Thank you, Bill, for sharing knowledge that we need and no one ever addresses. I know I'll always get something I can use from you every time. God bless.
Thank you for that Jan - very heartening to hear! Sorry, it took me so long to reply. I'm pretty bad at getting on social media or looking back for comments that need responses. God bless you as well.
I have been playing around a bit with this and have opted for using an isolation coat (Golden) over the acrylic and then continuing with oil paint on top.So far I haven't encountered any problems.
You just let me know I’ve been doing it right! I do my Wash in acrylics, and I do several panels/canvases at once, so it’s always several days or a week before I get to painting. And, I live in Utah, which is SUPER dry, so I know they’ve been dry. From now on, I’ll make sure my underpaintings are truly dry. Thanks!
Once you are finished with the watercolor layer, you can coat the entire painting with a mixture of 50/50 Gamsol and Galkyd. It will seal the watercolor and give you a great surface to start the oil steps. Then if you ever have to remove the varnish, the watercolor is still sealed in there and won't be vulnerable to water, etc.
Excellent tip Lee! M Graham's walnut alkyd medium is another possibility especially since it doesn't contain any toxic solvents. Yes, if we want to seal the watercolor before oil painting over it we definitely don't want to use a varnish since modern varnishes are designed for easy removal using mineral spirits. Thanks for sharing that info.
I use my acrylic as an initial watercolor underpainting and once dry, I build my painting up with heavier strokes, but allowing some of the wash to come through. The result works very nicely and gives a fluid feel to the paint. It's similar to a fat over lean technique.
You're welcome Teri! I was amazed to learn that oil painters have been painting over watercolor underpaintings for centuries. It sure makes travelling and getting quick color studies much easier.
Great vids Bill! Info that I can really use. Lately I've been painting watercolors and sometimes putting acrylics on top of watercolors. In a wash and opaque way. Great technique to get that luminosity of watercolor and more dense passages of acrylic. All on 140lb Arches rough.
I have been searching for a clear answer to painting oil over acrylics. This has been by far the clearest explanation I have come across. Thank you!! Since I already created an acrylic undercoat I will probably go forward (with peace of mind) after waiting 3 days, but I might try the watercolors underneath for my next painting. Also thank you for the suggestion of Gamvar varnish. So excited to have come across your channel. I subscribed, of course. Many blessings!!
Great to hear the video was useful, Leah! Good luck with your painting. I recently used watercolor as the underpainting of a 30x40 oil painting and it worked beautifully. The painting was on an oil primed canvas and the watercolor had no trouble sticking. If the watercolor beads up at all just reduce the amount of water. The watercolor dries lighter in value, so once your underpainting is finished add a thin layer of something like Walnut Alkyd Medium over it and it will look fresh and vibrant again. Mediums, including mineral spirits, will not affect or disturb the watercolor washes at all. The watercolor dries and can be painted over immediately with oils. Acrylics might be easier to work with to get the canvas covered, but I don't know for sure since I haven't used acrylic paint much since art school in the 80s.
Many thanks for doing such a thorough job with this. It is very helpful information. You helped answer so many questions in one video. Thank you for researching and sharing !
I was taught to do the under painting with a thin wash, using solvent. Now we know that’s a no-no. If you make a wash with oil, that interferes with the fat over lean rule. When you do your under painting with oils, do you use it straight from the tube? Lately, I’ve been starting with a wash of acrylics, letting it dry for 3 days (after I learned I needed to!), then painting with oils. Now I’ll try watercolors, but I’ll be afraid to let any of it show through. Thanks for the info about the boards, too. I’ve gone to boards, and you’ve reassured me that it’s a good choice. It takes a loong time to dry, but is worth the wait.
Hi Bill, many thanks for this video! I'm beginner, I made only few wet-to-wet "Bob Ross" style pictures and fell in love with the oil paints immediately. But as I'd like to paint also precise shapes and not just landscapes I'm searching for my way through the "classic style" including scatching and blocking-in with underpainting. When I've been searching for the best way how to make the underpainting and which medium to use, I luckily found this video and wanted to thank you for the tip that I don't have to bother with acrylic paints because I can reach the same result just with watercolors. Together with saying thank you, I also wanted to share my successfull experience with using Derwent Inktense pencils together for the drawing and underpainting :-) Because their pigment gets activated with water and after it dries, it's permanent, so one does not need to worry about their potential re-activation if using water-soluable paints or oil paints mixed with medium containing water. Also your video about unnecessary mediums is very useful and definitely made me stop thinking about buying some liquin and going further just with lineseed and safflower oils :-).
Ouch Raymond, that pretty well put's them out of reach. Aluminum is excellent, I just wish the corners were stronger. I tend to toss my panels around too much I guess.
Wow man. All these informations in ONE TAKE. Very interesting stuff. Waiting 2-3 days before applying oil on acrylic makes absolute sens since it is what they advise on acrylic gesso. You are perfectly right. About the ASB, I think that sunlight may cause problems, no? Any thoughts about it? Thanks.
You could use alkyds for underpainting or staining the canvas, rather than acrylics. I don't use either - just rub a bit of earth colour into the surface, i.e. oil, and paint over that. But - while I can see that watercolour might work on a very smooth surface, and you could keep the viscosity right down, I'd have thought it would be more likely to coagulate, eg apply more thickly, on a rougher surface like cotton duck or linen. However, I haven't done it, so it's just a thought. I agree with you about not using acrylics as underpainting - acrylic grounds aren't the same formulation as acrylic paints; I would prefer to use an oil ground if I could get it - how toxic it would be would depend on what's in it: lead won't do you any harm so long as you don't eat it or breathe in the dried flakes of pigment; solvent mixed with it would be something else again. I've been in search of the ideal surface for oil paint for around 50 years: I don't think it's MDF, or hardboard (Masonite) but I'm not sure about ABS either. I rather like Ampersand boards ... for oil, anyway. If you've come up with the absolute ideal since recording this, do let us know!
I just stumbled across you today and found your video very informative. Thank you for the video. You touched a little on different painting surfaces. As a carpenter I use a lot of MDF because it accepts paint very well, the surface is smooth and consistent and very temperature stable. I was wondering if the ABS panels are as temperature stable as MDF? Many modern composite construction materials may shrink and grow with temperature changes but MDF is the same size, width and thickness at 20 degrees Fahrenheit as it is at 100.
Thank you, Bill for sharing your research. I thought about using oil over acrylics for my new painting on linen. Would it be useful to add two coats of clear gesso after the acrylic layers before starting the oil painting layers? Would using clear gesso prevent water-based restoration varnishes from interfering with the acrylic layer underneath?
That's a great question, Jonah. I'm not an expert by any means, but my research would suggest that a clear gesso wouldn't add any benefit and would probably dull your underpainting. Clear gesso is still acrylic and it is porous, not waterproof. To demonstrate the porous nature of acrylic gessos, cover an MDF panel completely on all sides with several coats of gesso. Let it dry for a few weeks. Then dunk it in a sink full of water. After a couple hours (or a day), take it out and you will see the MDF swelling from the water damage. If your technique requires an acrylic underpainting then just make sure you let it dry for several days before painting on top with oils and paint directly onto the acrylics. The main thing to avoid with oils on acrylics is zinc in the oil paints - zinc oil paints don't play well with acrylics. The oils in general will adhere fine to the acrylics so that's not a problem. Watercolors tend to be a better choice simply because they dry immediately and they don't cause problems with zinc in the oil paints. Plus history is on the side of watercolors since oil painters have used them for underpainting for centuries without any noticeable long-term problems even when they used zinc white starting in the late 18th and early nineteenth centuries.
I loved this video, Bill! Very informative to a newby oil painter. I've been holding back for a long time, concerned about solvents and stumbled upon your channel. Anyway, I thought the idea of using ABS boards was birilliant and I love that you CAN underpaint with watercolor, especially since I know how to use watercolor (basically) but not acrylic and so many other painters tout the benefits of an acrylic underpainting.
Hi, Bill, I'm back -- with two questions: firstly, what is your take on using water soluble oils for underpainting under oils? secondly: you mentioned using walnut oil for glazes. Do You have a video demonstrating this; or, could you explain in words how this is done? Thank you once again for all your your explanations and elucidations! Carol
I am a beginner artist. I have been doing watercolors for 2 yrs, but decided I wanted to try oil. Am I understanding that you would use an acrylic gesso on your canvas PRIOR to doing the watercolor? Then you do not need to use anything else over the watercolor when you start using your oil paints? I was trying to go the no fumes, least toxic route for oils. Thank you. This was really informative. (note: i am using the inexpensive craft store canvas that is primed while I am learning. )
I use watercolor under my pastels and oil sticks but I lightly cover with Liquitex clear gesso with a sponge brush and my watercolor doesn’t move because my application is careful. So now my surface is ready to go again and the wc is under the gesso.
I've done some experiments painting over watercolor with oil on canvas. If you use extra gum arabic it's too glossy and any heavy application can be seen through the first oil washes or glazes in those areas and the area stands out like a sore thumb so that result is not good. So I'd avoid using watercolors I'd use very watery washes to cut through the gum as much as possible or I'd just use water with pigment without gum to do my washes and binding it to the canvas later by letting the first layer of oil sink into the pigment and the threads of the canvas binding them together. Thomas Keating did demonstrations with water and pigment and recommended using damar varnish between layers. I think egg tempera would be superior to watercolor washes altogether though. We know that combination is stable, but may be not very flexible. But since you are using a stiff surface like ABS it may work out well. It's worth an experiment. If the egg binds to the abs as well as the oil does you're probably good and could apply an egg wash chalk ground first so you can draw on the plastic before your first color egg washes similiar to the finnish procedure on wood.
Great tip about the gum arabic Jeremiah, thank you! I use the fluid tubed watercolors from Daniel Smith and Winsor Newton and on both a lead and oil ground didn't have any problems, but I can see how the gum could cause problems if it dries glossy. I would avoid any type of varnish, even retouch, between layers of oil paint - it undermines the integrity of the painting because varnish is easily removed with solvents and those solvents will get in between the paint layers during cleaning or removal if varnish is used that way. Your idea about the egg layer sounds intriguing - I'll have to do some experiments. Although, for me, I don't bother to seal the watercolor until I've added oil paint and finished the painting, and then varnish it all together with Gamvar.
Hi, Bill. I have never varnished before; so, I have 2 questions: firstly, how long should one wait after completing an oil painting before using Touch-Up Varnish? (I live in an extremely dry area of the world. Even in winter.) Second question: for what reason do people remove varnish? I always find helpful advice from your videos; so, let me use this opportunity to thank you. Carol
I just 'noticed' that you said people remove vanish in order to do touch-ups; so, that answers that question. I had heard that one should wait at least half a year before applying varnish to a finished painting. What is your take on this? Thank you once again.
@@chayita7 Hi Carol, the idea about waiting a year came about primarily because of the older varnishes like Damar. Damar required Turpentine to dissolve the resin (I used to make my own from damar crystals in the 90s). Turpentine is a powerful solvent and tends to loosen drying paint films, or get under them, making it dangerous to the painting to brush it on (and very toxic for us painters). I used to think based on some research that Damar sealed the surface so strongly that it slowed oxidation and caused problems with the oil paint if applied too early. I'm no longer sure that is accurate. Natural Pigment's website says oil paint will continue to dry underneath any varnish but still encourages artists to wait at least 6 months or until their paintings are thoroughly dry to the touch. I believe that is overkill, especially since they don't give a reason why we should wait. Another artist claims that if you varnish too early that the varnish will bond with the oil paint and become impossible to remove. It's possible I suppose, but I haven't seen any research to back that up. There is so much opinion out there it makes it very complicated to know what is right. I've certainly changed some of my thoughts and opinions over the past 10 years. Gamblin states it is safe to varnish with Gamvar as soon as the painting is sufficiently dry to the touch. That's currently my go-to opinion. So, now I varnish my paintings with Gamvar as soon as I trust that my varnish brush will not disrupt the paint skin. As a professional artist, I don't have the leisure of waiting a year to varnish my paintings. They will likely be in a gallery and sold well before the 6 months or year timeframe. The nice thing about Gamvar is it is easy to remove with some Gamsol mineral spirits. I remove varnish occasionally when I decide an older painting would benefit from some more work or changes.
@@BillInmanArtThanks for answering so promptly! I had wanted, as well, to say kudos for the watercolor advice, which I had been thinking about, even before Marion Dutton quoted you. I have a few ideas for landscape paintings with blurry backgrounds. I am thinking of doing a watercolor multi-colored underpainting before applying a layer of oil paint for the effect of blurred foliage as in photography. Does this sound at all feasible to you? I would be so grateful to hear your take on this when (if) you have the time.Carol.
Do you use water-colour washes on the ABS panels when you oil paint or are you suggesting it for linen/canvas/wood/alum primed surfaces? Because you said you don't prime your ABS panels, I'm imagining the water beading up on the ABS surface and taking a while to dry because it's so porous. I'll definitely be looking into ABS surfaces thanks for sharing your knowledge.
Great question. I haven't tried watercolor on ABS yet but if I use the watercolors with less water and a bit more opaquely I envision them sticking without a problem. Since they adhere well to oil and lead primers I believe they will adhere to a sanded ABS surface. It will be a good experiment.
To your reply on toxic free mediums...it wouldn't post there...Thank you so VERY much for the "book" you wrote. Are you saying all we need is good paint & turpenoid natural? Are "professional" paints as good as "artist'' grade? Is it true we can avoid the need for oiling out by not using solvents, using a well primed surface & adding bodied oil to paints that tend to dull? And altho Gamsol is safe it isn't NEEDED to thin paint or clean brushes since Turpenoid natural is better & watercolor on canvas is better as the wash layer right? People who had unpleasant Gamvar experences used Krylon's Kamar spray varnish, have you? Is Trpnd Natural or Gamsol better to remove varnish if it needs cleaned? Do you use or recommend a leaning bride or mahl stick? Your advice is invaluable!
Let's address these one at a time. Paint: when I say professional, I mean Artist Grade rather than Student Grade. It's good to distinguish, though, since I know professionals who use Student grade paint. Turpenoid Natural: Don't use Turpenoid Natural as a medium - only to clean your brushes and palette. It greatly slows or retards the drying process of oils and is not advisable in quantities greater than what is left in a well-wiped brush. Sinking in: oil paints sink or absorb into the surface more with acrylic gesso than they do on oil or lead grounds (gesso). If you want to avoid most sinking-in, use an oil primer. Even one coat added over an acrylic-primed surface will help. Bodied oils: I don't use a lot of medium to paint, and I have only used bodied oils like Stand oil a few times over the past 40 years. But based on my conversations with other artists and my research, Stand oil will help prevent sinking in because it increases the proportion of the binder to the pigment, which is helpful with pigments that are thirstier (require more oil) or with primers/grounds/gessos that are overly absorbent and pull too much of the oil binder away from the pigment. It is the oil binder that makes the pigments glossy, so if it is sucked into the canvas or another layer of paint, the pigment will not have enough oil to maintain that glossy look. Experiment, though, and use only enough to prevent sinking in. Too much oil and the paint could wrinkle (leave piles of paint on a palette for a couple of years, and you will see what I mean), or it will yellow excessively (it's the oil that yellows, not the pigment). Also, adding oil will slow down the dry time, sometimes dramatically. That's where an alkyd is useful since alkyd mediums speed up the dry time while maintaining the glossy appearance. Use alkyd medium sparingly, though, or it will become mirror slick, and other layers of paint will have trouble adhering. Too much alkyd medium will also cause the paint strokes to flatten out - not the glossiness - the brush bristle texture. I like brush texture, so I use only small amounts of M Grahams Walnut Alkyd Medium at those times when I want more flow, I'm in a rush for the paint to dry, or I feel a particular mixture might be prone to sinking. Gamsol: Gamsol is not appreciably toxic to most people. Those with lung issues or allergy tendencies might want to avoid it. Because of my art school professor's experience of developing an acute toxicity build-up, I decided to give up all solvents as much as possible. Robert Gamblin says it's not harmful, but I've talked with and read about artists who developed lung problems or sensitivities to Gamsol. Watercolor is an excellent substitution for mineral spirit washes., but you'll want to experiment with both to see which works best for you. Gamvar: yes, I've used Kamar varnish. It's excellent. I use Gamvar because it only contains mineral spirits, and when I varnish during the cold winter months, I feel safer with those fumes than with the aerosol used for Kamar application. Gamvar does have trouble covering or sticking to paint surfaces occasionally, which is frustrating, but all of the modern varnishes I've used have that problem, except for the Damar varnish I made in the 'old' days. Damar required Turpentine which is highly toxic, and the Damar yellows quickly and excessively. So, I put up with some periodic inconsistencies and inconveniences in using Gamvar. Even Kamar would bead up on some paintings. As far as my experience goes, there isn't a perfect product or art material out there. That's why we each need to experiment and see what works best for our particular personalities and processes. Mahl stick: I have multiple mahl sticks - I've used one maybe a half dozen times in forty years. Some artists use them every day. It's a tool. If a mahl stick will speed up or improve the painting process, why would someone not want to use one? I simply don't find the need for one very often.
Thank you so much Bill! After 47 years I'm gathering fresh supplies & you are thawing my freeze up. What oil primer do you recommend? So I can follow your lead using only paint & maybe walnut oil, would you be so kind as to find me on f book? so you could see the paints I purchased called professional & you could okay them?@@masteroilpainting
What about Windsor and Newton water mixable oil colors? I also have a “fresh Grey” Art Spectrum Pastel and Mixed medium primer….looks like it’s acrylic based with maybe A phosphate grit in it? I know that you can use isopropyl alcohol or water to dilute soft pastels for an under painting. Thx for all of your info. I am a water color girl… but 8 love to play with different mediums. 👩🏻🎨🖌🙏🏻
Hi Mendy, I hope I answer what you're actually asking. If you're asking about using water-mixable oils as an underpainting, I would strongly caution against it. WMOs dry more slowly than traditional oils. If you want a faster drying oil I would recommend an alkyd paint or a medium like M Graham & Co Walnut Alkyd Medium (alkyd paints may contain mineral spirits while the Walnut Alkyd Medium is solvent-free). The paint film that forms on WMOs is softer than with Alkyds or Traditional Oils and more susceptible to damage in the long run. Plus, WMOs are not as nice as Trad Oils to paint with - they just don't flow as well. The Art Spectrum Papers look like a good surface for any medium if painting on an acrylic surface appeals to you. I no longer use or recommend acrylic grounds for oil painting since any zinc in oil paint reacts negatively when used on Acrylic primers (it becomes brittle, cracks, and can delaminate). I wholeheartedly agree with you about playing with different surfaces, textures, paints, tools, and mediums - you never know what fun effects you'll discover.
@@jessehorstman That's an excellent question Jesse in relation to the zinc problem. I do continue to use ABS panels but I now prime them with Gamblin's oil primer. I like the relative stability and durability of the ABS and I was excited that I didn't need to prime them. Still, some of the paints I use occasionally do have zinc in them and I don't want to have to worry about any possible cracking. Also, I prefer the slightly slicker, freer-flowing surface of an oil primer compared to the absorbent nature of acrylic surfaces (oil primers are easier on my brushes and the paint glides on quickly and easily). Lead grounds are also excellent for oil paints but lead is a tricky material to work with safely. I read this in an article on the CDC's website: "Use an effective lead removal product to clean your hands. Washing skin with standard soap and water is not enough to remove lead residues." That was very disappointing since I had been using a lead/titanium mixed white to paint with and lead grounds on my panels and canvases. Even though I used gloves while mixing and washed my hands after painting, my brushes and tools still had lead residue on them and, it turns out, my hands probably did as well. Now I'm faced with the knowledge that most of my art materials likely have lead residues on them. NIOSH researchers made some wipes that can remove 98% of the residue, but that's an extra complication that ultimately dampens my enthusiasm for lead products. Besides, oil primers are plenty sufficient for strong, problem-free oil painting so why bother with a potentially health-threatening substance like lead? The one downside to oil primers is that they have mineral spirits in them (Gamblin's oil primer uses Gamsol). So, I would recommend priming your panels in a ventilated space or outside (Stapleton Kearns primes a hundred surfaces at once outdoors so he's set for the season). I also have a respirator for those times I can't get outside. Fortunately, Gamsol mineral spirits are much less toxic and dangerous than Turpentine, hardware store mineral spirits, or lead but some people do have allergic reactions or develop sensitivities to the solvent over time.
@@masteroilpainting Wow. I appreciate your passionate and thorough response. I also found your article about this same topic and I am intrigued by the concept of using oil bars or paints directly on mahogany. Do you have any thoughts about the use of urushiol based lacquers as a size or casien paint as a ground?
Hi Bill! Great video, very informative! Regarding the adhesion of oil paint to plastic or acrylic. Do you thing oil paint would have good adhesion/bonding when painted on top of Yup paper? Thanks!
Great question Julio. I love the idea of it because the colors would stay vibrant since there isn't any sinking in of the paint. I haven't tried Yupo, but I would recommend that you not use it for oil painting. Acrylic tends to bond chemically to acrylic. Oil paints bond to acrylic by mechanical means - primarily because acrylics are porous and the oil paints sink into the microscopic pores creating a bond. Yupo is 100% waterproof - it is not porous - so it has nothing for the oil paint to cling to. I would imagine that it would eventually peel off or be easily scratched off with a stiff scraper or palette knife. Watercolor is thinner so it might work on it - but I'm not confident that anything would permanently adhere to Yupo. Even acrylic might have trouble bonding since Yupo is non-porous and a different type of plastic. I will have to do some research about the mechanical and chemical properties of Yupo and how those properties would interact with various paints.
Do you know anything about the safety of the plastic in acrylics. When I was in a cell biology class we learned how plastic may be affecting living things. An example was frogs being born with multiple legs that lived by a plastic plant. Another thing was affecting babies before birth. I’m concerned we are not taking precautions because we think it’s safe and we are really putting ourselves at risk.
Plastics are definitely affecting the planet and nature negatively Marilyn. I did a lot of research about the toxicity of plastics when William Whitaker told me about using ABS for painting panels. The trouble is just about everything today is made with some type of harmful substance or manufacturing process. ABS seems to be one of the less harmful plastics, and I'm not discarding much waste product (I keep all the pieces except for the dust left over from sanding). But, yes, we are better off avoiding plastic as much as possible.
Hi Kevin, I just saw your question. Here is what I wrote to Jesse who asked as well: That's an excellent question Jesse in relation to the zinc problem. I do continue to use ABS panels but I now prime them with Gamblin's oil primer. I like the relative stability and durability of the ABS and I was excited that I didn't need to prime them. Still, some of the paints I use occasionally do have zinc in them and I don't want to have to worry about any possible cracking. Also, I prefer the slightly slicker, freer-flowing surface of an oil primer compared to the absorbent nature of acrylic surfaces (oil primers are easier on my brushes and the paint glides on quickly and easily). Lead grounds are also excellent for oil paints but lead is a tricky material to work with safely. I read this in an article on the CDC's website: "Use an effective lead removal product to clean your hands. Washing skin with standard soap and water is not enough to remove lead residues." That was very disappointing since I had been using a lead/titanium mixed white to paint with and lead grounds on my panels and canvases. Even though I used gloves while mixing and washed my hands after painting, my brushes and tools still had lead residue on them and, it turns out, my hands probably did as well. Now I'm faced with the knowledge that most of my art materials likely have lead residues on them. NIOSH researchers made some wipes that can remove 98% of the residue, but that's an extra complication that ultimately dampens my enthusiasm for lead products. Besides, oil primers are plenty sufficient for strong, problem-free oil painting so why bother with a potentially health-threatening substance like lead? The one downside to oil primers is that they have mineral spirits in them (Gamblin's oil primer uses Gamsol). So, I would recommend priming your panels in a ventilated space or outside (Stapleton Kearns primes a hundred surfaces at once outdoors so he's set for the season). I also have a respirator for those times I can't get outside. Fortunately, Gamsol mineral spirits are much less toxic and dangerous than Turpentine, hardware store mineral spirits, or lead but some people do have allergic reactions or develop sensitivities to the solvent over time.
@@masteroilpainting - Hi, Bill! Thanks for your most excellent, detailed response. I've been interested in trying ABS after watching your video. Thanks again!
@@masteroilpainting Thanks, it's a generic gesso for painters I'm pretty sure it's acrylic from the smell then. Also it doesn't soak the color at all and I find it really pleasant to paint on it, I also wash the surface with oil and white spirit before starting to facilitate the smoothness of the painting act.
@@squarz Sounds like an acrylic gesso. If you like painting on it I wouldn't be overly concerned - oil paint mechanically bonds with acrylic gesso or paint pretty readily. Just be aware of whether your oil paints are made with zinc. It's the zinc in oil paints that doesn't play nicely with acrylics.
The other problem with wood is that it expands and contracts with cold and heat, so over time the repetitive changes to the wood may crack or damage the painting. I would say consider your climate. Consider how long you want the painting to be around etc. before choosing wood.
I use a lot of watercolour brushes for oil painting. Do you think the wc underpainting would work over alkyd/ oil based primers? The one I am thinking of contains marble dust.
Yes, very well. I've used watercolor on oil and lead primers without any adhesion problems. Of course, once your painting is finished you'll want to varnish it to protect the watercolor from possible water damage. That way you can frame the painting like a traditional oil painting without glass.
Yes. The recommendation is to wait 3-4 days for the acrylic to finish drying and then you can paint oils over them. Most artists I know who use acrylics for the underpainting only wait for the acrylics to be touch dry, and possibly, they will never see any problems arise. But George O'Hanlon from Natural Pigments cautions against it. In a training with him a couple weeks ago about art materials, he told us museums are seeing a lot of problems with modern work compared with historical paintings because we artists tend to ignore best practices. I occasionally use watercolor as the underpainting washes now, which has been used quite a bit historically, but even that could possibly have issues because of the gum arabic. The researchers at JustPaint,org and George believe watercolor is fine, but they admit there isn't any real research to know for sure.
So... Ive been messing around with mix media for a long while, even painting scents most recently. I know... I'm a genius, the next Picasso, hold your applause please... anyways I want to come here and be informative as an anecdotal source. you can literally paint with all of the mediums if you want. HOWEVER! 🚨🚨🚨 just like in math, you need to pay attention to the order and layering. on a water color linen canvas, you can layer acrylic over the water color and then use the acrylic foundation for oil. HOWEVER!!! 🚨🚨🚨 If you are using a full cotton linen be aware, depending on the materials, your painting will "decay" much more rapidly than any other type of painting... If you have ever messed around with super glue and foam you will know chemical reactions can easily happen. (super glue + foam = fire) just be aware of what you are doing and make it a point to test things before you jump straight into a project. The reason I am also saying this is because not every oil paint is made with the same oil and some oils will react and cause again... cause damage or even a fire. some oil paints, even in the same brand are made with different oils, for instance 3 of my favorite paints (plant based colors) I use are made with linseed oil (these colors yellow over time) while 3 brighter paints I like (phthalos) are made with a less pure mineral oil. (these yellow only if exposed to direct UV light past its oxidation point (more sun time = more yellow)). EDIT: TLDR: As oxidization occurs between paints, especially on a organic cotton canvas, your paint may eat through the canvas material. meaning your painting is for the most part going to destroy itself...
Thank you, Bill, for sharing knowledge that we need and no one ever addresses. I know I'll always get something I can use from you every time. God bless.
Thank you for that Jan - very heartening to hear! Sorry, it took me so long to reply. I'm pretty bad at getting on social media or looking back for comments that need responses. God bless you as well.
I have been playing around a bit with this and have opted for using an isolation coat (Golden) over the acrylic and then continuing with oil paint on top.So far I haven't encountered any problems.
You just let me know I’ve been doing it right! I do my Wash in acrylics, and I do several panels/canvases at once, so it’s always several days or a week before I get to painting. And, I live in Utah, which is SUPER dry, so I know they’ve been dry. From now on, I’ll make sure my underpaintings are truly dry. Thanks!
Once you are finished with the watercolor layer, you can coat the entire painting with a mixture of 50/50 Gamsol and Galkyd. It will seal the watercolor and give you a great surface to start the oil steps. Then if you ever have to remove the varnish, the watercolor is still sealed in there and won't be vulnerable to water, etc.
Excellent tip Lee! M Graham's walnut alkyd medium is another possibility especially since it doesn't contain any toxic solvents. Yes, if we want to seal the watercolor before oil painting over it we definitely don't want to use a varnish since modern varnishes are designed for easy removal using mineral spirits. Thanks for sharing that info.
I use my acrylic as an initial watercolor underpainting and once dry, I build my painting up with heavier strokes, but allowing some of the wash to come through. The result works very nicely and gives a fluid feel to the paint. It's similar to a fat over lean technique.
Holy cow this is awesome As an intermediate level watercolorist trying oils as an alternative this is great news and information Thank you so much
You're welcome Teri! I was amazed to learn that oil painters have been painting over watercolor underpaintings for centuries. It sure makes travelling and getting quick color studies much easier.
Great vids Bill! Info that I can really use. Lately I've been painting watercolors and sometimes putting acrylics on top of watercolors. In a wash and opaque way. Great technique to get that luminosity of watercolor and more dense passages of acrylic. All on 140lb Arches rough.
What a brilliant concise, understandable..Tutorial
Good,clear and useful video.I am currently doing a large acrylic and plan to go over with Oil paint as finish medium. Thanks for post!
Spoken from experience, great insight, thank you.
I have been searching for a clear answer to painting oil over acrylics. This has been by far the clearest explanation I have come across. Thank you!! Since I already created an acrylic undercoat I will probably go forward (with peace of mind) after waiting 3 days, but I might try the watercolors underneath for my next painting. Also thank you for the suggestion of Gamvar varnish. So excited to have come across your channel. I subscribed, of course. Many blessings!!
Great to hear the video was useful, Leah! Good luck with your painting. I recently used watercolor as the underpainting of a 30x40 oil painting and it worked beautifully. The painting was on an oil primed canvas and the watercolor had no trouble sticking. If the watercolor beads up at all just reduce the amount of water. The watercolor dries lighter in value, so once your underpainting is finished add a thin layer of something like Walnut Alkyd Medium over it and it will look fresh and vibrant again. Mediums, including mineral spirits, will not affect or disturb the watercolor washes at all. The watercolor dries and can be painted over immediately with oils. Acrylics might be easier to work with to get the canvas covered, but I don't know for sure since I haven't used acrylic paint much since art school in the 80s.
Many thanks for doing such a thorough job with this. It is very helpful information. You helped answer so many questions in one video. Thank you for researching and sharing !
I was taught to do the under painting with a thin wash, using solvent. Now we know that’s a no-no. If you make a wash with oil, that interferes with the fat over lean rule. When you do your under painting with oils, do you use it straight from the tube? Lately, I’ve been starting with a wash of acrylics, letting it dry for 3 days (after I learned I needed to!), then painting with oils. Now I’ll try watercolors, but I’ll be afraid to let any of it show through. Thanks for the info about the boards, too. I’ve gone to boards, and you’ve reassured me that it’s a good choice. It takes a loong time to dry, but is worth the wait.
I use Sennelier green for oil solvent, medium and brush cleaner and it is totally nontoxic
Good to know thanks
Hi Bill, many thanks for this video! I'm beginner, I made only few wet-to-wet "Bob Ross" style pictures and fell in love with the oil paints immediately. But as I'd like to paint also precise shapes and not just landscapes I'm searching for my way through the "classic style" including scatching and blocking-in with underpainting. When I've been searching for the best way how to make the underpainting and which medium to use, I luckily found this video and wanted to thank you for the tip that I don't have to bother with acrylic paints because I can reach the same result just with watercolors. Together with saying thank you, I also wanted to share my successfull experience with using Derwent Inktense pencils together for the drawing and underpainting :-) Because their pigment gets activated with water and after it dries, it's permanent, so one does not need to worry about their potential re-activation if using water-soluable paints or oil paints mixed with medium containing water. Also your video about unnecessary mediums is very useful and definitely made me stop thinking about buying some liquin and going further just with lineseed and safflower oils :-).
Thank you for your information❤
What do you think of painting on masonite? Thank you for this valuable info.
I learned to use an acrylic base with oil on top and were taught to do this as standard practice at NHIA, the art school I attended.
I wonder what goes into the air when you sand plastic?
Absolutely fascinating thank you. Don't know why but here in the UK ABS sheets are very expensive about 4x aluminium panels.
Ouch Raymond, that pretty well put's them out of reach. Aluminum is excellent, I just wish the corners were stronger. I tend to toss my panels around too much I guess.
Wow man. All these informations in ONE TAKE.
Very interesting stuff.
Waiting 2-3 days before applying oil on acrylic makes absolute sens since it is what they advise on acrylic gesso. You are perfectly right.
About the ASB, I think that sunlight may cause problems, no?
Any thoughts about it? Thanks.
Acm panels are worth a look.
You could use alkyds for underpainting or staining the canvas, rather than acrylics. I don't use either - just rub a bit of earth colour into the surface, i.e. oil, and paint over that. But - while I can see that watercolour might work on a very smooth surface, and you could keep the viscosity right down, I'd have thought it would be more likely to coagulate, eg apply more thickly, on a rougher surface like cotton duck or linen. However, I haven't done it, so it's just a thought. I agree with you about not using acrylics as underpainting - acrylic grounds aren't the same formulation as acrylic paints; I would prefer to use an oil ground if I could get it - how toxic it would be would depend on what's in it: lead won't do you any harm so long as you don't eat it or breathe in the dried flakes of pigment; solvent mixed with it would be something else again.
I've been in search of the ideal surface for oil paint for around 50 years: I don't think it's MDF, or hardboard (Masonite) but I'm not sure about ABS either. I rather like Ampersand boards ... for oil, anyway. If you've come up with the absolute ideal since recording this, do let us know!
I just stumbled across you today and found your video very informative. Thank you for the video. You touched a little on different painting surfaces. As a carpenter I use a lot of MDF because it accepts paint very well, the surface is smooth and consistent and very temperature stable. I was wondering if the ABS panels are as temperature stable as MDF? Many modern composite construction materials may shrink and grow with temperature changes but MDF is the same size, width and thickness at 20 degrees Fahrenheit as it is at 100.
Thank you, Bill for sharing your research. I thought about using oil over acrylics for my new painting on linen. Would it be useful to add two coats of clear gesso after the acrylic layers before starting the oil painting layers? Would using clear gesso prevent water-based restoration varnishes from interfering with the acrylic layer underneath?
That's a great question, Jonah. I'm not an expert by any means, but my research would suggest that a clear gesso wouldn't add any benefit and would probably dull your underpainting. Clear gesso is still acrylic and it is porous, not waterproof. To demonstrate the porous nature of acrylic gessos, cover an MDF panel completely on all sides with several coats of gesso. Let it dry for a few weeks. Then dunk it in a sink full of water. After a couple hours (or a day), take it out and you will see the MDF swelling from the water damage. If your technique requires an acrylic underpainting then just make sure you let it dry for several days before painting on top with oils and paint directly onto the acrylics. The main thing to avoid with oils on acrylics is zinc in the oil paints - zinc oil paints don't play well with acrylics. The oils in general will adhere fine to the acrylics so that's not a problem. Watercolors tend to be a better choice simply because they dry immediately and they don't cause problems with zinc in the oil paints. Plus history is on the side of watercolors since oil painters have used them for underpainting for centuries without any noticeable long-term problems even when they used zinc white starting in the late 18th and early nineteenth centuries.
Thanks for the info man❤❤❤❤❤
I loved this video, Bill! Very informative to a newby oil painter. I've been holding back for a long time, concerned about solvents and stumbled upon your channel. Anyway, I thought the idea of using ABS boards was birilliant and I love that you CAN underpaint with watercolor, especially since I know how to use watercolor (basically) but not acrylic and so many other painters tout the benefits of an acrylic underpainting.
This was very helpful! Great video, thanks so much =]
Hi, Bill, I'm back -- with two questions:
firstly, what is your take on using water soluble oils for underpainting under oils?
secondly: you mentioned using walnut oil for glazes. Do You have a video demonstrating this; or, could you explain in words how this is done? Thank you once again for all your your explanations and elucidations! Carol
I am a beginner artist. I have been doing watercolors for 2 yrs, but decided I wanted to try oil. Am I understanding that you would use an acrylic gesso on your canvas PRIOR to doing the watercolor? Then you do not need to use anything else over the watercolor when you start using your oil paints? I was trying to go the no fumes, least toxic route for oils. Thank you. This was really informative. (note: i am using the inexpensive craft store canvas that is primed while I am learning. )
I use watercolor under my pastels and oil sticks but I lightly cover with Liquitex clear gesso with a sponge brush and my watercolor doesn’t move because my application is careful. So now my surface is ready to go again and the wc is under the gesso.
I've done some experiments painting over watercolor with oil on canvas. If you use extra gum arabic it's too glossy and any heavy application can be seen through the first oil washes or glazes in those areas and the area stands out like a sore thumb so that result is not good. So I'd avoid using watercolors I'd use very watery washes to cut through the gum as much as possible or I'd just use water with pigment without gum to do my washes and binding it to the canvas later by letting the first layer of oil sink into the pigment and the threads of the canvas binding them together. Thomas Keating did demonstrations with water and pigment and recommended using damar varnish between layers. I think egg tempera would be superior to watercolor washes altogether though. We know that combination is stable, but may be not very flexible. But since you are using a stiff surface like ABS it may work out well. It's worth an experiment. If the egg binds to the abs as well as the oil does you're probably good and could apply an egg wash chalk ground first so you can draw on the plastic before your first color egg washes similiar to the finnish procedure on wood.
Great tip about the gum arabic Jeremiah, thank you! I use the fluid tubed watercolors from Daniel Smith and Winsor Newton and on both a lead and oil ground didn't have any problems, but I can see how the gum could cause problems if it dries glossy. I would avoid any type of varnish, even retouch, between layers of oil paint - it undermines the integrity of the painting because varnish is easily removed with solvents and those solvents will get in between the paint layers during cleaning or removal if varnish is used that way. Your idea about the egg layer sounds intriguing - I'll have to do some experiments. Although, for me, I don't bother to seal the watercolor until I've added oil paint and finished the painting, and then varnish it all together with Gamvar.
Have you tried using Shellac to seal all sides of your MDF panels to trap in any fumes?
have you used cold wax, oil paint?
Hi, Bill. I have never varnished before; so, I have 2 questions: firstly, how long should one wait after completing an oil painting before using Touch-Up Varnish? (I live in an extremely dry area of the world. Even in winter.) Second question: for what reason do people remove varnish? I always find helpful advice from your videos; so, let me use this opportunity to thank you. Carol
I just 'noticed' that you said people remove vanish in order to do touch-ups; so, that answers that question. I had heard that one should wait at least half a year before applying varnish to a finished painting. What is your take on this? Thank you once again.
@@chayita7 Hi Carol, the idea about waiting a year came about primarily because of the older varnishes like Damar. Damar required Turpentine to dissolve the resin (I used to make my own from damar crystals in the 90s). Turpentine is a powerful solvent and tends to loosen drying paint films, or get under them, making it dangerous to the painting to brush it on (and very toxic for us painters). I used to think based on some research that Damar sealed the surface so strongly that it slowed oxidation and caused problems with the oil paint if applied too early. I'm no longer sure that is accurate. Natural Pigment's website says oil paint will continue to dry underneath any varnish but still encourages artists to wait at least 6 months or until their paintings are thoroughly dry to the touch. I believe that is overkill, especially since they don't give a reason why we should wait. Another artist claims that if you varnish too early that the varnish will bond with the oil paint and become impossible to remove. It's possible I suppose, but I haven't seen any research to back that up. There is so much opinion out there it makes it very complicated to know what is right. I've certainly changed some of my thoughts and opinions over the past 10 years. Gamblin states it is safe to varnish with Gamvar as soon as the painting is sufficiently dry to the touch. That's currently my go-to opinion. So, now I varnish my paintings with Gamvar as soon as I trust that my varnish brush will not disrupt the paint skin. As a professional artist, I don't have the leisure of waiting a year to varnish my paintings. They will likely be in a gallery and sold well before the 6 months or year timeframe. The nice thing about Gamvar is it is easy to remove with some Gamsol mineral spirits. I remove varnish occasionally when I decide an older painting would benefit from some more work or changes.
@@BillInmanArtThanks for answering so promptly! I had wanted, as well, to say kudos for the watercolor advice, which I had been thinking about, even before Marion Dutton quoted you. I have a few ideas for landscape paintings with blurry backgrounds. I am thinking of doing a watercolor multi-colored underpainting before applying a layer of oil paint for the effect of blurred foliage as in photography. Does this sound at all feasible to you? I would be so grateful to hear your take on this when (if) you have the time.Carol.
Great video, thanks.
Do you use water-colour washes on the ABS panels when you oil paint or are you suggesting it for linen/canvas/wood/alum primed surfaces? Because you said you don't prime your ABS panels, I'm imagining the water beading up on the ABS surface and taking a while to dry because it's so porous. I'll definitely be looking into ABS surfaces thanks for sharing your knowledge.
Great question. I haven't tried watercolor on ABS yet but if I use the watercolors with less water and a bit more opaquely I envision them sticking without a problem. Since they adhere well to oil and lead primers I believe they will adhere to a sanded ABS surface. It will be a good experiment.
To your reply on toxic free mediums...it wouldn't post there...Thank you so VERY much for the "book" you wrote. Are you saying all we need is good paint & turpenoid natural? Are "professional" paints as good as "artist'' grade? Is it true we can avoid the need for oiling out by not using solvents, using a well primed surface & adding bodied oil to paints that tend to dull? And altho Gamsol is safe it isn't NEEDED to thin paint or clean brushes since Turpenoid natural is better & watercolor on canvas is better as the wash layer right? People who had unpleasant Gamvar experences used Krylon's Kamar spray varnish, have you? Is Trpnd Natural or Gamsol better to remove varnish if it needs cleaned? Do you use or recommend a leaning bride or mahl stick? Your advice is invaluable!
Let's address these one at a time. Paint: when I say professional, I mean Artist Grade rather than Student Grade. It's good to distinguish, though, since I know professionals who use Student grade paint. Turpenoid Natural: Don't use Turpenoid Natural as a medium - only to clean your brushes and palette. It greatly slows or retards the drying process of oils and is not advisable in quantities greater than what is left in a well-wiped brush. Sinking in: oil paints sink or absorb into the surface more with acrylic gesso than they do on oil or lead grounds (gesso). If you want to avoid most sinking-in, use an oil primer. Even one coat added over an acrylic-primed surface will help. Bodied oils: I don't use a lot of medium to paint, and I have only used bodied oils like Stand oil a few times over the past 40 years. But based on my conversations with other artists and my research, Stand oil will help prevent sinking in because it increases the proportion of the binder to the pigment, which is helpful with pigments that are thirstier (require more oil) or with primers/grounds/gessos that are overly absorbent and pull too much of the oil binder away from the pigment. It is the oil binder that makes the pigments glossy, so if it is sucked into the canvas or another layer of paint, the pigment will not have enough oil to maintain that glossy look. Experiment, though, and use only enough to prevent sinking in. Too much oil and the paint could wrinkle (leave piles of paint on a palette for a couple of years, and you will see what I mean), or it will yellow excessively (it's the oil that yellows, not the pigment). Also, adding oil will slow down the dry time, sometimes dramatically. That's where an alkyd is useful since alkyd mediums speed up the dry time while maintaining the glossy appearance. Use alkyd medium sparingly, though, or it will become mirror slick, and other layers of paint will have trouble adhering. Too much alkyd medium will also cause the paint strokes to flatten out - not the glossiness - the brush bristle texture. I like brush texture, so I use only small amounts of M Grahams Walnut Alkyd Medium at those times when I want more flow, I'm in a rush for the paint to dry, or I feel a particular mixture might be prone to sinking. Gamsol: Gamsol is not appreciably toxic to most people. Those with lung issues or allergy tendencies might want to avoid it. Because of my art school professor's experience of developing an acute toxicity build-up, I decided to give up all solvents as much as possible. Robert Gamblin says it's not harmful, but I've talked with and read about artists who developed lung problems or sensitivities to Gamsol. Watercolor is an excellent substitution for mineral spirit washes., but you'll want to experiment with both to see which works best for you. Gamvar: yes, I've used Kamar varnish. It's excellent. I use Gamvar because it only contains mineral spirits, and when I varnish during the cold winter months, I feel safer with those fumes than with the aerosol used for Kamar application. Gamvar does have trouble covering or sticking to paint surfaces occasionally, which is frustrating, but all of the modern varnishes I've used have that problem, except for the Damar varnish I made in the 'old' days. Damar required Turpentine which is highly toxic, and the Damar yellows quickly and excessively. So, I put up with some periodic inconsistencies and inconveniences in using Gamvar. Even Kamar would bead up on some paintings. As far as my experience goes, there isn't a perfect product or art material out there. That's why we each need to experiment and see what works best for our particular personalities and processes. Mahl stick: I have multiple mahl sticks - I've used one maybe a half dozen times in forty years. Some artists use them every day. It's a tool. If a mahl stick will speed up or improve the painting process, why would someone not want to use one? I simply don't find the need for one very often.
Thank you so much Bill! After 47 years I'm gathering fresh supplies & you are thawing my freeze up. What oil primer do you recommend? So I can follow your lead using only paint & maybe walnut oil, would you be so kind as to find me on f book? so you could see the paints I purchased called professional & you could okay them?@@masteroilpainting
What about water based oils over acrylic? Would it be a different procedure?
Hi. So a lot of information ... but maybe I missed it somehow, why exactly is it better using watercolor rather than acrylic as underpainting?
What about Windsor and Newton water mixable oil colors? I also have a “fresh Grey” Art Spectrum Pastel and Mixed medium primer….looks like it’s acrylic based with maybe A phosphate grit in it? I know that you can use isopropyl alcohol or water to dilute soft pastels for an under painting. Thx for all of your info. I am a water color girl… but 8 love to play with different mediums. 👩🏻🎨🖌🙏🏻
Hi Mendy, I hope I answer what you're actually asking. If you're asking about using water-mixable oils as an underpainting, I would strongly caution against it. WMOs dry more slowly than traditional oils. If you want a faster drying oil I would recommend an alkyd paint or a medium like M Graham & Co Walnut Alkyd Medium (alkyd paints may contain mineral spirits while the Walnut Alkyd Medium is solvent-free). The paint film that forms on WMOs is softer than with Alkyds or Traditional Oils and more susceptible to damage in the long run. Plus, WMOs are not as nice as Trad Oils to paint with - they just don't flow as well. The Art Spectrum Papers look like a good surface for any medium if painting on an acrylic surface appeals to you. I no longer use or recommend acrylic grounds for oil painting since any zinc in oil paint reacts negatively when used on Acrylic primers (it becomes brittle, cracks, and can delaminate). I wholeheartedly agree with you about playing with different surfaces, textures, paints, tools, and mediums - you never know what fun effects you'll discover.
@@masteroilpainting Does this mean that you no longer use the abs panels? Is metal the best remaining option?
@@jessehorstman That's an excellent question Jesse in relation to the zinc problem. I do continue to use ABS panels but I now prime them with Gamblin's oil primer. I like the relative stability and durability of the ABS and I was excited that I didn't need to prime them. Still, some of the paints I use occasionally do have zinc in them and I don't want to have to worry about any possible cracking. Also, I prefer the slightly slicker, freer-flowing surface of an oil primer compared to the absorbent nature of acrylic surfaces (oil primers are easier on my brushes and the paint glides on quickly and easily). Lead grounds are also excellent for oil paints but lead is a tricky material to work with safely. I read this in an article on the CDC's website: "Use an effective lead removal product to clean your hands. Washing skin with standard soap and water is not enough to remove lead residues." That was very disappointing since I had been using a lead/titanium mixed white to paint with and lead grounds on my panels and canvases. Even though I used gloves while mixing and washed my hands after painting, my brushes and tools still had lead residue on them and, it turns out, my hands probably did as well. Now I'm faced with the knowledge that most of my art materials likely have lead residues on them. NIOSH researchers made some wipes that can remove 98% of the residue, but that's an extra complication that ultimately dampens my enthusiasm for lead products. Besides, oil primers are plenty sufficient for strong, problem-free oil painting so why bother with a potentially health-threatening substance like lead? The one downside to oil primers is that they have mineral spirits in them (Gamblin's oil primer uses Gamsol). So, I would recommend priming your panels in a ventilated space or outside (Stapleton Kearns primes a hundred surfaces at once outdoors so he's set for the season). I also have a respirator for those times I can't get outside. Fortunately, Gamsol mineral spirits are much less toxic and dangerous than Turpentine, hardware store mineral spirits, or lead but some people do have allergic reactions or develop sensitivities to the solvent over time.
@@masteroilpainting
Wow. I appreciate your passionate and thorough response.
I also found your article about this same topic and I am intrigued by the concept of using oil bars or paints directly on mahogany.
Do you have any thoughts about the use of urushiol based lacquers as a size or casien paint as a ground?
Hi Bill! Great video, very informative! Regarding the adhesion of oil paint to plastic or acrylic. Do you thing oil paint would have good adhesion/bonding when painted on top of Yup paper?
Thanks!
Great question Julio. I love the idea of it because the colors would stay vibrant since there isn't any sinking in of the paint. I haven't tried Yupo, but I would recommend that you not use it for oil painting. Acrylic tends to bond chemically to acrylic. Oil paints bond to acrylic by mechanical means - primarily because acrylics are porous and the oil paints sink into the microscopic pores creating a bond. Yupo is 100% waterproof - it is not porous - so it has nothing for the oil paint to cling to. I would imagine that it would eventually peel off or be easily scratched off with a stiff scraper or palette knife. Watercolor is thinner so it might work on it - but I'm not confident that anything would permanently adhere to Yupo. Even acrylic might have trouble bonding since Yupo is non-porous and a different type of plastic. I will have to do some research about the mechanical and chemical properties of Yupo and how those properties would interact with various paints.
Masonite boards are good--all steam process, no extra anything, no glues, no formaldehyde. Just prime with gesso.
Do you know anything about the safety of the plastic in acrylics. When I was in a cell biology class we learned how plastic may be affecting living things. An example was frogs being born with multiple legs that lived by a plastic plant. Another thing was affecting babies before birth. I’m concerned we are not taking precautions because we think it’s safe and we are really putting ourselves at risk.
Plastics are definitely affecting the planet and nature negatively Marilyn. I did a lot of research about the toxicity of plastics when William Whitaker told me about using ABS for painting panels. The trouble is just about everything today is made with some type of harmful substance or manufacturing process. ABS seems to be one of the less harmful plastics, and I'm not discarding much waste product (I keep all the pieces except for the dust left over from sanding). But, yes, we are better off avoiding plastic as much as possible.
@@BillInmanArt Thank you for your response.
Hi Bill! Love your videos. It's been a couple years since you made this video, are you still using ABS plastic for your oil painting? Thanks again!
Hi Kevin, I just saw your question. Here is what I wrote to Jesse who asked as well: That's an excellent question Jesse in relation to the zinc problem. I do continue to use ABS panels but I now prime them with Gamblin's oil primer. I like the relative stability and durability of the ABS and I was excited that I didn't need to prime them. Still, some of the paints I use occasionally do have zinc in them and I don't want to have to worry about any possible cracking. Also, I prefer the slightly slicker, freer-flowing surface of an oil primer compared to the absorbent nature of acrylic surfaces (oil primers are easier on my brushes and the paint glides on quickly and easily). Lead grounds are also excellent for oil paints but lead is a tricky material to work with safely. I read this in an article on the CDC's website: "Use an effective lead removal product to clean your hands. Washing skin with standard soap and water is not enough to remove lead residues." That was very disappointing since I had been using a lead/titanium mixed white to paint with and lead grounds on my panels and canvases. Even though I used gloves while mixing and washed my hands after painting, my brushes and tools still had lead residue on them and, it turns out, my hands probably did as well. Now I'm faced with the knowledge that most of my art materials likely have lead residues on them. NIOSH researchers made some wipes that can remove 98% of the residue, but that's an extra complication that ultimately dampens my enthusiasm for lead products. Besides, oil primers are plenty sufficient for strong, problem-free oil painting so why bother with a potentially health-threatening substance like lead? The one downside to oil primers is that they have mineral spirits in them (Gamblin's oil primer uses Gamsol). So, I would recommend priming your panels in a ventilated space or outside (Stapleton Kearns primes a hundred surfaces at once outdoors so he's set for the season). I also have a respirator for those times I can't get outside. Fortunately, Gamsol mineral spirits are much less toxic and dangerous than Turpentine, hardware store mineral spirits, or lead but some people do have allergic reactions or develop sensitivities to the solvent over time.
@@masteroilpainting - Hi, Bill! Thanks for your most excellent, detailed response. I've been interested in trying ABS after watching your video. Thanks again!
I normally paint on wood/aluminium/cardboard with gesso on it. Is gesso considered an acrylic substrate?
@@masteroilpainting Thanks, it's a generic gesso for painters I'm pretty sure it's acrylic from the smell then. Also it doesn't soak the color at all and I find it really pleasant to paint on it, I also wash the surface with oil and white spirit before starting to facilitate the smoothness of the painting act.
@@squarz Sounds like an acrylic gesso. If you like painting on it I wouldn't be overly concerned - oil paint mechanically bonds with acrylic gesso or paint pretty readily. Just be aware of whether your oil paints are made with zinc. It's the zinc in oil paints that doesn't play nicely with acrylics.
What if I put Golden Isolation Coat over an acrylic under painting? Just wondering.
That is what I'm doing at the moment.So far so good.
The other problem with wood is that it expands and contracts with cold and heat, so over time the repetitive changes to the wood may crack or damage the painting. I would say consider your climate. Consider how long you want the painting to be around etc. before choosing wood.
I use a lot of watercolour brushes for oil painting.
Do you think the wc underpainting would work over alkyd/ oil based primers? The one I am thinking of contains marble dust.
Yes, very well. I've used watercolor on oil and lead primers without any adhesion problems. Of course, once your painting is finished you'll want to varnish it to protect the watercolor from possible water damage. That way you can frame the painting like a traditional oil painting without glass.
Can you use oil over acrylic?
Yes. The recommendation is to wait 3-4 days for the acrylic to finish drying and then you can paint oils over them. Most artists I know who use acrylics for the underpainting only wait for the acrylics to be touch dry, and possibly, they will never see any problems arise. But George O'Hanlon from Natural Pigments cautions against it. In a training with him a couple weeks ago about art materials, he told us museums are seeing a lot of problems with modern work compared with historical paintings because we artists tend to ignore best practices. I occasionally use watercolor as the underpainting washes now, which has been used quite a bit historically, but even that could possibly have issues because of the gum arabic. The researchers at JustPaint,org and George believe watercolor is fine, but they admit there isn't any real research to know for sure.
Cold wax
So... Ive been messing around with mix media for a long while, even painting scents most recently. I know... I'm a genius, the next Picasso, hold your applause please... anyways I want to come here and be informative as an anecdotal source. you can literally paint with all of the mediums if you want. HOWEVER! 🚨🚨🚨 just like in math, you need to pay attention to the order and layering. on a water color linen canvas, you can layer acrylic over the water color and then use the acrylic foundation for oil. HOWEVER!!! 🚨🚨🚨 If you are using a full cotton linen be aware, depending on the materials, your painting will "decay" much more rapidly than any other type of painting... If you have ever messed around with super glue and foam you will know chemical reactions can easily happen. (super glue + foam = fire) just be aware of what you are doing and make it a point to test things before you jump straight into a project. The reason I am also saying this is because not every oil paint is made with the same oil and some oils will react and cause again... cause damage or even a fire. some oil paints, even in the same brand are made with different oils, for instance 3 of my favorite paints (plant based colors) I use are made with linseed oil (these colors yellow over time) while 3 brighter paints I like (phthalos) are made with a less pure mineral oil. (these yellow only if exposed to direct UV light past its oxidation point (more sun time = more yellow)).
EDIT:
TLDR: As oxidization occurs between paints, especially on a organic cotton canvas, your paint may eat through the canvas material. meaning your painting is for the most part going to destroy itself...
Gave up watching due to too many commercials
All talk, no actions
Bill can I know your last name please.Your very interesting.
Confusing. Too much rambling.
You're probably right, sorry about that. I do need to make the videos more concise. I will work on that with future videos.