my classmate learned this the hard way when he was gonna varnish an painting - the painting only had a thin fast drying and diluted glaze on top of an acrylic base so it was pretty dry to the touch - he decided to use a water based varnish just to see if it would work and after he sprayed it on the cracks were forming right in front of his eyes as the varnish dried within minutes.
@@mariehudspeth3843 I bet that was a spray varnish using Acetone to break down the particles, used only for acrylc, not oil paint. Acetone is a strong, toxic solvent that basically disolves oil. I made the same mistake on an early cover illustration that I had to quickly ship to NY. (I was using Crystal Clear, as I recall). Its a scary thing to watch your work wrinkle up a bit.
If you think of it really you just don’t want a top layer to dry and “harden” first (become inflexible) while a bottom layer is still drying because localized relative tension in the still drying layer can push and pull and break the top layer. Better for a lower layer to harden first (becoming strongly fixed to layers below it) while the upper layer is still drying and doing its thing.
Unless you do it on purpose. I just seen a Dali painting where the crackle was done so expertly in only certain areas that it made sense why he did it.
With respects to Slow Over Fast ("Fat Over Lean"), I learned some interesting things with respects to Liquin and other Alkyd mediums: 1. When doing any painting, try to use only ONE medium within the entire painting. (so gesso, solvent, tube paint, medium, and varnish) 2. If you want to only use Liquin medium mixed with solvents and tube paint, add slightly more proportions of Liquin to the paint and solvent mixture with each new layer. Max should be about 30% Liquin to tube paint. If you reach this and have more layers still, then you have no choice but keep mixing 30% Liquin layer, and waiting for it to dry, then another layer, dry, etc until done. 3. If you want to use multiple mediums and ignore #1, you can use Liquin and another slower drying medium (ex. Stand Linseed Oil) so long as you follow the following general rules, it should be fine: - Gesso first, let dry - Acrylic paint, let dry - Solvent + tube paint, let dry - A little Solvent + tube paint + a little Liquin, let dry - Almost no solvent + tube paint + more Liquin, let dry - tube paint + more Liquin, let dry - tube paint + even more Liquin (max 30%), let dry - tube paint + a little solvent + Stand Linseed Oil (or any slower drying medium), let dry - tube paint + a little solvent + more Stand Linseed Oil, let dry - tube paint + More Stand Linseed Oil (max 50%), let dry Repeat until done, but don't use more thank 1:1 ratio of Linseed oil with tube paint. Final drying time is achieved when you use a "solvent" test with good results. A solvent test is done by applying a small amount of solvent or varnish on a cotton tip, placing it on an inconspicuous area on the painting, and gently rolling (not scrubbing) the q-tip around the painting a little. Look at the q-tip end. If it has no paint, it's sufficiently dry. If it does have paint, then you need to wait longer. Once fully dried, apply varnish to protect the painting, then you're done. The above is a general, proportion-free guideline to help you as a painter develop your own methods for oil painting in layers. Alternatively, you could get in to Alla Prima painting, which uses only one layer that you mix new paint colors in on canvas to get different colors and effects, but for multi-layer painting, the above is an amateur's suggested proportioning and approach.
They ought to make some kind of test strip that one puts on the backside of the canvas on a completed painting that turns color when the painting is completely dried.
I would have thought a little bit of cracking gives a an appearance of antiquity. I'm more likely wrong about this as I usually am. Love Mark's videos.
Not to mention that cracking can cause the paint to flake away from the canvas over time leaving large holes in the image. A serious collector isn't going to be happy when the painting they spent thousands of dollars on starts falling apart 😅
Salvador Dali did a cracked piece on purpose. My girlfriend and I went to the museum and his work was so excellent that we mused on the effect. It was a block type column that was so perfect and stood out from the other areas. This crackle effect was used like brick texture and on the sky, it was so smooth you couldn't tell where color began or ended. Pictures can not capture the detail of what I seen in person. Dali was weird shit, man, but his knowledge of form, use of color and technique was like nothing I have ever witnessed. I now understand why he is hailed as one of the greats. A shame that he never painted anything normal.
Acrylic primed canvas is a plastic ground that is too flexible for stretched canvas (ok for panels). Not the best choice for oil paintings with thicker paint (oil dries stiffer), so any flexing beneath (as in rolling or flexing of the canvas while painting) will certainly lead to eventual cracking. On the Sargent - I saw that piece being restored in DC, used to be at the Corcoran. Sargent corrected the position of the fingers and also painted black around the hand to blend the edges into the background. By overpainting what I think was retouch varnish (commonly used at the time, certainly by other portrait artists he knew) he applied another layer of oil without giving enough time for the underlayer to dry. You can see this in other examples of his work where he corrected wet-into-wet sections before letting them dry enough to use the retouch varnish, or a layer of paint, more likely Van Dyke brown than burnt umber. This is also why you should wait a few months at least for moderatly thick paint to dry. Touching the dry surface will not tell you how wet it still is below that top layer, which will likely pull apart as the varnish dries, first expanding a bit then contracting, according to conservators I talked to. Sprays are safer as they won't sink in as much. Burnt umber is bascially a clay, with some metallic elements that lead to fast drying and a very matte surface. Good for thin underpainting, although dull, but not good on final layers. Asphaltum, or a mixture of Terra Rosa and Black, makes an excellent deep brown that doesn't go flat so its easier to color match, especially in portraits. (I use M Graham (walnut based) or WN.)
A deep dive into the chemistry and drying of oil paints. Wow! Some colors dry faster than others. Another layer of variables to be aware of. Good info. Thanks.
I think the cracking in Sargeant's painting is from Ivory black or mars brown. That doesn't appear to be a chroma black. And the googles says he mixed burnt umber in his earth palette. Either way I'm not a fan of burnt umber. It just dries too fast on the palette. I like using mars black instead. A lot of the realist painters used pure blacks, zorn, bougourou, sargeant, repin..
Hi Mark, Please, I have a small question. It is known that turpentine is volatile, and the question is: If I mix turpentine with oil painting will it also be volatile in this case?
Thanks for these informative helpful tutorials . I've gotten more out this internet and my phone then just about everything I own.once more God bless this marvelous tool and vehicle, and everyone involved in it's make up and operation.sincerly for ever.books are great too the library also.here you don't if your house bound don't have too go too library.
This would be an impossible list, because different colors dry at different speeds, and then you have to remember different brands use different mediums. A Yellow Ocher from Gamblin will dry much faster than a Yellow Ocher from M Graham due to MG's walnut oil base. In addition, how you alter the paint as you are using it with Gamson or additional oils will change the drying properties. The best thing to do is start with a limited palette (no more than say, 8 colors) and do color studies to get to know your materials. Good luck!
Thank you Sir. Can you please do one how long a painting should take to complete; touching on returning to continue painting, and common tips to consider following this method.
Im a bit confused now, also a bit since until now I havent heard Any other teacher mention this rule. lots of grissailes contain titanium white, and I mixtures containing burnt Umber for example are used in glazes. Would it be enough for the slow drying colors to be touch dry (so titanium white 5 days)? I cant imagine people Wait for months before They start glazing, or add opague layers of ( i think lots of) slower drying colors
Something I don't understand about fat over lean. We're adding more oil with each successive layer while at the same time preserving our strongest, brightest colours till last. How does that work?
Hi Mark, can you talk about making homemade gesso? Is there a recipe you can suggest?(The recipe I use calls for acrylic paint, calcium carbonate, glue, and water.) I'm also wondering the purpose of acrylic paint in gesso, does it act only as coloring agent? Or does it also lend to the elasticity of the gesso after it's dried? Can I leave it out? Can I also substitute rabbit skin glue to regular PVA glue? (PVA is readily available) I appreciate anyone who can give some tips. Thank you.
Lol. Yeah but I excuse it because he's a carpenter and luv him some working with a wood subject. What's awesome is us artists have an interest in working other areas of creative hands on hobbies. I use to dabble in metal artistry, majority of others clayb are wood workng.working.. Mark did come up with the blueprints of his Easels, color checkers, & brush holders. Expensive but beautiful,. 👍🏻
Thank you. I have two questions: 1. What if my make my base stain by mixing umber with titanium white. Will mixes be an issue? 2. I thought Geneva Art Supply was being closed. It's back in business now?
I use acrylic but i put a retarder in the first layer so it could blend well. I dried it with a blow dryer, fry to the touch, then painted over it with acrylics and water and boy, it cracked then slid off in bug cheongsam or film. I couldn’t figure out why this was happening.
Do you have to varnish a painting? I am worried about how to safely do it. So I haven't ever varnished a painting. I have no idea what to use or to safely do it.
How does one glaze a painting? Would I dilute the intended glazing paint with walnut oil to extend drying time to prevent cracking? Or would I add a bit of white and dilute it?
Kind of depends on who you are talking too. Some say use a little oil in the paint, others say never to dilute the paint but use a dry brush, i.e. very very little paint on the brush. Don't use titanium white in a glaze as it is opaque, lead white is transparent and can be used in a glaze.
I have been using straight Holbein Foundation white (lead) as a primer on linen and canvas panels. Takes quite awhile to dry before the panels are useable. Your thoughts on that? Thanks.
I have had another source of cracking that nobody talks about. It comes from the practice of gluing primed canvas onto panels. The glue seeps thru. You don't know it's there but you are painting on glue instead of the ground. All my paintings on panels, bought prepared that way, have all cracked up in just a matter of a few years. Some sold which I am horrified about. Of course the Canvas Panels maker takes no responsibility. Buyer beware.
@@e.g.1218 Its a popular brand, or at least used to be. I say just avoid buying or making panels like this. The glue getting on the painting surface of the canvas/primed linen is unavoidable.
my classmate learned this the hard way when he was gonna varnish an painting - the painting only had a thin fast drying and diluted glaze on top of an acrylic base so it was pretty dry to the touch - he decided to use a water based varnish just to see if it would work and after he sprayed it on the cracks were forming right in front of his eyes as the varnish dried within minutes.
Never heard of a water based varnish. I always thought they had oil
@@mariehudspeth3843 I bet that was a spray varnish using Acetone to break down the particles, used only for acrylc, not oil paint. Acetone is a strong, toxic solvent that basically disolves oil. I made the same mistake on an early cover illustration that I had to quickly ship to NY. (I was using Crystal Clear, as I recall). Its a scary thing to watch your work wrinkle up a bit.
If you think of it really you just don’t want a top layer to dry and “harden” first (become inflexible) while a bottom layer is still drying because localized relative tension in the still drying layer can push and pull and break the top layer. Better for a lower layer to harden first (becoming strongly fixed to layers below it) while the upper layer is still drying and doing its thing.
Unless you do it on purpose. I just seen a Dali painting where the crackle was done so expertly in only certain areas that it made sense why he did it.
With respects to Slow Over Fast ("Fat Over Lean"), I learned some interesting things with respects to Liquin and other Alkyd mediums:
1. When doing any painting, try to use only ONE medium within the entire painting. (so gesso, solvent, tube paint, medium, and varnish)
2. If you want to only use Liquin medium mixed with solvents and tube paint, add slightly more proportions of Liquin to the paint and solvent mixture with each new layer. Max should be about 30% Liquin to tube paint. If you reach this and have more layers still, then you have no choice but keep mixing 30% Liquin layer, and waiting for it to dry, then another layer, dry, etc until done.
3. If you want to use multiple mediums and ignore #1, you can use Liquin and another slower drying medium (ex. Stand Linseed Oil) so long as you follow the following general rules, it should be fine:
- Gesso first, let dry
- Acrylic paint, let dry
- Solvent + tube paint, let dry
- A little Solvent + tube paint + a little Liquin, let dry
- Almost no solvent + tube paint + more Liquin, let dry
- tube paint + more Liquin, let dry
- tube paint + even more Liquin (max 30%), let dry
- tube paint + a little solvent + Stand Linseed Oil (or any slower drying medium), let dry
- tube paint + a little solvent + more Stand Linseed Oil, let dry
- tube paint + More Stand Linseed Oil (max 50%), let dry
Repeat until done, but don't use more thank 1:1 ratio of Linseed oil with tube paint. Final drying time is achieved when you use a "solvent" test with good results. A solvent test is done by applying a small amount of solvent or varnish on a cotton tip, placing it on an inconspicuous area on the painting, and gently rolling (not scrubbing) the q-tip around the painting a little. Look at the q-tip end. If it has no paint, it's sufficiently dry. If it does have paint, then you need to wait longer.
Once fully dried, apply varnish to protect the painting, then you're done.
The above is a general, proportion-free guideline to help you as a painter develop your own methods for oil painting in layers. Alternatively, you could get in to Alla Prima painting, which uses only one layer that you mix new paint colors in on canvas to get different colors and effects, but for multi-layer painting, the above is an amateur's suggested proportioning and approach.
Thank you for your educational videos. I appreciate the lessons!
Great information as always!
They ought to make some kind of test strip that one puts on the backside of the canvas on a completed painting that turns color when the painting is completely dried.
I would have thought a little bit of cracking gives a an appearance of antiquity. I'm more likely wrong about this as I usually am. Love Mark's videos.
Serious cracking distorts the image, especially if there is fine detail.
Not to mention that cracking can cause the paint to flake away from the canvas over time leaving large holes in the image. A serious collector isn't going to be happy when the painting they spent thousands of dollars on starts falling apart 😅
I like the effect and play with it on purpose. ❤
If you care about longevity (as in decades and centuries) this is important. It doesn't really matter in the immediate future.
@@arelcrest Salvador Dali did. It was truly amazing to see.
Salvador Dali did a cracked piece on purpose. My girlfriend and I went to the museum and his work was so excellent that we mused on the effect. It was a block type column that was so perfect and stood out from the other areas. This crackle effect was used like brick texture and on the sky, it was so smooth you couldn't tell where color began or ended. Pictures can not capture the detail of what I seen in person. Dali was weird shit, man, but his knowledge of form, use of color and technique was like nothing I have ever witnessed. I now understand why he is hailed as one of the greats. A shame that he never painted anything normal.
Acrylic primed canvas is a plastic ground that is too flexible for stretched canvas (ok for panels). Not the best choice for oil paintings with thicker paint (oil dries stiffer), so any flexing beneath (as in rolling or flexing of the canvas while painting) will certainly lead to eventual cracking.
On the Sargent - I saw that piece being restored in DC, used to be at the Corcoran. Sargent corrected the position of the fingers and also painted black around the hand to blend the edges into the background. By overpainting what I think was retouch varnish (commonly used at the time, certainly by other portrait artists he knew) he applied another layer of oil without giving enough time for the underlayer to dry. You can see this in other examples of his work where he corrected wet-into-wet sections before letting them dry enough to use the retouch varnish, or a layer of paint, more likely Van Dyke brown than burnt umber. This is also why you should wait a few months at least for moderatly thick paint to dry. Touching the dry surface will not tell you how wet it still is below that top layer, which will likely pull apart as the varnish dries, first expanding a bit then contracting, according to conservators I talked to. Sprays are safer as they won't sink in as much.
Burnt umber is bascially a clay, with some metallic elements that lead to fast drying and a very matte surface. Good for thin underpainting, although dull, but not good on final layers. Asphaltum, or a mixture of Terra Rosa and Black, makes an excellent deep brown that doesn't go flat so its easier to color match, especially in portraits. (I use M Graham (walnut based) or WN.)
A deep dive into the chemistry and drying of oil paints. Wow! Some colors dry faster than others. Another layer of variables to be aware of. Good info. Thanks.
As usual, an excellent educational experience!
THANK YOU!😊
I think the cracking in Sargeant's painting is from Ivory black or mars brown. That doesn't appear to be a chroma black. And the googles says he mixed burnt umber in his earth palette. Either way I'm not a fan of burnt umber. It just dries too fast on the palette. I like using mars black instead. A lot of the realist painters used pure blacks, zorn, bougourou, sargeant, repin..
I love these short bits of information! Thank you ❤️
Thank you as always
Thanks always great information you give us 👏🏻👏🏻
Hi Mark, Please, I have a small question. It is known that turpentine is volatile, and the question is: If I mix turpentine with oil painting will it also be volatile in this case?
Always educational, thanks
Thank you- always great information !
Thanks for these informative helpful tutorials . I've gotten more out this internet and my phone then just about everything I own.once more God bless this marvelous tool and vehicle, and everyone involved in it's make up and operation.sincerly for ever.books are great too the library also.here you don't if your house bound don't have too go too library.
do you have a list of oil paints the dry from slowest to fastest?
This would be an impossible list, because different colors dry at different speeds, and then you have to remember different brands use different mediums. A Yellow Ocher from Gamblin will dry much faster than a Yellow Ocher from M Graham due to MG's walnut oil base. In addition, how you alter the paint as you are using it with Gamson or additional oils will change the drying properties. The best thing to do is start with a limited palette (no more than say, 8 colors) and do color studies to get to know your materials. Good luck!
Thank you Sir. Can you please do one how long a painting should take to complete; touching on returning to continue painting, and common tips to consider following this method.
Im a bit confused now, also a bit since until now I havent heard Any other teacher mention this rule. lots of grissailes contain titanium white, and I mixtures containing burnt Umber for example are used in glazes. Would it be enough for the slow drying colors to be touch dry (so titanium white 5 days)? I cant imagine people Wait for months before They start glazing, or add opague layers of ( i think lots of) slower drying colors
Something I don't understand about fat over lean. We're adding more oil with each successive layer while at the same time preserving our strongest, brightest colours till last.
How does that work?
Hi Mark, can you talk about making homemade gesso? Is there a recipe you can suggest?(The recipe I use calls for acrylic paint, calcium carbonate, glue, and water.)
I'm also wondering the purpose of acrylic paint in gesso, does it act only as coloring agent? Or does it also lend to the elasticity of the gesso after it's dried? Can I leave it out?
Can I also substitute rabbit skin glue to regular PVA glue? (PVA is readily available)
I appreciate anyone who can give some tips. Thank you.
Today I figured out Mark is sitting in front of a green-screen not in his studio and I died a little inside.
Why?
@@evelyndominguez4757 I thought he was in a real studio. Silly, I know. I wonder if it's a real studio or just a wallpaper.
Lol. Yeah but I excuse it because he's a carpenter and luv him some working with a wood subject. What's awesome is us artists have an interest in working other areas of creative hands on hobbies. I use to dabble in metal artistry, majority of others clayb are wood workng.working.. Mark did come up with the blueprints of his Easels, color checkers, & brush holders. Expensive but beautiful,. 👍🏻
his studio is all black, he showed in other videos
I wonder whose studio it is IRL?
Thank you. I have two questions:
1. What if my make my base stain by mixing umber with titanium white. Will mixes be an issue?
2. I thought Geneva Art Supply was being closed. It's back in business now?
I use acrylic but i put a retarder in the first layer so it could blend well. I dried it with a blow dryer, fry to the touch, then painted over it with acrylics and water and boy, it cracked then slid off in bug cheongsam or film. I couldn’t figure out why this was happening.
The more i learn about burnt umber the more do I wonder if I should use that paint at all? It seems to be a troublemaker
Do you have to varnish a painting? I am worried about how to safely do it. So I haven't ever varnished a painting. I have no idea what to use or to safely do it.
When will you be getting any more color checkers in stock?
How do you check for dryness? Some of my paintings are quite thin on the canvas and I don't want to scratch the paint.
How does one glaze a painting? Would I dilute the intended glazing paint with walnut oil to extend drying time to prevent cracking? Or would I add a bit of white and dilute it?
Kind of depends on who you are talking too. Some say use a little oil in the paint, others say never to dilute the paint but use a dry brush, i.e. very very little paint on the brush. Don't use titanium white in a glaze as it is opaque, lead white is transparent and can be used in a glaze.
I have been using straight Holbein Foundation white (lead) as a primer on linen and canvas panels. Takes quite awhile to dry before the panels are useable. Your thoughts on that? Thanks.
I have had another source of cracking that nobody talks about. It comes from the practice of gluing primed canvas onto panels. The glue seeps thru. You don't know it's there but you are painting on glue instead of the ground. All my paintings on panels, bought prepared that way, have all cracked up in just a matter of a few years. Some sold which I am horrified about. Of course the Canvas Panels maker takes no responsibility. Buyer beware.
What brand panels were you using?
@@e.g.1218 Its a popular brand, or at least used to be. I say just avoid buying or making panels like this. The glue getting on the painting surface of the canvas/primed linen is unavoidable.
thank you!
fat over lean is antiquated with modern mediums.
It should be thought of as flexible over less flexible.
That is all that "fat over lean" means.
Did i see a while back that Geneva oil paint wad no longet in production?
I think they kept it going
Can you di a video how to paint turquoise blue and city's like Venice :)
What are your thoughts on these newer poly/cotton blended canvases?