Learn How to Paint

Oil
with
 Mediapedia
n By Greg Albert

FAQs
What does fat over lean mean?
Oil paintings have a great mystique and, in the minds of many, the medium is Fat over lean is a basic rule oil painters follow to pre-
somehow more prestigious than others. On top of that cachet, oils have a tac- vent layers of paint from cracking as they dry. Fat paint
tile pleasure no one can deny. Their pure colors, buttery consistency and distinct has more oil in it; lean paint has less. Paint with more
more workable. If youre concerned about the health
risk of using solvents, using linseed oil to thin your paint
and clean your brushes is a good option. Note that
using excessive amounts of oil can result in yellowing or

Oils
scent are a sensuous delight. Oils are well suited for any genre and for almost
any style, from quickly executed alla prima to carefully controlled underpaint-
ing followed by glazing.
Oils long drying time lets you create paintings with delicate blending, fine
detail and textural affects. On the other hand, oils long open time doesnt let
you make corrections immediately by layering wet over dry paint.
Oil paints are made from pigments and a binder, traditionally linseed oil,
which is pressed from flaxseeds. Oil and pigment were combined and used as
early as the 12th century, but traditional egg tempera was far more popular. By
the 15th century, Dutch painters adopted oil as their primary medium; it pro-
vided far more versatility than egg tempera.
The late 18th century heralded the beginning of shops dedicated to the
manufacturing of art materials and related items. By the mid-19th century,
paints went from being ground by hand and stored in animal bladders to being
kept in collapsible tubes similar to the type in use today. The ease of working
with paint stored in tubes spurred the movement to look to the outdoors as a
source of inspiration.
oil will dry more slowly and will be more flexible than
paint with less oil. If a lean layer of paint is applied over
a fat layer, the top layer will dry before the bottom layer.
A lean layer atop a fat layer will crack because it will
have dried and become less flexible than the fat layer
beneath. To avoid this, you should use more thinner in
the bottom layer and increase the oil content in each
subsequent layer.
Whats the difference between traditional oil paints and
alkyd oils or water-miscible oils?
Alkyd oil paints use a synthetic resin binder instead of
linseed oil; it dries faster but otherwise has the prop-
erties of traditional oils. Water-miscible oil paints are
made with linseed and safflower oil thats been mod-
ified so you can use water instead of solvent-based
mediums.
Do I need to use a medium when I paint with oils?
Manufacturers use formulas to produce a consistent
product, and many artists use oil paints right from the
tube, with perhaps a bit of linseed oil to make them
darkening of your painting. But using various oils, sol-
vents and resins will let you play with the paints flow,
gloss and transparency.
Should I varnish my finished painting?
Varnish protects your painting from dust and pollut-
ants. I suggest using a conservation varnish that's easily
removablethis allows generations of conservators to
clean the painting.
An oil painting must be completely dry before var-
nishing, which may take up to a year if the paint was
applied thickly. Traditionally, varnish was made from
damar gum crystals dissolved in turpentinedamar var-
nish tends to yellow with age, however. Soluvar varnish
is a good choice because it's non-yellowing, durable and
removable.
Can I use oil sticks with oil paints?
Yes and no. Oil sticks are made with the same pigments
as traditional oils, with drying oil and wax, but they
never dry completely. Try using oil sticks to create high-
lights on a finished painting.

What is
Mediapedia?
Mediapedia is an encyclopedia of art
media. The Artists Magazine profiled
Chemistry Cleanup
Wipe off brushes with rags to remove most of
a different medium in each issue of the paint; then use a brush cleaner or mild
The pigments used in oil paints are nearly the same as those in
2009. You can find previous install- soap and warm water. Dry brushes by laying
watercolors and acrylics. Oil paints come in two grades, student and
ments at www.northlightshop.com. them flat. Take used solvents to a recycling
professional, the primary difference being the concentration of pig-
centernever pour them down the sink.
ment or in some cases the method of mixing pigment and binder.
The binder in oil paint must be a siccative, or drying, oil that
will harden over time into a stable film. When paint made with lin-
seed oil is exposed to air, it doesn't dry by evaporation as watercolors
and acrylics do. Instead, it oxidizes into a
dry solid. The process can take days or
weeks to form a surface film, and even
longer for impasto layers to solidify.
Linseed oil is obtained from flax-
seed, and additives are used to alter
the paints' drying time and gloss. A
few other options, such as walnut and
safflower oil, dont yellow as much
as they age. All of these oils require
organic solvents such as turpentine or
mineral spirits for dilution and cleanup.

Materials provided by Plaza Art Kenwood, 8154 Montgomery Road,

Cincinnati, OH 45236. 513/793-5300, www.plazaart.com/index.php?page=7522.

2 3
 Techniques glazing

Alla prima: Paint directly on the can-

From top to bottom:
Art Alternatives Gallery
stretched canvas, Art Alternatives clear-
gesso linen artist canvas, Ampersand Gessobord
Museum Series panel and Fredrix oil-primed linen.
vas without an underpainting, finishing
quickly.
Impasto: Apply a thick layer of paint that
Safety
retains the textures of the brush or paint- Many of the traditional pigments
ing knife. used in oil paint are potentially dan-
scumbling gerous, in particular, some that con-
Knife painting: Use a painting knife to
apply a textured layer of paint. The lack tain lead, cadmium and cobalt.
Materials that bear the CL (Cau-
of precise control gives knife painting a
tion Label) seal of the Art & Creative
freshness thats hard to achieve with a Materials Institute (ACMI) should
brush. be used with care and according to
Toned ground: Working on a tinted sur-
instructions.
face adds color contrast to the subsequent Solvents such as turpentine and
layers of paint. mineral spirits evaporate at room

Must-have tools
Underpainting: Start a painting with temperature so you must work in an
thin, quick-drying paint (such as burnt drybrush area with good ventilation.
ochre and turpentine) to block in main Solvents are flammable and
shapes and tonal values before adding sur- shouldnt be used near open flames;
Brushes: There are two basic considerations when selecting brushes: the shape face colors and detail. keep them in closed containers with
and the fibers. Although there are many different types and shapes of brushes, lids until you use them.
Glazing: Apply a translucent layer of color
the most useful and versatile are rounds, flats, brights and filberts. Round Dont eat, drink or smoke
over dry paint; use a glazing medium to when painting. Dont spray oil paint
brushes have round, pointed tips and are good for linear strokes. Flats and
brights are square-ended, chisel-shaped brushes that are good for rectangular increase transparency and flow. Patience unless youre in a room with excel-
strokes. Brights have shorter hairs than flats. Filberts have flat, oval-shaped tips is required. lent ventilation and are wearing an
that can make linear strokes and broader strokes. Because of their versatility, Scumbling: Apply a broken layer of paint over dry or appropriate mask. Consider using a
filberts are the real workhorses in your brush holder. semidry paint, allowing the bottom color to peek through. hand-protecting cream, and wash
Brushes can be composed of animal hair and/or synthetic fibers. Animal hair Make sure to observe the fat over lean rule here. your hands well after painting.
such as hog bristle has a natural springiness thats hard to duplicate. Hog bris- Drybrush: Paint lightly over a textured surface with a
tle is the most popular animal hair for oil painting brushes; its stiffer than sable brush bearing only a small amount of paint. n
or squirrel hair and well-suited for holding thick paint. Synthetic brushes might
not have quite the same stiffness or carrying capacity of bristle brushes, but

Tips
Dont overmix colorsit makes
them muddy and dull.
Limit the colors on your palette to
a dozen or fewer and learn to make
the most of them; having too many
colors to choose from is confusing.
Keep two containers of solvent:
one exclusively for diluting paint
and one for cleaning brushes.
Student-grade paint and materi-
als are OK for initial efforts, but
you should move on to better qual-
ity materials as you develop your
technique.
Using a toned ground makes judg-
ing values easier than when you
use a stark white surface.
theyre easier to clean, and they hold up well to solvents and repeated cleanings.
Supports: The most popular surface for oil painters is canvas stretched on a
light, wooden frame. Canvas must be primed or the oil in the paint will harm Greg Albert, author of The Simple Secret to Better Painting
(North Light Books), lives in Cincinnati, Ohio.
the fabric.
hand-stretched canvas: economical but tedious; good for customized sizes
pre-stretched canvas: saves time, but avoid cheap, low-quality canvases
canvas on panel: practical for small studies
hardboard: primed panels are ready to use
wood: must be primed; creates very smooth surface
Palette: The time-honored oil painting palette is the oval or kidney-shaped
wooden board with a thumbhole, and theres an undeniable romance about
holding a palette laden with paint. You should season a wooden palette by rub-
bing it with linseed oil several weeks before using it. Other options are palette
paper, enameled butcher trays or glass slabs.
Easel: You need a rigid stand to support the canvas or panel. A studio easel can
be a substantial affair, but an outdoor (French or box) easel can be light and
portable.
Containers: with lids for solvents and mediums, and a jar for brush cleaner
Palette knife: for mixing colors on the palette
Painting knife: for applying paint to the painting surface
Rags or paper towels: for wiping brushes and general cleanup

4
In a recent five-day workshop,
Joshua LaRock offered
students problem-solving tools
for painting luminous portraits
in the classical tradition.

Lessons in
Layering
By Louise B. Hafesh

I stumbled somewhat haphazardly

into becoming an artist after I got
my degree in the music business,
says Texas native Joshua LaRock, recalling that growing up he had
always been interested in making art, but was simply not aware of
much art or art history. I had taken some drawing and painting
courses in high school and college, but nothing too intentional, and
I hadnt yet discovered the underground atelier movement, or that
there were even living artists painting in the representational manner.
My only real connection to oil painting had been watching Bob Ross
on PBS, he admits unabashedly, and while I rarely painted along, I
would come home after school and try not to miss an episode.

Teaching Himself
Realizing that the music biz wasnt for him, LaRock took an intern-
ship at a management/record label in Virginia, which yielded the
opportunity to check out East Coast art schools, most notably, the
renowned New York atelier of Jacob Collins. Encouraged by Collins
to do a cast drawing when the fledgling artist returned home to
Houston, he did just that. It took me several months to figure out
just how using books and the Internet, he remembers, but I
finally completed a drawing of the ear of Michelangelos David, sent
a copy to Jacob, and more than any sense of its quality, or even my
skills at that point, I believe it was my determination and seriousness
that led him to accept me.
Having discovered his niche in the art world, LaRock eagerly
moved to New York to study with Collins for
left: Song Without
three years, and in 2009 joined the ranks of
Words (oil on linen, the Grand Central Academy (GCA) faculty
15x15) alongside his former teacher. Jacobs ability

7

above: Laura In to explain technical processes and
Black (oil on linen, ideas is unmatched today, he says
20x16)
about his mentor. By all accounts,
LaRock, also a much respected, clas-
sically realist painter, is a similarly
8 9
inspirational instructor. Participants
at his sold-out workshops consis-
tently marvel at his ability to unveil
the mysteries and acquired concepts
of what he calls indirect portrait
painting from life, as evidenced
recently at a five-day workshop in
his New York studio, where via daily
demos and articulate commentary
he coached 15 students through the
stages of creating luminous portraits.
The portrait as shapes,
light and volume
The human figure is so captivating
and challenging, and most accessible
to the viewer as well, explained
LaRock at the outset. We are, to
ourselves, our most interesting sub-
jects. The figure provides so much
opportunity for emotion, meaning
and storytelling, but also from a
physical, tactile standpoint, there is
little else as beautiful as light falling
on flesh.
Positioning the model to best
take advantage of that glorious light,
LaRock fostered a congenial and
enlightening atmosphere, encour-
aging discussion while he began
a block-in drawing. We bring so
much psychological baggage to
looking at a face that it can be dif-
ficult to get around that and see a
portrait more simply as shapes, light,
volume, he offered at one point.
The features, in particular the
eyes, seem so important that they
become sort of a black hole of atten-
tion when drawing and painting,
at the expense of everything else.
Advising that its a good rule to
treat the cheek, chin and forehead
as being just as important and inter-
esting as the eyes, nose and mouth,
he explained: Too often we place
these features without considering
the bone structure that holds them
up. Beyond that, getting a true like-
ness comes down to being extremely
observant to small breaks in con-
tours and shapes, as well as being
incredibly connected to the surface
form in a tactile rather than flat way.
Drawing from life
That first morning, students wit-
nessed LaRock render a delicate
drawing in graphite and white chalk
on toned paper and, following suit,
Problem Solving
by Joshua LaRock
Master drawing: Learn to put
aside assumed ideas of what you
are looking at, and educate your
eyes enough to see what is actu-
ally in front of you. The maxim is
Draw what you know rather than
what you think you see.
To begin the drawing, think
in two dimensions: Flatten the
portrait as if looking at it through
a window (the picture plane) and
tracing on the surface of the glass.
1. Point relationships: Analyze
where one landmark is relative to
many othersthe tear duct to the
edge of the nostril, for instance.
You may use two established
points to locate a third in what is
often known as triangulation.
2. Tilts: Think carefully about
the angles of relationships. Are
the eyes perfectly horizontal or
tilted slightly one way? The nose
and mouth should also be at the
same tilt as the eyes.
3. Shapes: Attempt to see the
shapes that make up the features,
and, of extreme importance, do
not ignore the shapes around the
features that make up the cheek,
forehead, chin, etc. Abstracting
these shapes often helps you
observe more acutely, and the por-
trait then becomes an interlocking
puzzle. As examples, attempt to
see a bird for the combined
shadow shape of the nose and
eye, or a cartoon man in profile
for the light shape of the cheek.
4. Comparative measures:
Use a pencil or paint brush, held
photo BY LOUISE B. HAFESH
at arms length, perpendicular
to your line of sight, to measure
various proportions and compare
them to others. I always begin
by judging that the distance
from the chin to the tear duct is
almost always the same as the
distance from the tear duct to the
top of the head. I establish this
as an anchor point, calling it the
vertical half.
Now think in the round: The
flattened portrait, now in proper
proportion, can be further under-
stood and refined by imagining
it in three dimensions. Try to
re-create an imagined space
behind the canvas or paper.
Work with values by working
with form: This is perhaps the
most vital method for analyzing
valueand the most difficult to
fully grasp. In short, consider only
the fact that the planes, which
are more perpendicular to the
direction of your light source,
are brighter in value than planes
that are less perpendicularand
forget almost everything else
you think you are seeing. Please
dont misunderstand me! The
phenomenon of light on form is
more complex than this (not least
of which is understanding the
highlight), but thinking about
this physical truth will take you a
long way in your ability to refrain
from the improper practices of
copying values one for one and
copying what you perceive as
local contrasts.
 demo
From Darkness, Light
By Joshua LaRock

Most perpendicular plane

Planes turning
away from
light source

Highlight

1 2 3

4
began drawing their choice of two tocopy of the image, placed face up without the pres- above: Thirst (oil

models poses. Working his way over a toned canvas and outlined with sure of making on linen, 8x10)
from easel to easel, he proffered such a pen), we were all set to begin the it perfect right
pointers as: Be a pure observer; put next step. away, he said. The aim is to create
aside assumed ideas of what you are a thin, neutralized rendering of the
looking at. Break down what you see Painting in layers final portraita broad underpainting
into abstract lines and shapes, and Poised to start the painting demo, that establishes graphic light and dark
stay away from features. Learn to see LaRock explained that an indirect patterns, form and color.
your drawing as a sculpture, model- oil method was distinct from alla Working diligently for three
ing as if your pencil is a chisel and prima, or wet-in-wet. Done in layers, hours, LaRock transformed his can-
you are chipping away at stone. it can achieve wonderful and subtle vas. Having completed the first pass,
Stressing good drawing as the effects by the use of semitransparent he turned to be met with spontane-
foundation, he allotted the better part veils of paint, he explained while set- ous applause from a transfixed audi-
of two days for students to complete ting up his palette and launching into ence. Setting the canvas aside to dry
their sketches. By day three, having dead coloring (the underpainting). overnight, he again made the rounds
completed an oil transfer (raw umber An advantage of the first pass helping students solve their individual 5 6
slathered on the reverse side of a pho- is that you can put something down issues and, given permission, painting
Step One: Diagram of light on form: Step Three: Transferred drawing to Step Five: Thicker paint on day two:
directly on their canvases by way of
Planes facing the light are bright in canvas and neutral underpainting. lighter lights, darker darks.
show and tell.
Learn to see your drawing as a sculpture, value, darkening as they turn away.
Step Four: Finished underpainting Step Six: Glazes and scumbles refine the
modeling as if your pencil is a chisel and you Not simply what we see
The following morning, expanding
Step Two: Preparatory drawing in
graphite and white chalk on toned
after day one: Brightest lights are
exaggerated for future glazing.
form, painting surface and coloring.

are chipping away at stone. Joshua Larock upon the previous days foundation, paper. above: Kelly (oil on linen, 16x14)

10 11
 Palette
Red Umber
Michael Harding

Alizarin Crimson
Michael Harding

Magenta
Michael Harding

Genuine Vermilion
Rublev Meet Joshua
LaRock In 2012 the
artists portrait submission
Raw Umber
Michael Harding of his wife, Laura, was
celebrated as deserving
Transparent special attention during
Oxide Yellow the historic America China
Michael Harding Oil Painting Artists League
(ACOPAL) exhibition at the
Yellow Ochre Deep Beijing World Art Museum.
Michael Harding Reproductions of Laura
became the best selling
Aureolin souvenir throughout the
Michael Harding Chinese tour, and the art-
ist was commissioned to
Lead-Tin Yellow
paint many other Chinese
Rublev personalities, including
Mrs. Wang Limei, director
of the Beijing World Art
Museum, and Mr. Brian Lu,
vice president and general
Lead White no. 2
Rublev manager of Apple Inc. in
Glazing at Last to let go of preconceived above: The Entrance greater China. This past
With LaRocks demo close to being ideas. The magic is in (oil on linen, June, another painting of
36x40) the artists wife, Laura
Viridian realized after the second pass, and the way of thinking and in Black won the 2016
Michael Harding
students having kept pace on their not in the medium or a opposite: Bather (oil BP Portrait Award at the
Ultramarine blue own canvases, the final day was set specific process. Many on linen, 16x10) National Portrait Gallery
Michael Harding aside for polishing, glazing and scum- workshop participants London.
LaRock is represented
bling over the underlayers. Extolling obsess about specific brushes and/or
Cobalt violet Dark
by Collins Galleries,
the benefits of glazing, he emphasized paints, but there is no substitute for Cape Cod; Portraits,
Michael Harding
that laying down transparent veils practice and good drawing. When Inc., New York; Stephen
of paint on top of dried opaque lay- teaching, and in my own work, I try Ling - Beijing. He has
Van Dyke Brown participated in exhibitions
Gamblin ers unifies a paintingand interacts to break down the whole process into
throughout the U.S. and
optically, which facilitates a lumi- distinct phases which allow for more China, has received a
Ivory Black nous backlit glow (a signature of his focused thoughts, rather than trying number of awards from
Williamsburg own beautiful work). The studio was to juggle everything at once, which is the Art Renewal Center,
buzzing as everyone made finishing always overwhelming. There is then a and is a much sought after
workshop instructor.
LaRock began by using slightly ivory black is still not as black as the touches and reflected on the wealth set of ideas, or problem solving tools,
thicker layers of paint and darker entire absence of light in a dark cav- of knowledge that had been shared. at each stage that help with evaluating above: Self-Portrait (oil on
linen, 18x14)
darks; he simultaneously launched into ern or jet-black hair in shadow. So Student Shane Marie Forbes seemed accuracy, overall cohesion and har-
Materials a discussion on values. We cannot we must submit to the limitations of to speak for all. Finally, she said a mony. More than anything, they are
Brushes: Rosemary & recreate the illusion of three dimen- our medium and learn to make value clear roadmap to understanding! what I hope students take away from online:
Co. small to medium soft sions by trying to copy the values we decisions from another angle, namely my workshops. n
Visit LaRocks website
synthetic and bristle see. Reality has a far greater value by understanding how light interacts No Substitue for Good
mostly rounds. Louise B. Hafesh is an award-winning art- at joshualarock.com.
range than anything we can attempt with form. (See Problem Solving, Drawing
ist and writer and contributing editor for The
Canvas: oil-primed Belgian to match with our pigments on page 57). Building lights up to the Summing up afterward, LaRock had
linen by Artfix (84C) Artists Magazine. You can see examples
canvas. The highlight on a nose, for brightest white, he further noted this to say: So much of learning to of her work at: louisebhafesh.com and
instance, is many times brighter than that glazing over these areas later on make art is getting students to ask the paintersportal.blogspot.com.
the whitest titanium oil. Similarly, would make them more chromatic. right questions and convincing them

12 13
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