Page 10 - George O'Hanlon

This rule appears to confuse so many artists or is ignored completely by others. Perhaps a better way to express the rule "always paint fat on lean" is always paint a slower-drying paint film over a faster-drying film. Think about the last applied paint film being more flexible than the paint film underneath. Another way to clarify this rule is to add a little more oil in the last application of paint than was included in the paint layer just covered or not to dilute with solvent the last applied layer any more than the previous one was thinned.

A whitish surface appearance on oil paintings is a phenomenon of modern oil paintings. While such hazes have traditionally been described by painters as blooming or blanching, the nomenclature has not yet caught up with the different causes. Other terms currently used are efflorescence, exudation, fatty acid deposit or migration, saponification, crystallization, chalking, mold, and ghost images.

Natural Pigments spent years developing a technical workshop to teach skills that are not taught in art schools and universities—a thorough understanding of artists’ materials and tools, what they are designed to do, when to choose them and how to provide considerable longevity to your finished work. This workshop covers the most important aspects of painting that have proven to be the best practices over the centuries.

It is no coincidence that the palette in the self-portrait by Michael Sweerts is practically identical to the palette described in detail by Roger de Piles in his 1684 book Les Premiers Elémens de Peinture Pratique. Sweerts was a contemporary of de Piles, and it appears that his palette was laid out in the manner practiced throughout western Europe in the 17th century.

An unvarnished painting is vulnerable to dirt and dust that will eventually become embedded in the paint. It is also subject to deterioration caused by ultraviolet light, oxidation, and abrasion from handling and transport. A varnish can protect the painting from dirt, ultraviolet light, and abrasion. Applying varnish to your painting is important to maintain its appearance and value. If you decide to apply a varnish to your painting, you must decide on the type of varnish, method of application, and desired final appearance. The following discussion can help you make the right choice for your artwork.

I have been working with Rublev Colours Artist Oils for several years. So much so that my palette is nearly entirely comprised of their colors, and for my students, you can buy the colors on the palette that I use in my workshops. This is for students who wish to use my full or limited palette. The list of materials is an integral part of my working palette, and it has been selected for fast drying time so that your progress in the workshop may run smoothly without the added difficulty of having to work over still-wet or tacky paint. You will notice many earth colors, umbers, and lead pigments. The oils that bind these pigments and that will be used as a medium also exemplify quick drying times.

If you’re interested in Rublev Colours Artist Oils or were thinking about buying my paint set, this video will acquaint you with how I prepare my palette. Many of the colors require some personalization before I use them. You'll see it in the video.

Over time, the appearance of paintings change not only because of accumulated dirt but also because aging itself alters the materials that make up the painting. Besides the build-up of dust, dirt, and grime (i.e., soot, nicotine, etc.), the gradual yellowing and cracking of the varnish layer alters the image. This article gives artists practical and safer methods to clean their own paintings than what is currently taught or practiced by artists. The cleaning methods demonstrated in this article apply specifically to oil paintings, but the techniques and materials can also be used with additional precautions on gouache and tempera paintings.

The second step in cleaning paintings is the removal of more tenacious dust and dirt by dry cleaning with dry sponges or tacky materials. Further cleaning may require the use of aqueous cleaning methods.

The first step in cleaning a painting is the removal of loose dust and dirt. This can be accomplished with brushing, dusting, or vacuuming. Further cleaning may require the use of dry cleaning materials and aqueous cleaning methods.