By Jim Hingst @hingst_jim
If
you follow the practices of the old masters, you will prepare the canvas with a
rabbit skin glue size and a traditional chalk gesso. The size, which is a
barrier coating, and the gesso layers protect the canvas. Without these layers,
the oil in the paint will gradually rot the fibers of the canvas.
Because
the chalk gesso is very absorbent, the oil in the first layers of paint will
soak into it like a sponge. When the oil sinks into the gesso, the paint loses
much of its gloss. This can also happen when painting one layer of paint over
another. In these cases, the oil from the top layer can also “sink in” to the
lower layer leaving a splotchy appearance with spots of the painting with a
matte finish. What contributes to an uneven appearance is that the oil of different
colors can be absorbed into the painting at different rates.
To even
out the finish and bring out the color saturation, many artists will oil out
the canvas during the painting process, brushing an oil medium mixed with
mineral spirits onto its dull painted surface. Typically, artists will mix the
medium and solvent at a 1 to 1 ratio. After
completing this process, the artist can continue painting. Some feel that
painting on the oiled surface facilitates blending of colors.
NOTE:
If you oil out a painting as you are working on it, make sure that the painting
is dry to the touch before application.
“Oiling Out” Techniques
Artists
will oil out their canvases using different techniques. Some apply an oil
medium/solvent mixture with a brush. Others use a rag. Using a brush is generally
the preferred method. After brushing the mixture evenly on the surface of the
painting, wait a few minutes before rubbing off the excess with a lint-free
rag. This leaves just a very thin layer oil that you can paint on. Failure to
mop up the excess can result in failure of intercoat adhesion, in which one
layer of paint can flake off from another layer.
Other
artists will apply the oil medium with a clean rag, rubbing it into the surface
of the painting with a circular motion. If you use this method, continue to
apply the oil until a uniform sheen is attained.
A splotchy
appearance is certainly undesirable after you have completed your painting. Before
you varnish a painting, you can oil out your work with a painting medium. NOTE:
you should only varnish a painting after it is completely dry. This can take as long as a six months to a year.
Do not varnish a painting as an alternative to oiling out. Varnishing between
layers of paint can compromise intercoat adhesion, because varnish is soluble.
While
oiling out is most commonly used during the painting process and after painting
is complete, some artists also use the practice to bring an old oil painting back
to life.
PAINTING ARTICLES
How to Clean Brushes Used for Water-Based Paints
Proper Prep Prior to Repainting Walls
Coating Woodworking Projects with Epoxy Resin
Blending Colors
Making Oil Paint
Zinsser Bulls Eye 1-2-3 Primer
Penetrol Paint Conditioner
Safely Working with Pigment Powders
When to Thin Paint with Naphtha
Damar Varnish Recipe
Essential Solvents for Sign Painters
Epoxy Resins
Bondo Tips
Flattening Paste for Enamel Paint
Paint Chemistry Terminology
Scratching the Surface with Grey Scotch-Brite Scuff Pads
How Temperature and Humidity Affect Paint Drying
Proper Prep Prior to Repainting Walls
Coating Woodworking Projects with Epoxy Resin
Blending Colors
Making Oil Paint
Zinsser Bulls Eye 1-2-3 Primer
Penetrol Paint Conditioner
Safely Working with Pigment Powders
When to Thin Paint with Naphtha
Damar Varnish Recipe
Essential Solvents for Sign Painters
Epoxy Resins
Bondo Tips
Flattening Paste for Enamel Paint
Paint Chemistry Terminology
Scratching the Surface with Grey Scotch-Brite Scuff Pads
How Temperature and Humidity Affect Paint Drying
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About Jim Hingst: After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.
Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer. Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.
Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 150 articles for publications, such as Signs Canada, SignCraft, Signs of the Times, Screen Printing, Sign and Digital Graphics and Sign Builder Illustrated. He also posted more than 400 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published. Vinyl Sign Techniques is available at sign supply distributors and at Amazon.
I just started my career as an oil painter. Thanks for this article. Now I know what kind of artist canvas I should use. Oil colors need unique surfaces for proper adhesion. Therefore, I should purchase an oil-primed artist canvas to avoid the risk of acrylic colors sinking into the character and appearing dull. Alternatively, I can paint on an acrylic-primed canvas if you intend to use it for underpainting.
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