I have a list of transparent to translucent paints on my website Merrillk.com. The “glazing colors” which I used to finish this painting are in a list at the end of the video description. When I set up my palette, I combine these special paints with a painting medium called Liquin……. But what does the painting medium do? And how does it help you glaze? Let me explain with an analogy; think of frozen orange juice and frozen grape juice! When these two juices are frozen in their containers, they are opaque, meaning that you cannot see through them. But, when you add the correct amount of water, the frozen orange juice becomes translucent and the frozen grape juice becomes transparent. In other words, the concentrated forms of these juices become diluted and the mixture spreads out………Now think of the popular drinks, Gatorade, Vitamin Water, or Life Water….They are even more diluted from their concentrated form!

Glazing works the same way, but with paint medium, rather than water. The tube of paint is the equivalent of the frozen concentrated juice and the painting medium is the equivalent of the water. When a painter employs the strategy of glazing, he or she adds a good amount of painting medium to transparent and translucent paints.
My personal preference is to mix equal amounts of oil paint and Liquin Painting Medium on the palette with a palette knife…..and I usually leave a pool of Liquin on the side, so that I can dilute the mixture even more, if I need to.

Artists have put hundreds of layers of glazes on a painting, but you have to wait for the previous layer to dry. Now I will demonstrate the process.

Be sure use soft tipped brushes when you glaze oil paint. A fan brush is also a great tool to use. Fan brushes are used to spread wet paint on a paintings surface. They do not carry a lot of paint which is an advantage if you want to blend paint evenly (a brush that carries a lot of paint such as a large round brush has to be used VERY DELICATELY).

When I glaze, I usually apply the paint with round brushes. BUT, I manipulate the paint that I applied with fan brushes.

You can Glaze an Oil Painting Countless Times

The colors that I used to glaze were, Ultramarine Blue, Ultramatine Purple, Italian Brown Pink Lake and Davy’s Grey from Old Holland Classic Oil Colors, Asphaltum Black from Mussini Oil Colors Chromatic Black from Gamblin Oil Colors and Zinc White from Vasari Oil Colors.

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I split this lesson in to four parts.

1.) Part one will cover what you need to know before you paint.
2.) Part two will give you an effective strategy for painting realistically The mentality of rendering (aka drawing what you see)
3.) Part three will walk you through the process of painting and I will give you tips while I paint. The process of “sculpting” a painting
4.) Part four will actually be a separate video and it will discuss glazing…a great finishing strategy. Glazing: Finishing a painting (Covered in another video)

Part 1.) I have two points to go over in Part 1-

1-1- First, pick a surface to work on. When I was learning painting, I would use cardboard in place of canvas to save money. Ten years later my original oil paintings are still in good shape. However, this would not be the case if I didn’t prime the cardboard with layers of Gesso. Without getting over technical, gesso gives your surface a protective layer that will prevent the oil from being over absorbed. Try to remember this silly saying, “Paint with cream, not with butter or milk!” No, im not saying that you should break out the dairy prodicts…..I am referring to the consistency of the paint. Cream is not a solid like butter …..and is not watery like milk. When you apply paint to a surface it should be creamy in texture. You can make the paint creamy by adding about three to four drops of painting medium to the paint that is sitting on your palette. The object in my hand right now is called a palette knife. I used it to mix the paint with the painting medium. For a long time, I considered this step trivial, but it makes a difference!

1-2 Oil Painters use mineral spirits to clean off their brushes and to thin out a paint mixture. Mineral Spirits is also known commercially as paint thinner and sold as an art supply called turpenoid for quadruple the price. You will only need a SMALL amount of Mineral Spirits because its very powerful. Use it sparingly when you wish to thin out your paint; because too much will make the paint runny and “milk-like” in consistency. Here is a great tip to remember when cleaning your brushes…..WIPE-DIP-WIPE. As silly as that sounds, commit it to memory….In other words….. wipe your brush with a paper towel…..Then dip it in to the mineral spirits and swish it around….followed by another wipe with the paper towel to take the extra spirits off your brush. The last wipe is especially important to prevent the excess mineral spirits from thinning out your paint too much

Part 2

Now you will learn a great strategy to help you paint what you see. I call this strategy, “jigsaw puzzle observation” because it is similar to putting a jigsaw puzzle together. Jigsaw puzzles are fun because you fit shapes together to create an image………I want you to think the same way when you paint. Try to see and identify shapes and then put them together like a puzzle. Painters sculpt and manipulate the paint on the surface of a painting until the shapes fit together as a recognizable image. Here….let me show you what I mean…..When you try this, I recommend that you get in the habit of looking at your reference image at least once for every five seconds; and then paint what you observed. After you get the bigger shapes in…..work your way down to the smaller shapes…….. If you feel that you cant work the paint any more. Let it dry and repeat this step on top of the dried paint. You have an advantage by using paint because it is opaque and it can cover over any mistake…… Take your time with this step. Skyscrapers cant be erected without solid supports and good paintings cannot be made without careful placement.
How to begin oil painting vido
Supply List
- Titanium White (paint)
- Raw Sienna (paint)
- Ultramarine Blue (paint)
- Ultramarine Purple (paint)
- Lamp Black (paint)
- Painting Medium (my favorite is called Liquin)
- Palette, Wax Paper or Aluminum foil (to mix the paint on)
- Mineral Spirits
- Canvas or Cardboard
- Gesso (white or clear)
- Paint Brushes (several sizes, tips, and softnesses……based on your preference)
- Cups for Mineral Spirits and Paint Medium

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Watercolor demonstration of radishes on a plate

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http://hallgroat.imagekind.com/NewYorkArtCollection

Instructional DVD & Manual, Volume 1 Traditional Realist Oil Painting

American artist, Hall Groat II, in his unique instructional DVD series demonstrates the techniques of the lost art of traditional realist oil painting. In volume #1 he presents five comprehensive demonstrations, offering nearly 2 hours of solid instruction. The demonstrations included are of compositions involving: three lemons, radishes, ballet slippers, railroad conductor’s pocket watch, and teacup & saucer.

Through his innovative, step-by-step approach he outlines the process that was used by such 19th century painters as Edgar Degas and Edward Manet. Using an easily understood teaching approach, Hall reveals the secrets behind creating dramatic light and shadow illusions to compelling atmospheric spaces, all the way to rendering convincing three-dimensional illusions of form and space.

The included DVD, along with the accompanying manual, present a concise step-by-step system, offering both the beginning and the professional artist the necessary tools to successfully create traditional realist still life oil paintings. Such topics are covered as establishing background variation and movement, accents and cast shadows, and realizing the primary and secondary planes of the motif. Each of the five demonstrations is divided into phases with clearly stated topic headings that correspond to the steps presented in the instructional guide. A glossary of painting terms is also included! All of the demonstrations are approximately 15-30 minutes in length.

Hall has taught art for over twenty years, and currently is an Associate Professor of Art at a college in New York. ARTNews Magazine critic, Gerard Haggerty, states that Hall Groat II’s still life paintings evoke the big picture that we call art history, including painters like Jean-Baptiste-Siméon Chardin, Edwin Dickinson, and his teacher Lennart Anderson.” Collectors of his work have expressed that the work is “Alive, full of grace vitality and beauty, capturing light that is sublime in nature.”

Groat is included in important private and public collections worldwide. These include actors, Michael Douglas and Catherine Zeta Jones, Clear Channel Communications, Bristol-Myers Squibb, Cellular One, Sheraton Hotel Corporation, Binghamton University, Everson Museum of Art, Munson-Williams Proctor Institute of Art, The State University of New York system, Roberson Museum and Science Center and Washington Jefferson College. Prints of this painting can be purchased at:
http://hallgroat.imagekind.com/NewYorkArtCollection

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