Thank you for being clear and precise, so many videos have great info but my brain gets so thrown off so easily that I don’t even gather what I came for and I’m just left like “what just happened”. You were clear and to the point which meant I can grasp all the information and apply it without having to replay over and over again.
Thanks so much. My hope is that emerging artists will play with these tips and really see how they work. That can only happen with one thing at a time.
Dianne, I am an acrylic painter who is not a beginner anymore but still far away from an expert. I saw most of your 200 quick-tips and i learned SO MUCH of it!! Most of the are also appliable to acrylic. I like to let you know you're one of my favourite experts on TH-cam (and there are so many! And lots of them are awesome.). I really hope you wil enrich us for many years coming with your lovely expertise. Thanks very much!
I appreciate your tips so very much!! I’m trying to learn oil painting. I’ve been learning acrylics for two years. So very different but you are making things much easier to understand. Thank you so much❤❤
Thanks for explaining this in a straight forward and quick manner. I've tried watching other fat over lean explanation videos and they were all needlessly long with jokes and whatnot. Great upload!
Thank you for finally spelling this out...Have been searching for a clear explanation for a long while, video after video. So glad to have found you. Thanks so much for excellent teaching! Looking forward to watching more of your channel (and have subscribed)!
Thank you! Your explanation is what I've been looking for the whole day. My previous paintings are cracked. Now I will try using Liquin for my next paintings.
Excellent info, Dianne! I've read a great deal about 'fat over lean', but I was never really clear about how Liquin or Galkyd affected the ratio, so great to know that now! Thank you!
I'm an 'ala-prima' oil painter. I'll always start off with a slightly diluted "turpy" oil paint w/ Gamsol just to cover the canvas. then it is followed up with a thicker application ( straight from tube , no medium) over it. If I still need to paint further and find that the oil painting has semi-dried or dried, I will apply an even thicker amount of oil , straight from the tube,over a select area, along with an impasto medium from Rublev, but never use extra linseed oil additions , because I do not like the flattening-out appearance that all linsed oils impart to the painting, regardless of what type of linseed oil it is. Excellent video!
Limit the solvents you use to refined mineral spirits such as Gamsol or Odorless Turpenoid. And be sure the area you're working in is adequately ventilated. That's about all you need to do.
Wow this is realy helpfull. I am a biginner oil painter. I painted whit acrylic,s wen i was 15 myby 16. I love this video. I learn so mutch about oil paint. Thank you ma'am 😊👍🏾🖐🏾👋🏾
Dianne, your palette is so beautiful. Could you do a video on how to make one like that? I do have the same pochade box you do, although mine is probably smaller.
For the new water soluble oil, can we add water or Liquin into the paint in some spaces where there is already an undercoat painted with paint from the tube ? Sorry for my English language, I hope it's understandable. And thank you a lot for all ! 😘
Great quick tip again, thanks so much. How long must a painting dry before using a medium in the paint when adding another; ie., for signatures and for glazing?
Thank you so much.Does it mean,that I can paint only with liquin with every layer?Lets say I pant first layer only with liquin,let it dry overnight and another day I paint second layer with liquin and so on…Is it ok or is it not the roght procces?Thank you so much
As far as we know to date, yes, you can use Liquin as the medium for layering. It is too new to have the long test of time that linseed oil has undergone.
Thank you for all this information it’s very helpful. I would just like to know if I can paint a layer on top of a touch-dry layer of paint that has the same level of fatness. For example, my previous layer was just oil paint straight out of the tube, and it’s now dry so will it still be safe for my next layer to be oil paint straight out of the tube?
Hi Dianne, a wonderful explanation, thank you! But I am a bit worried about putting a layer of paint mixed with liquin over an existing layer of paint out of the tube. I know it is not a solvent, but won't it eventually crack because it is drying quicker than the bottom layer?
Hi Dianne.. I'm new to oils.. for my first painting I went with the ala prima technique.. but I want use fat over lean in my future paintings.. i have a question I have seen many oil paintings with drips how do I achieve that ?? To my knowledge drips are made by mixing solvent but how does it imply on fat over lean if I had to add it on top layer? Thank you for sharing your knowledge 💖
Celestial Hue, I have seen drip paintings crack and suffer serious surface scratches. Allowing that loose, running paint "effect" seems to work best with acrylic paint, but with oils (yes, it is thinned with solvents), it looks cool, but the artist risks the weakened paint surface becoming vulnerable to being damaged in the future. When you over-dilute the oil pigment, In essence, the pigment particles have no way of clinging to the surface.
Good info. Where I'm getting confused is, when I've heard on other videos, they used straight paint on top of paint that had medium in it...because it is "thicker". But if by adding medium such as linseed oil actually "fattens" the paint...then straight paint wouldn't actually be fatter would it?
Your explanations are so helpful. Can you clarify, from what you said regarding galkyd and liquin, I took it to mean that those do not affect fat over lean at all so you could use them at anytime during the painting process and not have a problem with the fat over lean rule. Is that correct?
Let me qualify that just a bit. The fat over lean principle applies to painting in layers where it is important for the bottom layers to dry before or with the layers on top, otherwise the top layer is prone to cracking. Drying agents, when added in equal amounts to bottom layers will facilitate their drying so that the risk of cracking is minimized.
Hi Diane, Thankyou this is good explanation and will help me with my future paintings. But can I repaint over a cracked section of my latest oil painting where I added a new feature weeks later believing it was dry enough to do so. I didnt use any solvent, so do I need to remove some of the cracked paint first or can I just re-paint over the area. Your advice would be so appreciated as I was very happy with the painting until I noticed the cracking. Kathy.
Kathy, if there are cracked sections, something went fowl with the paint's integrity. I would need a lot more specific information before I could begin to understand what caused the cracking, and without knowing that, we have no way of knowing what would happen if you did anything else to the painting. I wouldn't advise doing anything further to it. To do so might just cause further frustration.
Olivia, I'm not sure Liquin has been around long enough to provide us with a true test as to whether using it as a glazing medium on dry-to-touch will or will not cause cracking a hundred years form now. I've not really settled my mind about that and the research is not definitive, so I think it's probably safe so long as the paint underneath is not too thick. Otherwise, rather than straight Linseed Oil, perhaps it is safer to use a glazing medium.
Great Video ..... Do you have any tutorials explaining in detail how to use the fat over lean principle and Walnut Alkyd Medium to speed oils' drying time? Do I use more drops of this medium with each layer? And/or do I just use less Lavender Spike Oil thinner with each layer? Or both. I want to start doing oil portraits but need a fast dry solution for impatient customers, while at the same time keeping a non toxic art studio. Thanks for any help. As soon as I can get a clear understanding on this, I want to begin a portrait business. So far all I've done is sold graphite portraits. .... joyce
Thanks for your question, Joyce. I don't have any experience with the Walnut Alkyd medium nor with Lavender Spike Oil thinner, so I can't give you an answer to this. My practice is to not use medium while painting UNLESS I need a passage to dry quickly for doing scumble or glaze--and that is rare. When I do need quicker drying, I use Liquin. A highly respected painting conservator advised me back in the 1980's that artist grade paint out of the tube is already perfectly balanced by the manufacturer and when we add medium to that, we weaken the integrity of the paint. THAT was when I ditched totally using mediums in my oil paint.
Great video , thanks. I like to paint using a lot of glazes . Usually start with a first layer and thinners , then usually use a medium, one question I have once you start using mediums does it need to be used on all layers or can the top layers be straight paint . Thank you.
Just keep in mind that the layer underneath must dry before or with the layer on top. The fat over lean concept is to prevent cracking as the painting ages.
So just to make this clear, this only applies to when painting wet oil paint on top of dry oil paint, right? Bob Ross would oftentimes say "a thin paint sticks to a thick paint", and he would thin the paint down with a tiny bit of paint thinner so that it flowed more easily off the brush and he could paint on top of layers of paint. But he was painting on top of wet paint, not dry paint. Is that technically sound? Are the areas of his paintings that he made a little thinner, which included when he made his signature, are those secure on the canvas? Long question short, does the fat over lean principle only apply to when painting on top of dry paint? And it doesn't apply to when painting over wet paint?
Fat over lean is about the ratio of oil to pigment. The concern is that the top layer doesn't dry before the layer underneath. When painting wet into wet, we don't have to be concerned about that, but it is important that we keep the ratio consistent to prevent cracking.
Ok this may explain how a painting I did several years ago (maybe 8 yrs.) was still wet.....yes indeed. The area was done with a palette knife applied very thickly. I do not remember using a medium, but perhaps this is the reason....not letting the layers dry. I did not varnish it so no extra layers. The rest of the painting was dry. Now (if) I use a medium, it is quick dry Linseed oil. Since you explained the oxidation process, how soon can I continue working on a passage? I usually just go for it, applying Liquin or The Quick Dry Linseed Oil (but rarely). Thank you again!
Thank you again. I know it may be a silly question, but why would an artist want to use solvent in a painting? If youre going to tone the canvas, just to cover it up with a thicker coat, I dont see the point. Will you explain? Thank you for everything you do.
Good question, Skin Vandal. One reason is that many artists work better when they get rid of the white of the canvas. Another is that some artists' method of painting allows the tone to show through in various parts of the painting, therefore will tone it with either a complement (mixed with solvent) or some related color to create color harmony. Still another is that using a solvent with the paint is a good way to lay out the composition or to create a notan underpainting that can easily stand editing. There are probably other reasons, too, but these are the most traditional ones.
Very interesting - had never heard of this -- question, if after the fat had dried could I apply a glaze of color thining the color with the solvent or would I need to use a special glazing medium? Love your classes
Just an "off the wall" thought if you don't mind... Can there be a painting surface made to wick away any fat stuff through the back side and reduce the hazard of cracking for the painter...?
Thomas, I'm not aware of any such material being invented. Materials that would wick the oil would also rot as a result. That's why we prime surfaced to prevent wicking.
@@IntheStudioArtInstruction I s'pose that a material could be developed that after the wicking happens you could apply some sort of varnish on the back side and that would reinforce it against future deterioration. Just a thought, possibly not important enough for commercial consideration.
The fat over lean principle applies to the amount of oil in the paint. The more oil, the fatter the paint, therefore the slower the drying time. Gamblin's solvent free fluid is made of safflower oil and alkyd resin. The alkyd speeds up drying time. The fat over lean principle was designated long before alkyds were invented, so since it's the drying that is the issue, I think what you'd need to watch is that paint in which you've added this fluid would be underneath any paint that doesn't contain it or another drying medium.
Hello Dianne, I have another question and I appreciate your patience. I presently in Florida oil painting outside. It cooler than expected especially at night. I can't bring my works inside our rv due to odor. They are not drying as expected. I have one that's 2 days old. Q: is there a point where I can add more layers even if the paint is not dry to the touch? I thought there may be some partial curing that would allow painting to continue. I may have to use liquin, but still the cool air my hinder the drying. Thanks again Dianne.
Paul, two ideas: One is to try painting alla prima where you don't have to wait for drying time. Along with that is the second idea and that is to learn to scumble--see Quick Tip 155. Since oil oxidizes rather than evaporates, using a catalyst such as Liquin might help a bit, but I don't think it will solve your problem.
The fat over lean principle applies only to oil paints. The reason is that the oil used to bind the pigment does not evaporate, but oxidizes as oxygen hits the surface. Therefore, it dries more slowly from the surface downward. Fat means more oil, therefore slower drying than lean, so the idea is for layers underneath to dry at a similar speed as those on the surface in order to prevent cracking.
so the fatter the paint the longer to dry which is the reason for putting fat paint on top to allow it to dry over the thin paint which already dried. Does putting lean paint on as a final coat slow the process of drying for the fat coats below since they cant oxidize that easy with a dry coat on top, eventually leading to cracking?
Hi Dianne, great explanation! Thank you! I'm glad you mentioned to add oil or Liquin to the paint when signing the painting; I hadn't thought of that :) I do wonder how to use Liquin. Can I add any oils - linseed, walnut - to the alkyd drying medium? Can that allow you to use the paint wet into wet or is it just for layering? Hope that wasn't confusing. Thanks again!
Roxanne, the purpose for Liquin is to speed up the drying of paint. As you know, our oil colors have different drying rates depending upon their pigments. Also, the lighter colors, especially, tend dry slower (sink) and to go dull as they dry. Adding a bit of Liquin can speed up their drying rate and to a degree prevent them from sinking. It's a good idea to know what any medium will do before using it. Walnut oil, for example, will slow the drying speed. On their website, Gamblin has a section that explains how mediums behave. Also, you can get that info by Googling any medium that interests you.
I appreciate very much how you teach! Are you familiar with copal medium, and can you talk about it. Is it fat, and okey to keep using through out a painting from start to finish? and use lots of it for a syrupy look?
Copal is a traditional resin based material originally used in making varnishes. More recently, it is used as an oil painting medium to speed the drying of the painting and give a high gloss. Even though it increases paint flow and does give a high gloss, it is not an ideal medium to use because it can become brittle and tends to yellow with drying. With so many more stable mediums available today, I do not recommend using it.
So if I understand when you use Liquin you do not have to worry about the fat over lean rule: use only that (I mean Liquin) and don't add solvente nor oil. Am I right? Or there is a chance using Liquin only (only) that some colors (i.e. burnt umber) will dry so quick compared to others (as permanent rose PV19) that you can still have cracking troubles??? that you can still have cracking troubles??? that you can still have cracking troubles??? If you will answer that it will be useful to me thank you thank you thank you JF
The jury is still out as to just how Liquin should be taken into consideration regarding the fat over lean principle. Some conservationists say it contains a percentage of fat, others say the drying rate discounts it. My advice is to take into consideration the the degree to which using it dries your paint. There's really no reason to use Liquin unless you need a passage to dry faster.
Traditionally, the painting began with glazing. (Google Rembrandt's technique). The caution is that the glaze doesn't dry before the layer underneath it. That's why we need to be wise about the glazing medium we use.
Hi Dianne, I have a question. Is it okay if If I use Gamblin Solvent Free Gel as a glazing medium on top of a touch dry painting? How/ Will it affect the painting? How do I avoid cracking of surface? Can I use safflower oil as a glazing medium on top of a touch dry painting?
Christian, avoid using anything but an artist grade oil for reconditioning a dry painting for fresh paint. Cracking is caused by layers on top drying before layers underneath. Gamblin claims that their Solvent Free Gel "supports the broadest range of painting techniques with the least compromise across color, dry time, texture and mark-making", but not having used it, I don't have an answer derived from experience.
Hi Dianne! Love your videos and artwork 😃 I have another fat/lean question for you... I paint with 50/50 linseed oil/ solent. Should I add more linseed oil to the mix or even 100% oil for 2nd layers? Or is it ok to use the exact same amount of oil and solvent with subsequent layers? Thank you so much!!
Erica, I think you are safe with sticking with the same proportion all the way through. Pulling back on the amount of solvent as you proceed is probably a good idea, but I'd be careful about subsequent layers containing more solvent than layers underneath.
I'm so glad I found your tips. I took my first class and the instructions I got were not correct. Can I save the work I started as I was told to add lots of paint to my block in and then use spirits on top so I could blend colours on top without paint lifting off the canvas. That is going to be a problem with drying now. Can I use spirit to remove the paint on the canvas let it dry and start again. I also used an acrylic ground and heard the is not good either. Thanks in advance for your feedback.
If all the paint were still wet, you could easily scrape it all off and start again, but if it's already dried, it can be done, but I think it best not to frustrate yourself by going that route. It requires lots of scraping and can weaken the integrity of the canvas. An acrylic primed canvas is fine. There are die-hards who insist that an oil painting should be done on an oil primed canvas, but the professional grade acrylic gesso made today works just fine.
What about working with a mix of galkyd lite and stand oil? Each layer of paint has medium added to it. The medium mix added consists of the same amount of galkyd lite but with increasing amounts of stand oil. The galkyd lite acts similar to the solvent as it makes paints dry faster and flow better. If alkyds like galkyd lite does not factor into fat over lean, then each layer of paint is still receiving more oil content with this mixture due to the stand oil aspect of this mix.
Daniel, when we combine oils with drying agents like Galkyd and Liquin, there is a chemistry to consider and that is how long it takes the catalyst to interact with the oil, causing it to oxidize. I don't have the answers to that.
Hi Dianne, your fat over lean tip was helpful , thank you . Is it ok to use a lot of paint in the block in and will this affect the fat over lean rule?
During the block in phase, it's best to hold back on using lots of paint, not so much because of fat over lean, but to give you more control as during the refinement phase. This especially applies when you are painting alla prima.
Thanks for your answer to my previous question so quickly. So does this mean that for sure, if I only use Liquin mixed with my oil paint, I won't have to be concerned with the fat over lean principle?
I wouldn't make that a cut/dry answer. For alla prima painting, it holds true. Fat over lean has to do with underneath layers drying prior to subsequent layers in order to prevent cracking. Frankly, no medium at all is the best way to go, but for those who insist on using a medium and Liquin is in the mix, then it's best use it all the way through, or at least on layers underneath. Just be aware of what the medium is doing to the paintings drying rate.
@@IntheStudioArtInstruction - Thank you so much. Since I asked this 2 yrs ago I have read of how toxic liquin would be to use in my small studio that is closed to outside air when the weather is hot or cold. So I am now learning all I can about using Walnut Alkyd Medium and Lavender Spike Oil, since they are non toxic. I just now added a new question for you on that subject above - 10-14-22. joyce
Dianne, as I understand it, the molecules in the oil link to form the bond to the painting surface. Is there a point in which thinning the paint with thinner will cause adhesion failure?
Yes, Greg. When we add solvent to the paint, we weaken its integrity. So except for the initial application where we use solvent-thinned paint to map out our composition directly into the canvas, it is best to use a medium rather than solvent for further thinning of the paint.
Hello, This video was very helpful. I had the intention on using gamsol/liquin in the initial layers followerEd by safflower oil to make the painting “fatter” Is this accurate. I mainly wanted to use it for the white highlights and lighter colors on final layers. also wanted to use the safflower oil on the top because I’ve found that safflower yellows much less than other mediums or solvents. Would it adhere if my previous layers were gamsol and liquin?
I am hesitant to recommend using mediums after the initial blocking. When you're first laying the composition out with washes, gamsol alone is sufficient; you don't need the Liquin. If your paint is of a consistency to brush smoothly, very little medium is necessary as you build the painting. It is better, during this process, to use a formula rather than a pure oil, then finish the painting with no medium.
Not a good idea. Turps/turps subs break down the integrity of the paint's binder, so should not be used as the medium for glazing. Oil by itself is risky for a glazing medium due to the drying process. Layers of paint need to dry from the bottom up--those touching the surface towards subsequent layers added. The more the oil content, the slower the drying rate.
Dianne, I'm a watercolorist with a live hate relationship for oil. I have honestly done some decent works. I think I was working correctly and using liquin. Now, what's the process like if working alla prima with liquin, vs only paint from the tube. I would prefer things dry faster, but how does my thinking fall apart if I stop part way and I dont get back to work for a day or two? I want to learn portraiture and feel oils would best suit me. However I believe the fast over lean maybe more desirable. Thanks.
Paul, I don't favor using any medium at all with oil paint, unless a passage needs to dry more quickly. Manufacturers of oil paints formulate them so that there is a perfect balance between pigment and binder. When we add medium to that, we upset that balance. Alla prima painting techniques work best without adding mediums to them. The key is to learn the brush techniques of working with the paint at that consistency.
@@IntheStudioArtInstruction Thanks Diane. I prefer the simplicity. I am going to work on this process. I know I have to accept the slow drying with alla prima and how to travel with a wet painting. I'll make a box as I have seen. My works will be small until I can work up to a larger format. I have Gamblin oils as I believe they are a reasonable brand.
Diane, I see my questions from months ago and you answered my questions. I want to ask about the use of Liquin. Should it be mixed with the paint dollop on the palette or dipped into with the brush as we work? One more. I'm guessing that less solvent means fatter pigment. A variation of solvent quantity then affect the lean consistency. A tiny bit versus a higher amount would still meet the fat definition. Correct? Thx
Paul, it is best for Liquin to be thoroughly mixed into the paint so that all the paint in that area dries at the same rate, so mixing on the palette is a better practice. To your fat/lean question: solvent breaks down the intergrity of the binder in the paint, so it's safer not to add solvent alone beyond the preliminary phase. Solvents within a painting medium work fine because there's oil mixed in with them. Fat refers to the amount of oil in the pigment, not the dilution of oil. Chemically, oil paint oxidizes rather than dries. The more oil present, the slower the drying rate. We must also figure into that any catalysts added to the oil that will speed its oxidation.
Hi Dianne, I use solvent for underpainting but after that, I have one question...Can I use pure oil paint from my tubes without a medium for the rest of the process? (referring in terms of layers)...won't it crack? Thank you!
Yes. The risk of cracking has to do with a top layer drying prior to the one underneath it. The more oil present in the medium, or if a layer underneath contains a slower-drying oil than the one underneath, the cracking risk becomes greater.
@@IntheStudioArtInstruction Oh, thank you so much for your reply. I really appreciate it. I've enjoyed and learned from your videos....a new subscriber here!! Regards
Anay, there is a lot of confusion as to whether Liquin is to be considered as fat or lean. The fat over lean consideration came to light because of cracking and flaking happening on oil paintings over a period of years. Oil paint oxidizes rather than evaporates, and does so slowly depending upon the pigment's reaction with the oil and the kind of oil used. If a layer on top dries before a layer underneath, the is shrinkage can cause the paint to crack. Since Liquin facilitates "drying", the jury is still out on how it behave over decades and centuries.
Yes. When painting using the layering technique, we try to control what we do according to the drying speed of each layer. Lean layers dry faster than fat layers, therefore are not so conducive to causing cracking.
A lot of artist use this method. It works fine to paint oil over acrylic, but never acrylic over oil. I would hesitate, though, to add oil on top of thickly painted acrylic because the slick surface my prevent the oil from adhering.
Thanks Dianne for another great tip. What if I don't use any solvent at all but use linseed oil with a touch of paint added to tone the canvas? Did you say that linseed oil and liquin don't count as fat?
Linseed oil actually ADDS to the 'fat' content as linseed oil & pigment are what makes up oil paints (generally speaking). Liquin changes the oil paint chemically to make it thinner and dry faster, but doesn't affect the 'fat over lean' principle because it's not a solvent (doesn't make it weaker). Hope that helps.
@@jtpaar1732 Thank you, that's very helpful. I saw an artist on YT ages ago who toned his canvas with linseed oil and a touch of paint. He then proceeded to rub it in with paper towel and I suppose he let it dry before beginning his painting.
JT Paar answered this beautifully. Just to add one point, it's the "drying" process that is the reason we're cautious about fat over lean. And it's the oil that we're concerned about in the fat side of it. Think about it in terms of layers: if the layer on top solidifies before the layer underneath, as the underneath layer solidifies, it puts tension on the dryer layer on top, thus causing a risk of that the top layer cracking over time.
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The best clearest explanation I have heard to date regarding "Fat over lean rule". Thank You Dianne
Thanks.
That’s the clearest explanation I’ve ever heard.
I'm delighted!
Thank you for being clear and precise, so many videos have great info but my brain gets so thrown off so easily that I don’t even gather what I came for and I’m just left like “what just happened”. You were clear and to the point which meant I can grasp all the information and apply it without having to replay over and over again.
Thanks so much. My hope is that emerging artists will play with these tips and really see how they work. That can only happen with one thing at a time.
No one ever explained that to me. You are such a great teacher! Thank you for sharing these quick tips!
I'm always happy to share. Thanks for watching.
Dianne, I am an acrylic painter who is not a beginner anymore but still far away from an expert. I saw most of your 200 quick-tips and i learned SO MUCH of it!! Most of the are also appliable to acrylic. I like to let you know you're one of my favourite experts on TH-cam (and there are so many! And lots of them are awesome.). I really hope you wil enrich us for many years coming with your lovely expertise. Thanks very much!
Thanks, @Pe. G. We, too, hope to continue the Quick Tips for as long as we feel they are being helpful.
Straightforward and clear as a bell. Thank you!
That's good to know. Thanks.
Agree!
Treasure trove of information to enhance our skills for a right approach to painting right. Thanks Dianne
My pleasure as always.
You give the clearest instruction on fat over lean. Thank you so much!
My pleasure.
I appreciate your tips so very much!! I’m trying to learn oil painting. I’ve been learning acrylics for two years. So very different but you are making things much easier to understand. Thank you so much❤❤
Keep enjoying the journey!!
This lady is such a wonderful teacher: wish I had known her for as long as I have tried to paint!
Thanks for that, Jimmie. Now is what counts!
I watched 7 videos about fat over lean and this is “loud and clear” So much confusion there.. thank you for being precise.
My pleasure. Thanks for watching.
Thanks for explaining this in a straight forward and quick manner. I've tried watching other fat over lean explanation videos and they were all needlessly long with jokes and whatnot. Great upload!
I'm delighted you found this helpful.
No nobody has dealt this point with so clarity...
Very very straight and clear message...👌🏻
Thanks. My pleasure.
Thank you,you are the first person to explain this so simply and yet so clearly.
Thanks. I'm delighted you find it helpful.
You have made that so much easier to understand. I just love your style of teaching thank you xx
My pleasure, Brenda. Thanks for watching.
Thank you for the great straight to the point explanation!!! Helped a lot!!!!
Great! Thanks for watching.
This is absolutely the best explanation of fat over lean on the internet. Thank you :)
My pleasure. Thanks for watching.
Thank you Dianne, this helped me understand the principle "Fat over lean"
Great. Have fun with it.
You are so clear in instructions and generous in sharing. Warmest regards .
Thanks.
Thank you for finally spelling this out...Have been searching for a clear explanation for a long while, video after video. So glad to have found you. Thanks so much for excellent teaching! Looking forward to watching more of your channel (and have subscribed)!
You're very welcome! Glad you found us.
Thank you! I have been sitting here for an hour watching videos on fat over lean and thanks to you I finally understand it! Thank you so much!
I am delighted.
Thank you! Your explanation is what I've been looking for the whole day. My previous paintings are cracked. Now I will try using Liquin for my next paintings.
Glad it was helpful! And thanks for watching.
@@IntheStudioArtInstruction can I use gold leaf with oil paint?
This is the clearest explanation I've found on TH-cam. Thank you.
My pleasure.
Excellent info, Dianne! I've read a great deal about 'fat over lean', but I was never really clear about how Liquin or Galkyd affected the ratio, so great to know that now! Thank you!
With so many new advances in painting mediums, it can get complicated. I'm glad this gave clarity for you.
Thank you so much!! This has always confused me, but you explained it very well
You're very welcome!
Thank you that was explained so well! The thought of oill painting sounds scary with all the rules etc. But when you explain it like it’s clear to me
Throw the rules out the window.
Your explanations are wonderful
Thank you!
finally someone explaining fat over lean that was easy to understand ,thank you Dianne
I am delighted.
Awesome Sauce Dianne! :-) Thank you so much! You explain everything about oil painting so well. ;-)
Thanks, Peggy. My pleasure.
Excellent information. Clarifies so much. This is the instruction required.
Clarity means everything.
GREAT INFORMATION . . . Thank you, Dianne . . . every Tip is FANTASTIC!!!!!
Thanks, Joan.
I'm an 'ala-prima' oil painter. I'll always start off with a slightly diluted "turpy" oil paint w/ Gamsol just to cover the canvas. then it is followed up with a thicker application ( straight from tube , no medium) over it. If I still need to paint further and find that the oil painting has semi-dried or dried, I will apply an even thicker amount of oil , straight from the tube,over a select area, along with an impasto medium from Rublev, but never use extra linseed oil additions , because I do not like the flattening-out appearance that all linsed oils impart to the painting, regardless of what type of linseed oil it is. Excellent video!
Thanks for sharing your process, Prince.
Thank you for that information Dianne .
As always, it's a pleasure.
Thank you. I enjoy your videos very much.
My pleasure. Thanks for watching.
What a great teacher you are!
Wow, thank you!
You are the best tutor 💐💐💐💐💐💐
Thank you so much 😀
Would you please address the issue of the toxicity of solvents. How have you protected yourself in using solvents? Thank you very much.
Limit the solvents you use to refined mineral spirits such as Gamsol or Odorless Turpenoid. And be sure the area you're working in is adequately ventilated. That's about all you need to do.
Wow this is realy helpfull. I am a biginner oil painter. I painted whit acrylic,s wen i was 15 myby 16. I love this video. I learn so mutch about oil paint. Thank you ma'am 😊👍🏾🖐🏾👋🏾
My pleasure. Thanks for watching.
Dianne, your palette is so beautiful. Could you do a video on how to make one like that? I do have the same pochade box you do, although mine is probably smaller.
Fabrizio, check out Quick Tip 115 ( th-cam.com/video/RORenwUXMDI/w-d-xo.html ) and let me know if that answers your question.
Thank you Dianne. Love your video's.
My pleasure, and thanks.
Thank you, I didn't know what that meant. Very Helpful
Is it clear now? Hope so.
Do you have a video on the use(s) of Neo Megilp ? Thank you for your videos 💜
Sorry, I've not used Neo Meglip.
For the new water soluble oil, can we add water or Liquin into the paint in some spaces where there is already an undercoat painted with paint from the tube ? Sorry for my English language, I hope it's understandable. And thank you a lot for all ! 😘
Liquin is not water soluble, so if you add it to water soluble oil, then your oil is no longer water soluble.
Great quick tip again, thanks so much. How long must a painting dry before using a medium in the paint when adding another; ie., for signatures and for glazing?
For both, dry to touch is fine.
Best explanation I’ve seen! Thank you
You're very welcome!
Thank you so much.Does it mean,that I can paint only with liquin with every layer?Lets say I pant first layer only with liquin,let it dry overnight and another day I paint second layer with liquin and so on…Is it ok or is it not the roght procces?Thank you so much
As far as we know to date, yes, you can use Liquin as the medium for layering. It is too new to have the long test of time that linseed oil has undergone.
Thank you for all this information it’s very helpful. I would just like to know if I can paint a layer on top of a touch-dry layer of paint that has the same level of fatness. For example, my previous layer was just oil paint straight out of the tube, and it’s now dry so will it still be safe for my next layer to be oil paint straight out of the tube?
Yes, Kneishan. Since you're not adding any medium, you don't have any worries.
Excellent - clear and to the point. Thank you
Glad it was helpful!
Very good explanation thank you
Glad it was helpful! Thanks for watching.
Hi Dianne, a wonderful explanation, thank you! But I am a bit worried about putting a layer of paint mixed with liquin over an existing layer of paint out of the tube. I know it is not a solvent, but won't it eventually crack because it is drying quicker than the bottom layer?
Yes, Sharon, it will and that IS cause for concern.
Hi Dianne.. I'm new to oils.. for my first painting I went with the ala prima technique.. but I want use fat over lean in my future paintings.. i have a question I have seen many oil paintings with drips how do I achieve that ?? To my knowledge drips are made by mixing solvent but how does it imply on fat over lean if I had to add it on top layer? Thank you for sharing your knowledge 💖
Celestial Hue, I have seen drip paintings crack and suffer serious surface scratches. Allowing that loose, running paint "effect" seems to work best with acrylic paint, but with oils (yes, it is thinned with solvents), it looks cool, but the artist risks the weakened paint surface becoming vulnerable to being damaged in the future. When you over-dilute the oil pigment, In essence, the pigment particles have no way of clinging to the surface.
Good info. Where I'm getting confused is, when I've heard on other videos, they used straight paint on top of paint that had medium in it...because it is "thicker". But if by adding medium such as linseed oil actually "fattens" the paint...then straight paint wouldn't actually be fatter would it?
Teresa, sadly not all painters understand the fat over lean principle. Choose those from whom you take advice wisely.
Your explanations are so helpful. Can you clarify, from what you said regarding galkyd and liquin, I took it to mean that those do not affect fat over lean at all so you could use them at anytime during the painting process and not have a problem with the fat over lean rule. Is that correct?
Let me qualify that just a bit. The fat over lean principle applies to painting in layers where it is important for the bottom layers to dry before or with the layers on top, otherwise the top layer is prone to cracking. Drying agents, when added in equal amounts to bottom layers will facilitate their drying so that the risk of cracking is minimized.
Hi Diane, Thankyou this is good explanation and will help me with my future paintings. But can I repaint over a cracked section of my latest oil painting where I added a new feature weeks later believing it was dry enough to do so. I didnt use any solvent, so do I need to remove some of the cracked paint first or can I just re-paint over the area. Your advice would be so appreciated as I was very happy with the painting until I noticed the cracking. Kathy.
Kathy, if there are cracked sections, something went fowl with the paint's integrity. I would need a lot more specific information before I could begin to understand what caused the cracking, and without knowing that, we have no way of knowing what would happen if you did anything else to the painting.
I wouldn't advise doing anything further to it. To do so might just cause further frustration.
Hi Dianne great video. Is it OK. to use liquin as a glazing medium once painting is touch dry or is it better to use something like linseed oil.?
Olivia, I'm not sure Liquin has been around long enough to provide us with a true test as to whether using it as a glazing medium on dry-to-touch will or will not cause cracking a hundred years form now. I've not really settled my mind about that and the research is not definitive, so I think it's probably safe so long as the paint underneath is not too thick. Otherwise, rather than straight Linseed Oil, perhaps it is safer to use a glazing medium.
Thank you for explaining how Liquin factors into the scenario! I only use liquin with my paints, so I should be good!
👍
Great Video ..... Do you have any tutorials explaining in detail how to use the fat over lean principle and Walnut Alkyd Medium to speed oils' drying time? Do I use more drops of this medium with each layer? And/or do I just use less Lavender Spike Oil thinner with each layer? Or both. I want to start doing oil portraits but need a fast dry solution for impatient customers, while at the same time keeping a non toxic art studio. Thanks for any help. As soon as I can get a clear understanding on this, I want to begin a portrait business. So far all I've done is sold graphite portraits. ....
joyce
Thanks for your question, Joyce. I don't have any experience with the Walnut Alkyd medium nor with Lavender Spike Oil thinner, so I can't give you an answer to this. My practice is to not use medium while painting UNLESS I need a passage to dry quickly for doing scumble or glaze--and that is rare. When I do need quicker drying, I use Liquin.
A highly respected painting conservator advised me back in the 1980's that artist grade paint out of the tube is already perfectly balanced by the manufacturer and when we add medium to that, we weaken the integrity of the paint. THAT was when I ditched totally using mediums in my oil paint.
@@IntheStudioArtInstruction - Thank you. I understand.
exactly what I needed to know, thank you!
You're welcome! Thanks for watching.
Thank you very much for this outstanding explanation!👍🏻
My pleasure. Thanks for watching.
This was great, I enjoyed the information, thank you for this quick tip👍🏼🎨
Thanks for watching.
Great video , thanks. I like to paint using a lot of glazes . Usually start with a first layer and thinners , then usually use a medium, one question I have once you start using mediums does it need to be used on all layers or can the top layers be straight paint . Thank you.
Just keep in mind that the layer underneath must dry before or with the layer on top. The fat over lean concept is to prevent cracking as the painting ages.
You’re awesome totally helpful
Thanks.
So just to make this clear, this only applies to when painting wet oil paint on top of dry oil paint, right? Bob Ross would oftentimes say "a thin paint sticks to a thick paint", and he would thin the paint down with a tiny bit of paint thinner so that it flowed more easily off the brush and he could paint on top of layers of paint. But he was painting on top of wet paint, not dry paint. Is that technically sound? Are the areas of his paintings that he made a little thinner, which included when he made his signature, are those secure on the canvas?
Long question short, does the fat over lean principle only apply to when painting on top of dry paint? And it doesn't apply to when painting over wet paint?
Fat over lean is about the ratio of oil to pigment. The concern is that the top layer doesn't dry before the layer underneath. When painting wet into wet, we don't have to be concerned about that, but it is important that we keep the ratio consistent to prevent cracking.
Thank you very much for your teaching.
Always a pleasure.
Ok this may explain how a painting I did several years ago (maybe 8 yrs.) was still wet.....yes indeed. The area was done with a palette knife applied very thickly. I do not remember using a medium, but perhaps this is the reason....not letting the layers dry.
I did not varnish it so no extra layers. The rest of the painting was dry. Now (if) I use a medium, it is quick dry Linseed oil. Since you explained the oxidation process, how soon can I continue working on a passage? I usually just go for it, applying Liquin or The Quick Dry Linseed Oil (but rarely). Thank you again!
Thank you again.
I know it may be a silly question, but why would an artist want to use solvent in a painting? If youre going to tone the canvas, just to cover it up with a thicker coat, I dont see the point. Will you explain?
Thank you for everything you do.
Good question, Skin Vandal. One reason is that many artists work better when they get rid of the white of the canvas. Another is that some artists' method of painting allows the tone to show through in various parts of the painting, therefore will tone it with either a complement (mixed with solvent) or some related color to create color harmony. Still another is that using a solvent with the paint is a good way to lay out the composition or to create a notan underpainting that can easily stand editing. There are probably other reasons, too, but these are the most traditional ones.
Very interesting - had never heard of this -- question, if after the fat had dried could I apply a glaze of color thining the color with the solvent or would I need to use a special glazing medium? Love your classes
Never use solvent for glazing because it will diminish the integrity of the paint. Always choose a reputable glazing medium.
Just an "off the wall" thought if you don't mind... Can there be a painting surface made to wick away any fat stuff through the back side and reduce the hazard of cracking for the painter...?
Thomas, I'm not aware of any such material being invented. Materials that would wick the oil would also rot as a result. That's why we prime surfaced to prevent wicking.
@@IntheStudioArtInstruction I s'pose that a material could be developed that after the wicking happens you could apply some sort of varnish on the back side and that would reinforce it against future deterioration. Just a thought, possibly not important enough for commercial consideration.
Does this apply to solvent free fluid by Gamblin?
The fat over lean principle applies to the amount of oil in the paint. The more oil, the fatter the paint, therefore the slower the drying time. Gamblin's solvent free fluid is made of safflower oil and alkyd resin. The alkyd speeds up drying time.
The fat over lean principle was designated long before alkyds were invented, so since it's the drying that is the issue, I think what you'd need to watch is that paint in which you've added this fluid would be underneath any paint that doesn't contain it or another drying medium.
Greatest vid on the subject. Thanks
I appreciate that!
Hello Dianne, I have another question and I appreciate your patience. I presently in Florida oil painting outside. It cooler than expected especially at night. I can't bring my works inside our rv due to odor. They are not drying as expected. I have one that's 2 days old. Q: is there a point where I can add more layers even if the paint is not dry to the touch? I thought there may be some partial curing that would allow painting to continue. I may have to use liquin, but still the cool air my hinder the drying. Thanks again Dianne.
Paul, two ideas: One is to try painting alla prima where you don't have to wait for drying time. Along with that is the second idea and that is to learn to scumble--see Quick Tip 155. Since oil oxidizes rather than evaporates, using a catalyst such as Liquin might help a bit, but I don't think it will solve your problem.
Super clear tip, thanks. Love to hear your thoughts on "oiling out".
More about oiling out coming up in June.
@@IntheStudioArtInstruction Great. Enjoying watching you teach - super job. Thanks
Clear and simple! Thank you so much!
My pleasure.
Thank you, that was clear. How does this apply to the use of media like r&f pigment sticks? Or cold wax medium.
The fat over lean principle applies only to oil paints. The reason is that the oil used to bind the pigment does not evaporate, but oxidizes as oxygen hits the surface. Therefore, it dries more slowly from the surface downward. Fat means more oil, therefore slower drying than lean, so the idea is for layers underneath to dry at a similar speed as those on the surface in order to prevent cracking.
so the fatter the paint the longer to dry which is the reason for putting fat paint on top to allow it to dry over the thin paint which already dried. Does putting lean paint on as a final coat slow the process of drying for the fat coats below since they cant oxidize that easy with a dry coat on top, eventually leading to cracking?
The lean will dry and run the risk of cracking over time as the layers underneath oxidize.
New to this, very helpful explanation
Wonderful.
Thanks for your clear explanation 👍it was helpful, God bless
Thanks for watching!
Hi Dianne, great explanation! Thank you! I'm glad you mentioned to add oil or Liquin to the paint when signing the painting; I hadn't thought of that :) I do wonder how to use Liquin. Can I add any oils - linseed, walnut - to the alkyd drying medium? Can that allow you to use the paint wet into wet or is it just for layering? Hope that wasn't confusing. Thanks again!
Roxanne, the purpose for Liquin is to speed up the drying of paint. As you know, our oil colors have different drying rates depending upon their pigments. Also, the lighter colors, especially, tend dry slower (sink) and to go dull as they dry. Adding a bit of Liquin can speed up their drying rate and to a degree prevent them from sinking.
It's a good idea to know what any medium will do before using it. Walnut oil, for example, will slow the drying speed. On their website, Gamblin has a section that explains how mediums behave. Also, you can get that info by Googling any medium that interests you.
Thanks, Dianne! That's helpful and yes, I'll do some googling :)
I appreciate very much how you teach! Are you familiar with copal medium, and can you talk about it. Is it fat, and okey to keep using through out a painting from start to finish? and use lots of it for a syrupy look?
Copal is a traditional resin based material originally used in making varnishes. More recently, it is used as an oil painting medium to speed the drying of the painting and give a high gloss. Even though it increases paint flow and does give a high gloss, it is not an ideal medium to use because it can become brittle and tends to yellow with drying. With so many more stable mediums available today, I do not recommend using it.
So
if I understand
when you use Liquin
you do not have to worry
about the fat over lean rule:
use only that (I mean Liquin)
and don't add solvente nor oil.
Am I right?
Or there is a chance
using Liquin only (only)
that some colors (i.e. burnt umber)
will dry so quick compared to others
(as permanent rose PV19)
that you can still have
cracking troubles???
that you can still have
cracking troubles???
that you can still have
cracking troubles???
If you will answer that
it will be useful to me
thank you thank you thank you
JF
The jury is still out as to just how Liquin should be taken into consideration regarding the fat over lean principle. Some conservationists say it contains a percentage of fat, others say the drying rate discounts it. My advice is to take into consideration the the degree to which using it dries your paint. There's really no reason to use Liquin unless you need a passage to dry faster.
Great information, Dianne. What about glazing? How do you thin the paint with solvent of medium to glaze over fat?
Traditionally, the painting began with glazing. (Google Rembrandt's technique). The caution is that the glaze doesn't dry before the layer underneath it. That's why we need to be wise about the glazing medium we use.
Thank you, Dianne.
Hi Dianne, I have a question. Is it okay if If I use Gamblin Solvent Free Gel as a glazing medium on top of a touch dry painting? How/ Will it affect the painting? How do I avoid cracking of surface? Can I use safflower oil as a glazing medium on top of a touch dry painting?
Christian, avoid using anything but an artist grade oil for reconditioning a dry painting for fresh paint. Cracking is caused by layers on top drying before layers underneath. Gamblin claims that their Solvent Free Gel "supports the broadest range of painting techniques with the least compromise across color, dry time, texture and mark-making", but not having used it, I don't have an answer derived from experience.
Thank You so much! @@IntheStudioArtInstruction
Thank u for a great tips
My pleasure 😊
Hi Dianne! Love your videos and artwork 😃 I have another fat/lean question for you...
I paint with 50/50 linseed oil/ solent. Should I add more linseed oil to the mix or even 100% oil for 2nd layers? Or is it ok to use the exact same amount of oil and solvent with subsequent layers? Thank you so much!!
Erica, I think you are safe with sticking with the same proportion all the way through. Pulling back on the amount of solvent as you proceed is probably a good idea, but I'd be careful about subsequent layers containing more solvent than layers underneath.
I'm so glad I found your tips. I took my first class and the instructions I got were not correct. Can I save the work I started as I was told to add lots of paint to my block in and then use spirits on top so I could blend colours on top without paint lifting off the canvas. That is going to be a problem with drying now. Can I use spirit to remove the paint on the canvas let it dry and start again. I also used an acrylic ground and heard the is not good either. Thanks in advance for your feedback.
If all the paint were still wet, you could easily scrape it all off and start again, but if it's already dried, it can be done, but I think it best not to frustrate yourself by going that route. It requires lots of scraping and can weaken the integrity of the canvas.
An acrylic primed canvas is fine. There are die-hards who insist that an oil painting should be done on an oil primed canvas, but the professional grade acrylic gesso made today works just fine.
Thanks you for you much needed advice.
excellent tutorial, just what I need, concise facts!
Thanks.
What about working with a mix of galkyd lite and stand oil? Each layer of paint has medium added to it. The medium mix added consists of the same amount of galkyd lite but with increasing amounts of stand oil. The galkyd lite acts similar to the solvent as it makes paints dry faster and flow better. If alkyds like galkyd lite does not factor into fat over lean, then each layer of paint is still receiving more oil content with this mixture due to the stand oil aspect of this mix.
Daniel, when we combine oils with drying agents like Galkyd and Liquin, there is a chemistry to consider and that is how long it takes the catalyst to interact with the oil, causing it to oxidize. I don't have the answers to that.
I FINALLY understand fat over lean ---- thank you!
My pleasure.
Hi Dianne, your fat over lean tip was helpful , thank you . Is it ok to use a lot of paint in the block in and will this affect the fat over lean rule?
During the block in phase, it's best to hold back on using lots of paint, not so much because of fat over lean, but to give you more control as during the refinement phase. This especially applies when you are painting alla prima.
Thanks for your answer to my previous question so quickly. So does this mean that for sure, if I only use Liquin mixed with my oil paint, I won't have to be concerned with the fat over lean principle?
I wouldn't make that a cut/dry answer. For alla prima painting, it holds true. Fat over lean has to do with underneath layers drying prior to subsequent layers in order to prevent cracking. Frankly, no medium at all is the best way to go, but for those who insist on using a medium and Liquin is in the mix, then it's best use it all the way through, or at least on layers underneath. Just be aware of what the medium is doing to the paintings drying rate.
@@IntheStudioArtInstruction - Thank you so much. Since I asked this 2 yrs ago I have read of how toxic liquin would be to use in my small studio that is closed to outside air when the weather is hot or cold. So I am now learning all I can about using Walnut Alkyd Medium and Lavender Spike Oil, since they are non toxic. I just now added a new question for you on that subject above - 10-14-22. joyce
Dianne, as I understand it, the molecules in the oil link to form the bond to the painting surface. Is there a point in which thinning the paint with thinner will cause adhesion failure?
Yes, Greg. When we add solvent to the paint, we weaken its integrity. So except for the initial application where we use solvent-thinned paint to map out our composition directly into the canvas, it is best to use a medium rather than solvent for further thinning of the paint.
Hello, This video was very helpful. I had the intention on using gamsol/liquin in the initial layers followerEd by safflower oil to make the painting “fatter” Is this accurate. I mainly wanted to use it for the white highlights and lighter colors on final layers. also wanted to use the safflower oil on the top because I’ve found that safflower yellows much less than other mediums or solvents. Would it adhere if my previous layers were gamsol and liquin?
I am hesitant to recommend using mediums after the initial blocking. When you're first laying the composition out with washes, gamsol alone is sufficient; you don't need the Liquin. If your paint is of a consistency to brush smoothly, very little medium is necessary as you build the painting. It is better, during this process, to use a formula rather than a pure oil, then finish the painting with no medium.
Can you paint in layers only using turp. or turp sub. and then just oil no other mediums?
Not a good idea. Turps/turps subs break down the integrity of the paint's binder, so should not be used as the medium for glazing. Oil by itself is risky for a glazing medium due to the drying process. Layers of paint need to dry from the bottom up--those touching the surface towards subsequent layers added. The more the oil content, the slower the drying rate.
Dianne, I'm a watercolorist with a live hate relationship for oil. I have honestly done some decent works. I think I was working correctly and using liquin. Now, what's the process like if working alla prima with liquin, vs only paint from the tube. I would prefer things dry faster, but how does my thinking fall apart if I stop part way and I dont get back to work for a day or two? I want to learn portraiture and feel oils would best suit me. However I believe the fast over lean maybe more desirable. Thanks.
Paul, I don't favor using any medium at all with oil paint, unless a passage needs to dry more quickly. Manufacturers of oil paints formulate them so that there is a perfect balance between pigment and binder. When we add medium to that, we upset that balance. Alla prima painting techniques work best without adding mediums to them. The key is to learn the brush techniques of working with the paint at that consistency.
@@IntheStudioArtInstruction Thanks Diane. I prefer the simplicity. I am going to work on this process. I know I have to accept the slow drying with alla prima and how to travel with a wet painting. I'll make a box as I have seen. My works will be small until I can work up to a larger format. I have Gamblin oils as I believe they are a reasonable brand.
Diane, I see my questions from months ago and you answered my questions. I want to ask about the use of Liquin. Should it be mixed with the paint dollop on the palette or dipped into with the brush as we work? One more. I'm guessing that less solvent means fatter pigment. A variation of solvent quantity then affect the lean consistency. A tiny bit versus a higher amount would still meet the fat definition. Correct? Thx
Paul, it is best for Liquin to be thoroughly mixed into the paint so that all the paint in that area dries at the same rate, so mixing on the palette is a better practice.
To your fat/lean question: solvent breaks down the intergrity of the binder in the paint, so it's safer not to add solvent alone beyond the preliminary phase. Solvents within a painting medium work fine because there's oil mixed in with them.
Fat refers to the amount of oil in the pigment, not the dilution of oil. Chemically, oil paint oxidizes rather than dries. The more oil present, the slower the drying rate. We must also figure into that any catalysts added to the oil that will speed its oxidation.
Hi Dianne, I use solvent for underpainting but after that, I have one question...Can I use pure oil paint from my tubes without a medium for the rest of the process? (referring in terms of layers)...won't it crack? Thank you!
Yes. The risk of cracking has to do with a top layer drying prior to the one underneath it. The more oil present in the medium, or if a layer underneath contains a slower-drying oil than the one underneath, the cracking risk becomes greater.
@@IntheStudioArtInstruction Oh, thank you so much for your reply. I really appreciate it. I've enjoyed and learned from your videos....a new subscriber here!! Regards
Hi, Diane I use turpentine for lean layer and liquin for fat and the details are done with anything. Am I doing right?
Anay, there is a lot of confusion as to whether Liquin is to be considered as fat or lean. The fat over lean consideration came to light because of cracking and flaking happening on oil paintings over a period of years. Oil paint oxidizes rather than evaporates, and does so slowly depending upon the pigment's reaction with the oil and the kind of oil used. If a layer on top dries before a layer underneath, the is shrinkage can cause the paint to crack. Since Liquin facilitates "drying", the jury is still out on how it behave over decades and centuries.
Will there be cracking if I use paint straight out of the tube over a layer created with paint + linseed oil?
Yes. When painting using the layering technique, we try to control what we do according to the drying speed of each layer. Lean layers dry faster than fat layers, therefore are not so conducive to causing cracking.
In the fat and lean method can i use arcylic paints to do my portrait then go over it with a thin oil paint for color
A lot of artist use this method. It works fine to paint oil over acrylic, but never acrylic over oil. I would hesitate, though, to add oil on top of thickly painted acrylic because the slick surface my prevent the oil from adhering.
Thanks Dianne for another great tip. What if I don't use any solvent at all but use linseed oil with a touch of paint added to tone the canvas? Did you say that linseed oil and liquin don't count as fat?
Linseed oil actually ADDS to the 'fat' content as linseed oil & pigment are what makes up oil paints (generally speaking). Liquin changes the oil paint chemically to make it thinner and dry faster, but doesn't affect the 'fat over lean' principle because it's not a solvent (doesn't make it weaker). Hope that helps.
@@jtpaar1732 Thank you, that's very helpful. I saw an artist on YT ages ago who toned his canvas with linseed oil and a touch of paint. He then proceeded to rub it in with paper towel and I suppose he let it dry before beginning his painting.
JT Paar answered this beautifully. Just to add one point, it's the "drying" process that is the reason we're cautious about fat over lean. And it's the oil that we're concerned about in the fat side of it. Think about it in terms of layers: if the layer on top solidifies before the layer underneath, as the underneath layer solidifies, it puts tension on the dryer layer on top, thus causing a risk of that the top layer cracking over time.