In this video, we’re going to talk about one of the most difficult things to explain in oil painting : controlling paint, brush strokes and consistency. A lot, and I mean a lot of people struggle with this with oil painting. They want to create great colors, they get them on their palette but all they get on their canvas is a disgusting soup of melted hues. Paint that never seems to have the right consistency and that simply doesn’t want to behave like it should.

See, ideally, when you paint wet on wet, you should be able to paint a first stroke with one color and another one, on top, with a different one. And they should only mix around the edges, the core of the second brush stroke should have the pure color that you want. But very often, what happens is this instead : you get a blend of both colors. This is we can call a canvas mix, as opposed to a palette mix. A canvas blend is not always a bad thing, as long as you want it to happen. And most of the time, it happens when you don’t want to.

It used to happen a lot to me when I was just starting and it was driving me insane. But then, I discovered that I had to stop one simple thing to completely transform how I control the paint. And here’s what I did, I stopped doing this : dipping my brush in the mineral spirit every time like watercolor. Guess what… Oil paint is not watercolor and you can only master it if you understand how it behaves.

Chapters:
00:00 Coming up
00:28 Exposing the problem
01:54 I stopped doing this (and you should too)
06:11 Break
06:46 Here's what to do instead
08:19 Thick over thin
08:45 Stop mixing with your brush
10:04 Start pre-mixing a few colors
10:45 Incorporate the medium before
13:29 What stopping this changed for me

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About me (bio) :
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The material I use most of the time (not necessarily in this video) :

Drawing
Equipement
✓ Kneaded eraser
✓ Plumb line
✓ Small mirror
✓ An old synthetic brush
✓ Masking tape
✓ Cutter
✓ Sandpaper or sanding block
✓ Mahlstick or Hand rest (DIY)
✓ Level ruler
Graphite
✓ Pencils 2H, HB and 2B
Charcoal
✓ If available: Nitram charcoals (H, HB and B)
✓ Square charcoals
✓ Natural charcoal box
Black and white chalk
✓ Sketch pencil Conté white
✓ Square Conté noir : HB and 2B
✓ Chalk or pencil holder
✓ Pencil sketch Conté Pierre noire : H and HB
Sanguine
✓ Sketch pencil Conté : Blood and blood Medici
✓ Crayon Polychromos Faber-Castel : sanguine
✓ Sketch pencil Conté white
Oil painting
Palette
(Extra-fine paint, recommended brands depending on availability: Lefranc Bourgeois, Winsor and Newton, Royal Talens Rembrandt)
✓ Titanium white PW6
✓ Yellow ochre PY42
✓ Burnt Sienna PR101 or PBr7
✓ Venetian red or English red PR101
✓ Permanent Alizarin crimson (Attention: do not use the traditional pigment, which is not very light-fast) PV19 or PR177 or Quinacridone Rose PV19
✓ Cobalt teal blue PG50
✓ French ultramarine blue PB29
✓ Raw umber PBr7
✓ Burnt umber PBr7
✓ Ivory Black PBk9
Brushes
✓ About ten filbert hog bristle brushes sizes n° 4, 6, 8, 10 and 12
✓ Some flat brushes
✓ Round sable brush or round Kolinsky sable n° 4, 8, 10, 12 (from the size of the nail (about one inch) or synthetic imitation
Medium
✓ Linseed stand oil
✓ Odourless mineral spirits
✓ Safflower oil
Surface
✓ Linen canvas, fine grain universal coating
✓ For studies : Canson oil-acrylic oil paper Figueras
Others
✓ Palette
✓ Foam and spalter brushes
✓ Palette knife in the shape of a water drop, no souldering
✓ A few small pots, containers, jars...
✓ Paper towels

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#art #painting #inspiration
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Thanks for watching !