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All my old paintings on masonite have ruined corners and they cannot be transfered to another surface.

For me using retouching varnish gives too glossy effect

How would you compare naples yellow, with titanium white unbleached?

so beautiful

It's always a joy to see your video

For archival I go for GAC100 as a sealer and cradled “Russian” Baltic Birch. Is it worth it? Check back with me in 200 years…

Hey thank you for taking the time to make this video! So i oil paint outdoors- i never spilt it before but i spilt some on som stone and also my hands... How do i properly remove it from my hands and from the ground? Did i jusy destroy myself lol

Hi, maybe it is too late but, I just want to point out that those masks are pretty bad to protect your lungs. You better buy a respirator mask for this job. Thanks for the video

Maybe a little bit bigger brush?

Thanks for this! Great info and we’ll explained 🎉

Love your video. If I have multiple layers in one painting, Do I must use liquid original for all my layers? Can I only use liquin original only at the first layer? Thank you.

its all fun and games until you try to paint a sky without having the blue u need, and you have the one that cant copy it.

This was what I needed. Thx a lot.

Using the water-mixable oils I can confirm that my 37ml cadmium yellow almost lasted for 2x titianium white 200ml tubes. Same for ultramarine blue, cadmium red went a bit faster. I also like raw and burnt umber. Raw is nice for its greenish tint.

There goes the brush

Thanks for the video, but I think that your shadows are dirty. The main trick here is to make transitions between lights and shadows warmth and orange/red. Because of subsurface scattering under the skin, we have such warm areas.

My english ıs not enough. You might had explained too. But i have a simple question. Can i use linseed oil and liquin together or not ? I want to give my oil pai tings deep effect , glossy, and glazing. I hope used correct words and thats what i meaned. Thank you

Tanner I like how you fold the corners! Just a suggestion I've seen from other artists who stretch paper over wooden cradle box or frame, which is to grab the middle of on side and pull up the paper to wrap on frame, then staple first at the middle of one side, repeat on the opposite side; then repeat this process on the perpendicular sides. No need to crease, keep pulling up/wrap/staple from middle till a couple inches from a corner, now fold/staple your corner and repeat on other 4 sides/corner. The paper will make it's own crease as it shrinks till dry and each side will be more evenly stretched. I've done this for my watercolor paper over a wooden box and have seen video tutorials to do this over a canvased frame or even an open frame. 🙂

U said alizerin crimson but prior not to get that one

my fav. too ❤

Liquin is a fantastic medium although it used to irritate my throat so I stopped using it.

h0w do you get in touch rosemarry?

Great video. Thank you! Can Liquin be used in the same way with W+N water soluble oils? I'm a beginner and trying these paints to avoid air contamination due to allergies/asthma of family members.

So….if I do a lean underpainting with say some type of solvent, then an oil layer(s) out of the tube, I can’t use a medium over that layer right? It’s already fat over lean right? But….can I glaze with oil paint mixed with linseed oil over oil out of the tube since I’m actually adding fat? Asks old confused lady. 😂

WN whites currently have at least some zinc in them, which is problematic in any percentage if you concerned about permanence. The jury is still out on the percentage but it seems to be extremely small. (If not, disregard all that I have to say.) Permanent alizarin crimson with PR177 has an ASTM lightfast rating of I, but it depends on the particle size that is used by the manufacturer which the artist will not know. Test these paints in swatches (half of it covered to be unaffected by light) that are put into the sun for a few months and see for yourself beforehand. My samples showed a lightfastness of II or more and I do not use them for serious paintings but for studies and experiments. To make matters worse, (and I am hesitant to even mention it) the lightfastness of a color also depends on which white is used so that you cannot entirely depend on the ASTM lightfast ratings. See Trevor Ambrose's September 2023 article, "ASTM Lightfastness Testing in oil paints" in Golden Artist Color's blog, "Just Paint" in which 34 WB oil colors were tested with several whites and found that some lightfast ratings were changed when used in various whits, some better than others. As WB uses many of the same limited number of pigment manufacturers as other oil paint companies, the same may be true of them as well. You may need to adjust your whites according to the paint layer with titanium in safflower or linseed in the final layer depending on the pigments that you use. Check the charted lightfastness results in the article. Lead whites, which are superior for paint film strength and flexibility should be covered by the last layer. Otherwise, just enjoy the painting process and have fun with it. Thanks for your video and the work that you put into it.

Damn outside air is harmful too, if you go crazy and sniff the truck exoust pipe. Just follow normal functions, don't eat it, don't sniff it.

My professional artist introduced it to me when I started my career, and I refuse to run out of it.

Thankyou again, very nice and different approach!

Thankyou, finally someone who says painting outdoors instead of the " P" word!

can I oil out with a mix of linseed oil and liquin? (the painting was done more or less with a similar mixture in the paint, used both mediums) thanks!

Hi, what pencil did you use at the end for the white in eye? I’ve been using a paint pen but maybe a pencil would work better. While I’m at it what brush do you use? lol 😅

The best information, this is invaluable for someone who is self learning....My palette is about to get a makeover with just these colors! Thank you!

Hi! I am from Argentina, a very new oil painter. I finished a painting around one months ago. It is dry in touch. It's an abstract painting. It has one layer, very thin. My question is how I can varnish the piece to protect It from dust. Oiling out is not necessary I think you commented. What can I do? Sorry for my english! Thank u for all your videos, I love them!!

Retouch varnish is best for me. You work with small brush strokes from end to end. Takes time but worth it. Protects the painting but you can keep working on the painting after it dries.

new to oils thanks for sharing ! .. gonna buy liquid soon when i'm rich hopefully in August haha

Thank you. It's much needed help for many of us out there with old oil paintings that have begun to show tiny cracks. Great !

for me transparent red oxide is the same as raw sienna; best is from rembrandt. there are many iron oxide pigments, from light ochre to black

don't eat lead; nor cadmium-not good for you

As a very basic rule for layering, I go by the following mantra: Layer 1 = canvas ; Layer 6 = final layer applied 1. Canvas 2. Gesso or Acrylic Paints 3. Solvent + tube paint 3. Liquin mixed with tube paint 4. Tube paint 5. Stand oil + Tube paint 6. Final Varnish Note that between each of these layers, you can add different proportions of each (mix of linseed stand oil and solvent. or more mix of tube paint and Liquin. etc). Just try to avoid mixing mediums together. So no Liquin + stand oil (since Liquin is a pseudo replacement for oil, despite it drying much faster). There's great tutorials out there which teaches proper paint proportions.

That’s weird you read my mind

Beautiful! I had to rush through this, but I am definitely going to rewatch to better take in all the info. Thanks!

Hello, sorry but I cant hear your voice. I can see the sudtitles. 🖌️🎨

Greatly inspirational! Thanks for the video! I'm a fervent art lover, but so far my art knowledge is limited to the old masters and their students. Could you recommend five, or so, living artists that have interested you? Thanks, again!

Thank you so much for explaining the correct way to use a lead pointer. They don't come with instructions (or I lost them) and I've been using them incorrectly for years.

Thank you! This is great advice for an old lady on a tight budget who has taken up oil painting later in life. Simple is better for me. I have been frustrated with the “hues” which I bought because they are cheaper. You get what you pay for! Thanks again!

Awesome!❤

Hi I have a question Could you please tell me what is 4 k magic fluid for ioil painting? I know only it is a type of varnish but I don't know what is the difference between that with the regular varnish.

Very cool . Pietro Caproni was my great great grandfather His only daughter , my great grandmother did a lot of the hand and feet casts when she was young according to the family. She had very atttactive arms and hands and went short sleeves a lot when you see her in college around 1910

Really good info. Thanks! I’ve only just started oil painting (coming from acrylics & watercolor). I did a bunch of research first, but because I don’t have a big studio, don’t want to have to deal with open windows & such for every single painting session (if I start using turpentine or other solvent-containing products then obviously I’ll have to for those sessions), mostly working in my room, I decided to start with Gamblin’s solvent-free fluid medium (alkyd+safflower oil), & I may have to re-evaluate as I try more mediums/solvents & get a better feel as to what serves my needs for full paintings, but I will say- so far I really like the stuff. No VOCs (nontoxic & it smells pretty good), it mixes with the paints pretty effortlessly… Compared to heavy bodied acrylics, where you really have to take a few minutes to mash all the lumps out & slowly work it into a thorough, homogenous mixture with any kind of medium, it’s pretty cool to basically just be able to stir it around until the pigment fills out the medium & have it basically become uniform in a few seconds (more like the effort of mixing fluid acrylics into medium). It seems to provide a very nice flow & transparency (depending on how much you add, with even a little bit really going a long way to make the paint workable)… I find the fast drying times of acrylics really convenient (I don’t have a lot of spaces where I can store a painting to dry for days on end with good air flow & sunlight & without any risk of contamination)… It’s really nice that a layer of acrylic is basically dry by the time I’m done with it & I don’t have to worry about that- but I also hate how difficult it is to do really subtle gradients or fades in acrylic… So I LOVE the things you can do with oils that that same property of acrylics makes extremely difficult… I can absolutely see why people like the slow dry times, in terms of being able to lay paints out on a palette & mix & not have to worry about them drying up mid-session (I find myself doing a lot of mixing from tubes as I go in acrylics rather than having everything on a palette at once, & it’s a lot less convenient than either oils or watercolors, though it works). But, moreover, just being able to put some paint down on the surface & then take as long as I want to slooowly feather it out, soften edges (all the way to a fade to the background color, blend colors smoothly… It’s very nice. And the solvent-free alkyd/safflower oil medium seems to work really well for all of these purposes in moderation. I like that it has a reasonable dry time- it feels like a good compromise between the benefits of oils & alkyds from what I’ve read, though I will need more experience before I can really judge to what extent it also suffers from downsides of both, how it compares to either on its own. But for a new oil painting student who is working under the constraints I am (limited space, no real studio, wanting to avoid toxic solvents/fumes, & wanting relatively reasonable dry times) it seems like it was a good choice. It should enable me to at least get familiar enough with the medium to get a better feel for whether it’s something I want to invest more in. And I know I can do underpainting in acrylic, or sketch under-drawings, or other options, but if I end up deciding I need access to the textures that you can only achieve with solvents, or if I want them for underpaintings, I can always just do those layers outdoors & let them evaporate before moving indoors for the layers with the nontoxic, fume-free stuff (I know they sell this medium as a gel too, but I don’t know how it compares to something like Liquin original or Galkyd in terms of fat-over-lean, in terms of texture & consistency… Still, for its benefits, I’m curious to look into it more. The hardest thing to adjust to in oil painting, for me, frankly, has just been the differences in brush management/maintenance compared to acrylics (in watercolors it’s pretty effortless). In acrylics, I’m so used to just having a clean & a dirty cup of water around all the time… If you want better flow, dip your brush in the clean water & dab it off a little. If you want to clean your brush quickly & thoroughly between colors, just give it a quick rinse & scrub in the dirty water, dry it off on paper towel or a disposable sponge or whatever, & repeat until no more color comes out… It IS a bit annoying in acrylic that you have to actually get up & more thoroughly hand-soap-wash your brushes every so many minutes to prevent any acrylic from drying in them, especially if you use a lot of brushes (makes palette knife/scraper/sponge attractive- I’ll tell you that!)… But as far as cleaning a color off between loading with a different color, it’s so easy & quick to just rinse the brush out with water, & it’s very gentle on the brushes. On the other hand, since you don’t want water in your oil painting brushes, from what I gather that doesn’t seem to really be an option. It’s hard to find answers about what to do to clean them off between colors- most of what comes up is about how you can do more thorough deep-cleaning after a painting session… The best I could find was to use some Dawn dish soap, but it was hard to tell for sure whether they intended it for the purpose I was looking for. Can you do that? Just keep a cup with some Dawn & dab the previous color off into that, wipe it dry on a towel, & keep going without any water to rinse the soap remnants or anything? I worry about whether that will be bad for the brushes (I always feel inclined to use water to fully rinse anything I put into them), but I guess if other people use turpentine or mineral spirits or whatever for this purpose, then they can probably survive some soap… If anyone has any other answers/alternatives/feedback about whether you can use the dish soap for that purpose, or if it should only be used once in a while, between sessions, I’d appreciate it. I have seen at least one person say that with oils you can just wipe them off on a towel/paper towel between colors & that’s adequate, but I found that especially with certain colors, that REALLY doesn’t get them out, & I try to be mindful about not leaving traces in my brush & creating mud (I know some people simply have different brushes for different colors/values to minimize that, but I’ve never HAD to do that as long as I was thorough cleaning them out with other mediums, so if there’s a solution that will clean them out pretty thoroughly between colors without a huge to-do, that would be a great help. It still feels so strange not to ever be able to just dip them in water- it’s such a big part of every other medium I’ve ever used (except for alcohol inks). Maybe I just need a cup of safflower oil or something; iirc I think I remember someone mentioning something like that for quick-cleaning brushes… They definitely mentioned dipping the brushes in it to keep them wet between sessions if you’ll be painting again less than a few days apart.

And you have a groovey name.