to both thin paint and clean brushes.

Walnuts

Safflower Oil

Safflower oil, pressed from safflower seeds, is a top choice for mixing with white paints because it yellows less than linseed oil. However, it dries very slowly, so avoid using it beneath faster-drying oil layers.

Safflower Seeds

ADDITIONAL MEDIUMS
Alkyd Medium	This medium contains resins that can halve the drying time of oil paint. Alkyds have been shown to dry to a very durable, flexible film, and many artists believe that alkyds are less likely to yellow than linseed oil.
Copal Medium	This resin speeds the drying time of paint while increasing flow and gloss; however, it is prone to darkening.
Damar Varnish Medium	This gloss-increasing medium is generally used in a ratio of one part damar varnish to one part turpentine to one part linseed oil.
Beeswax Medium	This soft medium adds body to paint while imparting a subtle matte quality.

SOLVENTS

Because oil-based paints do not mix with water, artists traditionally use solvents for paint thinning and cleanup. If you choose to purchase a solvent, be sure it is intended for fine-art purposes. Note any instructions and cautions provided by the manufacturer.

WARNING Solvents are toxic and flammable. Use them only in a well-ventilated area away from any source of heat, and dispose of them properly. For more on oil painting safety, see here.

ADDITIONAL MEDIUMS
Turpentine	Made from pine resin, turpentine is a toxic, colorless, strong-smelling liquid that efficiently thins and dissolves oil-based paints and resins. Turpentine has a fast evaporation rate, which helps artists advance the painting process.
Mineral Spirits	This petroleum-based solvent is slightly less toxic, less flammable, and gentler on skin than turpentine. It evaporates more slowly from paint.
Odorless Mineral Spirits	In this solvent, the toxicity and potent odors of mineral spirits have been reduced.
Citrus-Based Solvents	This option is less toxic than the solvents listed above; however, its mild nature makes it less effective when working with resins.

If you don’t like the idea of handling or storing harsh solvents, consider working with walnut oil. This drying oil can act as a binder, medium, thinner, and brush cleaner.

BASIC PAINTING TECHNIQUES

Most oil painters apply paint to their supports with brushes. The variety of effects you can achieve—depending on your brush selections and your techniques—is virtually limitless. Just keep experimenting to find out what works best for you. A few of the approaches to oil painting and brushwork techniques are outlined below.

APPROACHING YOUR PAINTING

There are three basic approaches to oil painting; you may want to try each approach to see which you prefer. In the first approach, you begin by toning the entire canvas with a layer of transparent color (an imprimatura) and then build up the painting with a series of thin layers of color (glazes) on top of the initial color. For the second approach, you build the painting from dark to light or light to dark; for example, you may start by blocking in the darkest values, then add the mid-values, and finish with the lightest values. The third approach is called alla prima, which is Italian for “at once.” This means that you apply all the paint in a single painting session. In this approach, you are not applying a series of layers but laying in the opaque colors essentially the way they will appear in your final painting. Artists also refer to this method as a direct approach.

PAINTING THICKLY Load your brush or knife with thick, opaque paint and apply it liberally to create texture.

THIN PAINT Dilute your color with thinner, and use soft, even strokes to make transparent layers.

DRYBRUSH Load a brush, wipe off excess paint, and lightly drag it over the surface to make irregular effects.

BLENDING Use a clean, dry hake or fan brush to lightly stroke over wet colors to make soft, gradual blends.

GLAZING Apply a thin layer of transparent color over existing dry color. Let dry before applying another layer.

PULLING AND DRAGGING Using pressure, pull or drag dry color over a surface to texture or accent an area.

When you’re learning a new technique, it’s a good idea to practice on a separate sheet first. Once you’re comfortable with the technique, you can apply it with confidence to your final work.

STIPPLING Using the tip of a brush or knife, apply thick paint in irregular masses of small dots to build color.

SCRAPING Use the tip of a knife to remove wet paint from your support and reveal the underlying color.

SPATTER Randomly apply specks of color on your canvas by flicking thin paint off the tip of your brush.

SPONGING Apply paint with a natural sponge to create mottled textures for subjects such as rocks or foliage.

WIPING AWAY Wipe away paint with a paper towel or blot with newspaper to create subtle highlights.

SCUMBLING Lightly brush semi-opaque color over dry paint, allowing the underlying colors to show through.

APPLYING AN UNDERPAINTING

An underpainting may consist of almost all of the colors in your project palette, offering a visual color reference, which proves extremely useful as you layer in more and more paint.

PALETTE

Oil Colors

• Blue violet

• Cadmium orange

• Emerald green

• Lemon yellow

• Phthalo violet

• Red deep

• Red medium

• Titanium white

• Yellow ochre

Oil Pastels (optional)

• Rose red

• Violet

• Yellow ochre

STEP 1 Draw a very rough sketch of the planned composition on a separate sheet of paper to use as a reference.

STEP 2 Begin by laying down the underpainting, consisting of lemon yellow, yellow ochre, cadmium orange, and phthalo violet. Load your brush with the darkest color first, plus medium. Using soft, broad brushstrokes, apply color to the support. Continue this process, working from dark to light, making sure to clean the brush between each new color. Once you have generously covered the canvas, let it dry for about 30 minutes. Then use a soft dry brush to gently blend the colors into each other.

STEP 3 Using quick, loose strokes, draw the dahlia petals using an oil pastel or the tip of a round paintbrush. Use yellow ochre for the petal outlines over the yellow areas of the underpainting, and use rose red or red deep for the outlines you draw over the reds, violets, and oranges. Keep your lines loose and free of detail, but strive to create the overall basic shape to help you form the general composition.

STEP 4 Following the outlines, begin filling in the dahlia. Use blue violet for the darkest, shaded areas. For the tips of the muted petals, apply a mix of phthalo violet and cadmium orange.

STEP 5 Next lay in the various reds. For the brighter red petals, mix a bit of quick-drying medium with phthalo rose red and apply it over the yellow underpainting. For the darker petal areas, including the shadows, add a bit of emerald green to the red mix. Begin applying the color to the petals, making sure to stop and blend them occasionally with a flat sable brush.

STEP 6 Continue layering in the reds, making sure that the brushstrokes curve with the shape of the petals. When finished applying the reds, go back over and fill in the deepest shadows with the emerald green/red mixture. Use phthalo violet to add shading in areas.

STEP 7 Mix a dab of red rose with titanium white and another dab of cadmium orange with white. Then add highlights to the petals in select areas. Softly blend the hues into the darker tones using a clean, dry brush and enhance any shadows, edges, or darker areas with strokes of red deep or phthalo violet.

STEP 8 Finish darkening the deepest shadows with red deep and phthalo violet.

CAPTURING LIGHT

There are many different ways to paint portraits, and there are no exact rules to follow for each style. However, there are some good guidelines in classical portraiture. This portrait captures the intense, sweet expression of this toddler before he matures into a little boy. The natural light bounces and falls beautifully across once side of his face, creating a Rembrandt effect.

PALETTE

• Alizarin crimson

• Burnt sienna

• Cadmium orange

• Cadmium red light

• Cadmium scarlet (or pyrrole red)

• Cerulean blue

• Perylene red

• Phthalo turquoise

• Raw sienna

• Raw umber

• Sap green

• Transparent red oxide

• Ultramarine blue

• Viridian green

• Titanium white

• Tellow ochre

STEP 1 When working from a photograph, begin with a pencil drawing on paper first.

STEP 2 Clean the surface with turpentine and a soft cloth to remove any extra residue. Then tone the canvas with a light yellow ochre wash. Begin working paint over the soft lines with a #4 filbert bristle brush and a light wash, using transparent red oxide with a touch of ultramarine blue to neutralize the color.

STEP 3 Start by carefully blocking in the darker areas of the face, using a mid-value flesh tone of cadmium red light, viridian green, very small amounts of phthalo turquoise and titanium white, and a touch of raw sienna. Next mix perylene red with viridian green to make a darker, richer flesh brown and add a bit of yellow ochre or raw sienna. Keep in mind that the more red you add, the warmer the flesh tone; likewise, the more viridian green or phthalo turquoise you add, the cooler the flesh tone. Turn your attention to his golden hair and begin blocking it in, using yellow ochre, raw sienna, burnt sienna, and titanium white. In the darker parts of the hair add ultramarine blue or a little cerulean blue to raw sienna or burnt sienna.

STEP 4 Start painting the delicate pink undertone of the cheeks, using a dab of perylene red, pyrrole red or cadmium scarlet, and titanium white. Add more flesh tone across the face and darken the eyes with my flesh colors.

To achieve a luminous appearance, you can’t lay down all your paint in one or two sessions. Instead, work each day until you feel you’ve come to a stopping point. Let it dry, and then come back and continue building one layer at a time. Each time you sit down at your easel look for ways to make a better painting.

STEP 5 Softly blend the skin, using a flat natural-hair brush. Paint with basic brushstrokes and crosshatch strokes and, when needed, use your finger to soften or blend. Paint the lips with a darker mix of the same color you used on the cheeks. Then go back to the hair, painting the golden blond curls on the lighter side with yellow ochre and titanium white. Return to the darker hair and paint with raw sienna and a little white. Start to block in the orange shirt, with a mix of cadmium orange, yellow ochre, and titanium white. Block in the background with a little cerulean blue, white, and a few little paint strokes of my soft orangey color.

STEP 6 Next work on the eyes. Instead of using pure black, which can look flat, for the pupils, make a nearly black mix of ultramarine blue, alizarin crimson, and sap green. Work around the eyes and paint the lashes with a very dark brown mix of ultramarine blue, alizarin crimson, sap green, and a tiny drop of titanium white and raw umber. Using very small strokes, start to apply to the white of the eyes. Go back into the light parts of the hair with yellow ochre mixed with titanium white. Then go back to the darker parts of the hair with raw sienna and a little cerulean blue, burnt sienna, and ultramarine blue.

The “whites” of the eyes are never really white; they are yellow, grayish, or slightly orange in color. Each person’s coloring is different.

STEP 7 Paint the blue irises with cerulean blue, ultramarine blue, titanium white, and a tiny drop each of cadmium red light and yellow ochre to tone the intensity. Add more highlights in the hair and start blending the dark and light shapes gently into each other for a soft appearance. Refine the shapes of the ears a bit.

STEP 8 Go over the eyes again, and then paint the catchlight in each the same color as the whites of the eyes. Use your finger to blend. Using the light and dark blond mixes, place various strokes in the hair to develop the soft curls. Use titanium white in some parts to add highlights. Also add some white highlights on the end of the nose and on the lips. Finish the background, drybrushing with the blond hair mixes. Make a final pass around the painting, looking for any hard edges that need to be blended.

You can save your mixed colors for future sessions. Rake together similar mixes of flesh tones in the center of your paint box and store in the refrigerator or freezer. You can prevent the paint from drying out with a drop of clove oil.