Oils: Painting Medium Basics
A quick and dirty list of Grumbacher Oil Painting Mediums’ effects on paint.
A quick and dirty list of Grumbacher Oil Painting Mediums’ effects on paint.
Hog bristles are a natural animal fiber that work well for moving large amounts of oil color across a canvas. Water tends to bloat the hog bristle hairs and make them splay out. Hog brushes used with acrylic, watercolor or other media that involves the use of water tend to lose their shape quickly.
Some of the most successful portrait painters suggest using a minimum of four colors to create a skin tone. Some commonly used colors are burnt sienna, yellow ochre, unbleached titanium, cad yellow medium, cadmium red medium, and Payne’s gray.
When the tinting strength of Titanium White is too overpowering for what you are painting, try a Titanium-Zinc white combination, or a small amount of Zinc white instead.
Never mix oil colors with acrylics or paint acrylics on top of oils. However, oils may be applied over acrylics in a few circumstances. Acrylic gesso is a great primer for raw canvas, and many oil painters prefer to use this type of gesso before oil painting. Acrylic paint may also be used in very thin, “lean” layers to create an under-painting. Acrylic paint is more flexible than oil paint, so thick applications of acrylics under your oil color may lead to cracking.
This video shows why it’s important to adhere to the fat over lean principle in oil painting.