Painting With Oil Paints

[kagemusha]

Click on their name and in the window that opens click on start conversation. Thats how I generally do it mate.

 

[billyturnip]

Mark, to pm someone click on their name under their avatar and then click the start conversation option. (Another name for personal message or pm)
Hope that helps and relieves the headache, if you have further problems just ask.

Roger,

 

[billyturnip]

Pipped at the post.

 

[Tubby-Nuts-REMOVED]

Cheers, guys!...... I looked at that, and for some reason thought ..No!.. thats not it!...

Mark

 

[Carlos69]

I paint nearly entirely with oil paint,have done for nearly twenty five years ... heres my findings.

To help with the matt finnish and quicker drying times paint over a true matt undercote,I prefer Humbrol and Andrea.

I never soak away the oil from the paint as for me it limits there qualitys (silky butter blending ) I normally end up adding more linseed.

The above step makes them dry glossier so I force dry. Not hairdyer force drying but over night so its ready for the next days paint session. 5-8 hrs they are ready to work over,enough time for me to sleep I use a small light box ...

For flesh or leather I do not force dry, I let them dry out naturally which gives a nice subtle sheen.

For cloth I Dullcote every time,rarely am I happy with the force dry matt finnish after seeing Dullcote.But force dry is matt ...but not matt enough for me or certain textures/materials etc ...



Rgds the force drying method I have never had issues as stated above,again probally because the layer of paint is so thin,microscopic .... never would be an issue unless you paint Impasto stylee ?!


OIL PAINT GOT SOUL !

 

[Tubby-Nuts-REMOVED]

Carlos!..... Thats interesting, in the fact that you never soak off the excess oil??.. But have an 'Acrylic', base, ( like myself ) !... Is, your method purely for the face?.... or generic? for the whole figure.

Mark

 

[Carlos69]

Mark I use this for the whole figure,Humbrols are enamel and offer a very matt basecote which helps alot,also Andreas acrylics are very matt for me... VMC I use sometimes as basecotes but they never dry as matt in my hands

 

[Tubby-Nuts-REMOVED]

Carlos!... This is getting very interesting!.. With using 'Humbrol',.. is this by 'Airbrush', or Spray-Can, for the initial, base ..or just 'Brush'?..... I do use the 'Humbrol' (Acrylic) spray, as base colour, over the 'Primer'. But you are using 'Enamel'.... with which method do you apply the humbrol??

Mark

 

[kagemusha]

Almost a mirror image of how I find using oils Carlos. Again I totally agree that keeping the painted layer as thin as possible will avoid a lot of problems. Also, your choice of undercoat, takes me back to my early days when enamels were all there was for undercoating as car primer was way too thick and vapourous to use, is very important. As you and others say the matt/tooth of the surface is a big part of how oils perform/dry. Along with others on PF, I have had the misfortune of having dullcote go cloudy/chalky when used to matt a painted surface, so have never tried it with oils. Instead I use a little IPA on a soft brush to matt the oils further but, only when completely dry. It interests me that so many of us use the same materials but get such varied results.

Regards

Ron

 

[Carlos69]

Carlos!... This is getting very interesting!.. With using 'Humbrol',.. is this by 'Airbrush', or Spray-Can, for the initial, base ..or just 'Brush'?..... I do use the 'Humbrol' (Acrylic) spray, as base colour, over the 'Primer'. But you are using 'Enamel'.... with which method do you apply the humbrol??

Mark

Dude with flesh no matter what scale I allways use Humbrol enamel as a base and airbrush it on so it lays down with minimum paint build up.

For the body of the figure I use the mk 1 brush I thin it with white spirits in a couple or three thin cotes of paint. If its 120mm or 200mm then I usually lay the base cotes down with the AB as its quick and neat,also because its sprayed you get a bit more of a "toothy" base cote which again aids paint drying as it sucks up the oil


Carlos

 

[Carlos69]

Hi Ron,

Its good to hear how other oilys go about paint as I dont know many that use this medium still ... it has all been trial and error so good to see it discussed on forums etc,hopefully our findings will help guys out new to the medium.

Regards matting down and Dullcote,I very nearly chucked oils in around three years ago due to un wanted sheen and gloss. I have still a dozen matt varnishes and wrecked loads of work in the process trying them. I just couldnt get a dead flat cloth finnish. I tried the only one I never had ... Dullcote. I didnt fancy the spraycan stuff so used the liquid and cut with white spirits but gave very inconsistant results.... white spot.clouding etc ... after much head banging I tried lacquer thinner (cellulose) tried it and was amazed at the 100% reliable results... I now dont worry about adding more Linseed etc etc I just very lightly dust the figure in the mix with a double action airbrush, this way you can blow air and then slightly introduce some of the thinned Dullcote. This way the very least amount of paint goes down and as soon as it hits the surface it is 100 % matt. Never clouds or blooms or white spot.I think you need the lacquer to break the Dullcote down so it mixes properly.

Loving the oils again now !

Carlos

 

[kagemusha]

Hi Carlos, getting Dullcote in the UK can be difficult so I brought 3 tins and had a play with each. I had been warned that the spray cans varied in consistency and quality, two caused clouding and the third left a rash of white spots. Luckily, these were only used on test figures, so no big loss. To date, the only time I use any matt coat, is to seal pastels/powders which are unaffected by matt coating. At the moment I am trying out some new techniques with oils and pastels/powders using the hairspray technique employed by AFV modellers. It is looking good as a means of adding texture to cloth, as well as shading to metals. Like you, I too love the sheen oils impart to flesh, and am not enamoured by the high contrast style that acrylic users seem to favour. That said, there are some seriously stunning acrylic painters out there on this forum.
How do you feather your blends for flesh areas, as this intrigues me when I look at other oilers work. It seems no two oilers follow the same path. Just wondering?

Regards

Ron

 

[theBaron]

I just read through the thread, and I didn't see any mention of using a wax medium mixed into the oils, to cut the sheen. I've tried Dorland's, with moderate results. Have any of you used wax, too?

Prost!
Brad

 

[Carlos69]

Hi Ron,You can get the liquid version of DC ok now in the UK,there are a couple of stockists ... MDP and also Antenocitisworkshop,give it a go with lacquer through the airbrush.

For blending I use a stipple kind of action wet on wet and also wet on dry blending.I do like to add a touch of Linseed though.I tend to use my series 7 brushs to feather the edges with a gentle stipple in tight areas such as faces etc ...


Carlos

 

[Tubby-Nuts-REMOVED]

Ron, I have been advised on another thread!,.. To warm up the can of 'Dullcote', In hand-hot water for a while,.. which apparently minimises or eradicates, this 'White-Spot', issue! Also, do you also use 'Enamels', as a base coat as well?... As regards the use of 'Car-Primer', I always use 'Holts', Acrylic, oxide-red, or grey!.. and have found, that it sprays well, and finely enough to highlight detail. even after a couple of coats. Granted! it is not as fine as 'Citadels', 'Skull-White' or 'Chaos-Black', (Both acrylic). But then, I use the Humbrol (Acrylic), Mid-Earth, as intial base, colour, an upward spray, (Chin to Head) with Dark-Earth, then a downward, spray of light-sand (Head to chin)! ... Then the fun begins with the oils!


Mark

 

[kagemusha]

Carlos, many thanks for info on DC in uk. Insight into your technique is very useful too. Please explain your adding linseed tho, as I found even the smallest amount made the paint 'skid'.

Mark, been there, done that etc. etc. Really think I must have got a bad batch. I use GW skull white as my base sealer on resin and Tamiya Grey primer for metal. Perhaps the next step is the biggest difference in my oil technique to that of others as, being a classically trained oil painter, I under paint with glazes of oil colours that are a feint approximation of the final colour. Although sometimes I will use a glaze of the same colour over the entire piece. I did post an sbs of a 120mm bare horse some time back which shows it better than trying to word it. Have a look here Just a horse for a change and let me know if it makes sense.

Regards

Ron

 

[kagemusha]

Sorry Brad, just saw your post/query regarding wax added to oils. It had the same result as linseed for me in that the paint seemed to skid on the surface, which meant I couldn't get the feathering of blends I like.

Cheers,

Ron

 

[Carlos69]

Ron no worrys

I tend to add linseed oil to most of my mixes,but more so when using Titanium white and Naples yellow and when working wet on dry. The oil paint is like melted butter and for me it blends so much nicer,not sure what you mean when you say the paint skids on the surface ?


Carlos

 

[chris1]

Hi Carl
This is the method I use.
Undercoat:Humbrol sand
A mix of Ochre yellow,Burnt Sienna and Raw Umber
I mix this to a mahogany brown and apply thickly
Leave for 30mins or so then remove using a large flat brush you should end up with a stain on the highlights and a thicker mix in the folds and creases
I then dry..I put my figs etc on the hot water cylinder to dry covered with a cup or similar next day dry brush with Naples yellow dry as previous then add additonal highlights/low lights etc.
Generally This drys the paint totally matt or as an alternative I will heat the oven to about 100 degress and use that to dry the oils it also works a treat.
HTH

chris

 

[pmfs]

Verlinden´s method gents.

Pedro.