A subscriber's question about bringing back the vibrancy of a painting using the oiling in (oiling out) method caught art teacher/artist Dianne Mize's attention.
Thank you for all your informative videos. I have painted with watercolors for many years and only recently started painting with oils. Your videos are giving me the instruction I need to do it right. Please don't stop doing your videos!
This Quick Tip was like an "Aha moment" for me! I never had any formal training when I was using oils, and always wondered why there were shiny spots on some parts of the painting. Now I know! I assumed it was a characteristic of the paint itself, that some colors were shinier than others! LOL! Thank you for your excellent information! Wishing you, and all the viewers, a happy day!
Dianne, I loved the tip but also loved the painting you used as an example. In a future episode I’d love to have you deconstruct your steps to paint it!
Thank you again Dianne, another wonderful quick tip, this one was especially interesting for me with oil painting colours oiling out ... it has been a problem for me for ages, thank you again for showing us how to remedy it. I will most certainly try this and make my colours sing.
Dianne this was a wonderfully informative video. Thank you! New to oils , I used far too much solvent. However, you gave me the confidence and skills to restore the sheen on my artwork and I can now confidently varnish in a couple of months without the fear of a patchy final work. A delight to watch and hear a teacher with obviously many years of experience behind her.
Hi Dianne, I'm going to be painting again and so I come for inspiration and tips from you...almost like warming up exercises. Thank you for a very good lesson.
I must've watch hundreds of various tutorials over the years. Invariably, your are the best! You explain perfectly- you answer questions that are in my head that weren't even asked of you yet, like drying time of the oil. You are my main source of information now and I thank you so much. I'm working on a commissioned piece and so much of the blue where I added black to it sunk in badly, while the straight ultramarine blue with a dash of oil looks too oily. So I really need to fix this. Thank you so very much!
Hi!! I just discovered your channel! I ran into this issue and I'm going to try this on my painting. I hope it works. I will be watching more of your videos. Thanks for the tips!
Now that I think about it , I believe there were times during the painting process that I would use a bit of turp instead of a medium and that sunken in color has been a big problem for me - I'll not do that again! Also, happy to find out about using gauze. Thanks, Dianne you're such a gem!
Thanks for another very informative Quick Tip. I have found oiling out to be very helpful and effective. I use a 50-50 mixture of Liquin and Gamsol which works very nicely and dries probably more quickly than a linseed oil mixture. I started doing this after seeing a very good video about oiling out on the Gamblin website wherein a 50-50 mixture of Galkyd and Gamsol is used.
Most of my paint in tubes that I purchased from Michaels were not at the proper consistency for painting. I had to add a little linseed oil to get it just right. Also I did layers upon layers, wet on dry. Auhhh, when I added the varnish I can definitely see the inconsistency in the varnish on the painting. I am happy with the finished painting but was not happy with how the varnish seemed to have ruined my painting. Thank you for that great advise.
Kathryn, I am not a fan of the cheap paints on the market today. It is worth it to spend your money on artist grade paints and have fewer colors than to buy cheap brands that often contain inferior materials. Also, varnish should never be mixed with the paint and should only be applied to oil paint after it is thoroughly dry. Go to vimeo.com/434803650 for good varnishing practices.
Thanks Dianne. You explain things so clearly. I'm wondering if this process works if continuing to add paint to a painting done recently, ie., to do any editing or also to touch up an old painting. I have a couple of old paintings I would like to finish.
You can do this process as long as the painting is totally dry. If you want to work back into the painting, it is best to wait until the oiling as totally dry, then go for it.
Thanks Dianne. Very useful tip. Do you think using another oil such as walnut oil would be ok? Also do you think there would be no problem varnishing (Gamvar) once the oil has dried?
Stick with linseed or the formula of sun thickened/gamsol. Walnut oil is extremely slow drying so is not ideal for oiling in. Once the oil is thoroughly dry, there is no problem with varnishing.
QUESTION: I want to be sure I understand you completely. If I oil out my painting as you instructed, it will stay looking fresh for the 6-12 months until time for a final varnish? I need to be sure so I can inform my customers who buy portraits.
I love your instructions…. I did exactly this oiling out technique that you show here on three of my paintings…. All three have a horrible tacky-sticky touch now, today is day 4 after oiling out. I used very thin layer of refined linseed oil with a plain gauze dressing …. What do I do ? I have upcoming shows….
Thankyou for your excellent advice. I am excited to try oiling an old dry painting where the colours all look faded. But is it necessary to varnish as the final coat afterwards? I hoped just oiling would be sufficient to bring it back to life without varnishing. Cheers Kathy.
Kathy, varnish gives a protective layer to an oil painting like glass does to a watercolor painting. Artist varnish can be removed using mineral spirits and a soft, lint-free cloth.
Andi, I've never painted with water soluble oils. Over the years, a few of my students have used them, but I don't have any experience with them so can't really make a call.
Hi, Diane! Thank you so much for the video and I really appreciated your demo. I experimented oiling out on some of my old paintings from a year and a half ago. And I noticed the paint came off on to the rag too like what happened in your video. Will this residue of paint stain the other part of the painting and accidentally "glazed" the painting as you keep rubbing the surface? Thank you!
Is this about some color being glossy and some color being matte on a finished painting? We deal with this in acrylic all the time. The resolution for acrylic is either varnish or mixing gloss/matte medium with your paint. This is seen more in professional paint like M. Graham and Golden. Student paint like Liquitex Basic and Grumbacher are all uniform. Not sure though if that's what your talking about.
Thanks Dianne, that was so helpful! The detailed instruction is much appreciated. Just one question: Can I continue working on a painting that's has been oiled out and is now dry? Many thanks again!
I do have a question, Dianne! When changing colors, what do you dip your brush in to clear the brush of that color? I've recently been using Gamsol to have a clean brush, but I think it is interfering with the paint even though I squeeze out every drop off the brush. I'm trying to not end up with ten brushes to clean after my painting session. thank you!
Marie, I have Turpenoid turpentine substitute in my brush washer, but Gamsol works just as well, though because it costs more than Turpenoid, I reserve it from my notan washes. I always roll the brush on the side of the washer under the Turpenoid to be sure all the paint is washed out, then be sure I dry it thoroughly by squeezing the bristles between paper towels.
How can you avoid paint sinking in from the beginning before we even begin to paint? I have been told that mixing gesso with PVA glue will give a perfect seal the the canvas but I am not sure if doing that. I do sand my canvas and then apply another coat of gesso and even sand again and gesso again if necessary but I always stick to the fat over lean method. All first coats of oil paint I use thinned down quite a lot and as I add layers they get fatter and fatter until I am using straight from the tube. Doing it this way means painting thin tree branches in early because the paint has to be thin to get a nice thin tree branch. However I have seen artists use thinned down oil paint last to put in tree branches over thicker paint and adding foliage over thicker paint thinned down. What do you think of this practice please, Diane? Thank you for your valuable tips. xx
A thrice gessoed canvas should be thoroughly sealed if you're using a good quality acrylic gesso. But caution: don't sand the final layer because doing so opens it up. Fat over lean refers to the amount of oil in the paint vs. solvent or other lean mediums. Sounds like you're using the correct procedure. No matter what we do, some of the more opaque colors are going to sink in. Usually, if it's not caused by the paint being too lean, a coat of varnish will even these out and bring them back up. About thin tree branches, etc, towards the end--adding a tiny bit of linseed oil without any thinner should work fine.
Hello, geat video! I have a question, I used retouch varnish on an oil painting I will be showing at a gallery and the varnish is "beading",I m not sure this is the right term, but in some areas it s just not sticking to the paint and instead of evening out the shine it s worse :(.I m not too worried the painting is ruined since it is retouch varnish and not definite varshing but I can t show my painting like this..I was thinking of letting the varnish dry a couple days and then oil out the patches that the varnish did not "stick" to.Let ot dry for a while and eventually reapply a thin layer of retouch all over the canvas.Do you think this could help?
Emily, I'm not sure what's going on there, but beading is a characteristic of damar varnish. The quality of the varnish you use is extremely important. The other question I would ask is what medium you used while painting because some mediums will cause spotting shiny surfaces. I think it would be wise to remove the retouch varnish using a refined mineral spirits solvent such as Gamsol or Turpenoid. Soak a gauze with the solvent and use a circular light scrubbing motion to remove it. It might require going over it several times. Once all the varnish is removed, do the same thing with isopropyl alcohol to remove all the mineral spirits. Let it dry thoroughly than apply a fresh coat of a professional grade varnish. See instructions here: vimeo.com/434803650
Thank you so much for this video. Also, how much time do we have to wait till we can apply the final varnish? Many brands of varnish say wait for 6 to 12 months, but in many UA-cam videos I have seen artists applying varnish in just couple of months, especially if they are working with thin paint layers and some use special varnishes like Gamvar which can be applied when painting is just dry to touch. So I would like to know the things to consider and corresponding time to wait to apply the varnish and also how do we know which brands of varnish can be applied sooner like Gamvar?
There are many opinions about when to apply the final varnish. If Liquin or Gamvar or one of the alkyd mediums is use throughout the painting, you can safely apply the final varnish quicker, perhaps in a couple of weeks. But if the paint is very thick with no drying agents added, six months to a year is a good policy because oil paint oxidizes, meaning it feels dry on the surface where the oxygen has quickly reached the paint, but is still wet underneath the surface. It's how wet the paint is underneath the surface that determines how soon a varnish can be applied.
I have taken classes with some big brushes and no one ever even approached this subject. I was taught to keep paint thin in the beginning and then thicker over that for more control. I look at my paintings now and after this video I see all the sunken-in places and was so disappointed to see that. Thank you for teaching us and I will be more informed next painting. Also is it good to use baby oil in place of any mediums?
I'm hoping you review some of these older video comments. I paint oil on quality plywood that has gesso applied several times before painting. I normally leave the completed paintings for a year before varnishing. Some of my paintings have impasto paint that I assume takes a while to fully cure. I'm concerned about a recent painting that I let sit 4-5 months then went back and added a glaze to add depth to an area. I applied linseed oil first and rubbed it in and the surface took the glaze smoothly and evenly. I haven't noticed any "sinking in" that you mentioned; in fact the glazed area is glossier than the original surface...probably from the oil I added to the surface. Should I oil out the entire painting to get a consistent surface before varnishing? How long should I wait for the final varnishing; a year after glazing? A year after the basic painting? Waiting isn't a problem for me since it was framed after it was dry and I enjoy it either way. I watched several videos on the subject of oiling out but no one mentioned a "timeline" between the finished painting, oiling out, or varnishing. I would value your guidance.
Mike, all the comments become visible to us as soon as they are posted, so no problem there. Proper varnishing should even out the surface quality of your painting without the need to oil out again. Be sure you clean it adequately, though, prior to varnishing. I use isopropyl alcohol and gauze pads for cleaning.
@@IntheStudioArtInstruction I wasn't sure how the messaging worked. The advice on cleaning is appreciated and I think it sounds logical. Plus, it's good to know that the painting should be OK. It's a copy of Van Gogh's copy of First Steps...and my wife and I like the way it came out. Thanks for the advice, I'll be watching.
@@IntheStudioArtInstruction Thank you, I have the same situation as Mike- and am noticing the dark colors are faded- am going to try the oiling and wait to varnish. Thank you!
Dear Diane, Thank you for your kind advice. I have a question about couching. I’m glazing and would like to introduce a layer of completely clear, smooth, colorless oil in between the third and fourth layers of color. Could you please give an explanation of how to couch and what it works for and doesn’t work for?
Couching is not a common term in oil painting and has only recently (as far as I know) been added to the painting vocabulary. It does not appear in any of the materials and techniques handbooks. I'm not sure where it originated, so perhaps you can enlighten me there and tell me where you found the term/process and in what context it was used. Couching is a stitching term common to the fabric arts, so I assume it has been adapted by someone to painting, perhaps to refer to layering. But being unfamiliar with it, I won't venture to try to explain it to you.
@@IntheStudioArtInstruction After googling it, I found where Will Kemp included couche as - a thin layer of medium or oil that you can paint thin glazes into whilst the medium is still wet, commonly called ‘laying down a couche’ but in addition to that and to fabric arts, it's apparently a term used in baking-- a folded tea towel covered in flower to rest bread dough on while it rises. I learn so many things following your art, and here's one more. Lol.
Help please! I've just oiled out a big painting..like a week ago..just using neat Linseed oil....and I must have used far too much.....and it's got drips and runs..and awful patches...can i go back with solvent and fix this up?
If it's dripping, yes you either used way too much or applied it over varnish. It takes very little oil to oil out. There is no safe way to reverse linseed oil because it doesn't liquify with solvent. Any harsh paint remover would also take away the paint underneath. In the old days, artists often used straight damar to varnish, often resulting in the drips like you describe, but I don't think I've ever heard of refined linseed oil doing that. I am so sorry, but I don't know any way to repair it.
Dianne, I usually avoid using solvents, only refined linseed oil, from start to finish. I have three questions. (1) Is the oiling in medium the same as glazing medium? (2) When a linseed-based painting is "touch dry" could I safely oil in (or glaze) with undiluted Galkyd instead of linseed to speed drying of the top layer without causing problems like cracking with the still curing under-layers? (3) Is it safe to "cut" the linseed or galkyd with solvent for either oiling in or glazing on top of an uncured linseed-based underpainting?
John, (1) A glazing medium is any medium used for glazing, no matter what its content, (2) An area dry to touch might still be wet underneath the surface, depending upon the thickness of the paint, so if you use a fast drying medium such as Galkyd on top, most likely the upper surface will crack as the wetness underneath oxidizes and contracts. (3) When using oil, it's wise to be cognizant of the drying rate. Oils oxidize rather than evaporate. Solvents evaporate. So to prevent a painting from cracking, we layer so that they layers underneath dry faster than subsequent layers, thus fat-over-lean.
@@IntheStudioArtInstruction Thanks! So if I have linseed/no solvent base layers I should stick with pure linseed for either oiling-in or glazing. If I want to work with Alkyd/no solvent I should work with alkyd (Galkyd) INSTEAD of linseed through the entire painting. Right?
Hello Dianne, thank you for all your content. I wonder - if i used other kind of oil as a medium for my painting ( I used safflower oil mixed with turpentine as a medium ) , when oiling out - do i still use linseed oil? Thats a different kind of oil. Or do I use safflower oil for oiling out in my case? Thank you
I appologize but I add more to this question. This topic of oiling out and colors sinking in is a big topic and I think many starting painters are often confused about it. Lets say someone paints a complicated painting that requires many layers / or is not skilled enough yet to paint it in 2-3 layers but needs like 10 of them? What would be an example of how to do it? Is the following sequence of layers right according to the "thick over lean" principle? : 1.) First use only turpentine to thin the paint 2.) Use a medium mixed with turpentine 3.) Use a little bit thicker medium that contains more oil that before 4.) Use even thicker medium 5.) Use only paint from the tube ????? What if the paint straight from.the tube is too thick for me to work with? Also, what if I paint in many layers and the colours sink in in between the sessions? Can I oil out in between every session or will that be too much oil for the painting to bear? Thanks a lot if anyone has any comments
Martina, Bryce Cameron Liston does a better job than I did here showing oiling out, answering several of your questions, and demonstrating how to do it. Check out his video at ua-cam.com/video/7vmpbavXNyk/v-deo.html . As he explains, what we are doing when we oil out is that we're feeding oil back into "hungry" areas of the painting. Liquin will not do that. Now, about safflower oil: I question the wisdom of using it in place of linseed oil because it has a history of making the paint more brittle when thoroughly dried. It is used in some of the lighter colors, especially whites, because it yellows less than linseed. Safflower is classified as a semi-drying oil because it dries at a much slower rate than linseed oil. I can't find in any of my technical books how it works for oiling out, so I hesitate to advise you on that, but I suspect that since it becomes more brittle as it dries, linseed might be a better choice.
Both walnut oil and poppy oil are very slow drying. There's really not enough linseed oil left - if you follow the procedure for wiping down - to be concerned about yellowing.
Yes, safflower oil works, as does poppy oil--both slow drying. Linseed oil is the traditional oil for oil paint. It's drying speed and durability keep it the industry standard.
If you wipe off correctly, this should not be necessary as most of the oil will have sunken into the dull areas. You do not want to leave behind enough to run down, else you risk cracking and yellowing.
Don't be confused, Allen. Oiling out/in simply means adding oil back in. The formula need not be complex--just a good artist quality oil like linseed or poppy and a solvent like mineral spirits. I don't recommend alkyds for this because they tend to dry rather than soak in.
Regular refined linseed oil works well without adding a solvent. That's what I used in this demo. Also, I just discovered that Gamblin is using a different method which you can find here: vimeo.com/51473622
Mercedes, that depends upon the degree of humidity and the colors the oil is mixed into as well as the thickness of the oil. Linseed oil does not evaporate but oxidizes. The amount of oxygen that can come in contact with it determines how fast it will dry.
your videos are very helpful, my quation is, i used a sprey retouch varnish on my canvas, the resultant is not so good, can I use your technisch now by using linseed oil on the same canvas,,, I mean 2 time different technisch on same canvas, thank you
The purpose of retouch varnish is to even out the visual surface quality of a painting once it's finished but not dry enough for the final varnish. It should not be used in the painting process. If you want to work on a painting after you've applied retouch varnish, remove the varnish with odorless mineral spirits first, then allow it to dry thoroughly before continuing to paint. There are three terms that tell you how materials are to be used: (1)medium=to be used with the paint, (2)solvent=to be used for thinning paint in early stages and rinsing brushes, (3)varnish=to be used on the surface of the painting to bring up sunken colors or to protect the painting from atmospheric particles.
WHat about using only oil? Fear the solvent will harm the painting (even if it´s very dried to the touch) does the solvent promote an even spread? (I don´t mind drying times).
Not really. Oiling out is important for bringing out sunken areas while in the process of developing a painting, but varnishing does bring back the sunken areas once a painting is finished.
Can you please assist me. I have varnished my oil painting with a gloss painting varnish. But is is to glossy. And some places are not even. Can I take of the varnish somehow. Or could I paint a mat varnish over the glow varnish. Thank you so much.
Kobé , you should remove the vanish before applying a new coat. Lay the painting flat, using a solvent such Gamsol or Turpenoid and a lint-free cloth such as gauze. Soak the cloth and with the circular motion, gently go over the entire surface, rotating the cloth several times. Make several passes, with a clean solvent soaked cloth each time. Then, remove the solvent with rubbing alcohol and allow the painting to thoroughly dry before adding fresh varnish.
You should not frame an oil painting under glass. Oil needs lots of ventilation to breathe. Rather than framing under glass (which we do to protect the work), we varnish oil paintings.
Would saying that colors have "sunken in", the same as saying that the colors have "matted out"? This is the first time that I've heard the terminology of "sunken in".
Thanks. I've been drawing and painting in some form for most of my life, but I've mainly just done what seemed to be the way to go, and not knowing all the terms that are used, or why. All my efforts have been done as hobbies and not so much as an educated endeavor. I'm 73, but it's never too late to learn. I'm to the point in my life where I finally have the time to learn the whys and wherefores of art, and I'm enjoying finally learning the real reasons for the final outcomes when you do this and that. I've always just done things because it seemed to be the right thing to do, because it looked right. It feels good to finally know why it looked right. I guess you could say that I have been painting "by ear". Haha. I'm so glad that I found your videos, because there is so much crap on UA-cam that is being presented as the gospel, and it's apparent that they are just talking to hear themselves. Thanks for teaching in a down to earth way that is easy to understand, and not boring. I'm learning so much.
If it's watercolor or pastel, you mat it and frame under glass. I do not recommend doing oil paintings on paper although studies on gessoed paper are a different matter. However, some folks do. In that case, I recommend allowing a professional framer make the decision as to how it is framed.
OIl colors do dry at varying rates and yes, Burnt Umber is a fast drying color. I'm not sure what problem you're having with it, but it shouldn't be drying fast enough to cause problems.
@@IntheStudioArtInstruction I get areas that dry matte and dull, no matter if I use medium or not. I have to keep oiling those areas out to be able to continue my painting. It's mostly dark areas. It's a big problem for me because I don't see the true color and value until I've oiled it out. Thanks for your videos, they are the best on youtube, by the way. I learn a lot.
Lolita, "color sinking in" is just a way of saying that the color becomes dull. Actually, the oil sinks down away from the pigment of the paint, causing the color to lose its depth. We also say that the paint is thirsty.
In my world, it doesn't. Retouch varnish is used by artists to give a temporary varnish on a painting whose surface is dry to touch, but not dry enough for a permanent varnish. Conservators advise us not to use it during the painting process.
oiling out is a necessary evil. Be careful about the amount of solvent used though because picking up colours and smearing them over your beautifully painted portrait for instance, will contaminate the previously painted very nearly dry colours.
Hi there, abdul muiz here. How r u. I would like to invite you to Islam n success. If I may ask, how do I oiling in if I don't use mineral spirits or turpentine?
@@IntheStudioArtInstruction i mean, you said combine the solvent with the oil...but what if I dont use any of the solvents...could i just use the linseed oil to oil in
Excellent Quick Tip! You once again solved a significant problem I have had. Now a few of my older pieces may have new life! Many thanks!
Glad to help!
Thank you for all your informative videos. I have painted with watercolors for many years and only recently started painting with oils. Your videos are giving me the instruction I need to do it right. Please don't stop doing your videos!
We'll keep doing them as long as questions keep coming in. Thanks for watching.
This Quick Tip was like an "Aha moment" for me! I never had any formal training when I was using oils, and always wondered why there were shiny spots on some parts of the painting. Now I know! I assumed it was a characteristic of the paint itself, that some colors were shinier than others! LOL! Thank you for your excellent information! Wishing you, and all the viewers, a happy day!
Thank you just what I needed I appreciate all of your tips but this one was just what I needed for several years thank you again
Great. I'm delighted to help.
Great.
Thank you Dianne for another wonderful tutorial. You’r The best.
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Dear Dianna my thanks to you from overseas country in Middle East … thank you soooo much
My pleasure.
Thanks Dianne for your wonderful knowledge which you share with us each time. ....thank you so much.
Hope you are doing fine ?missed you
Thanks Alka. I am progressing beautifully. I finished with physical therapy yesterday.
Dianne, I loved the tip but also loved the painting you used as an example. In a future episode I’d love to have you deconstruct your steps to paint it!
Awesome info! You explain things so well and I have learned so much from you!
Great! Thanks for watching.
Your video on oiling out was wonderful ! You explained it and showed how to do it throughly..Thank you so very much !
My pleasure.
This was exactly the help I needed. Thank you for explaining and demonstrating this method of oiling out with pure linseed oil🙂🙂
You are so welcome! Keep enjoying the journey.
Thank you SO MUCH for this quick tip!! I've needed this info for a long time 😄
My pleasure.
Thank you Dianne! I can always count on you to explain art issues completely and understandably!
I am delighted to help. Thanks for watching.
Wonderful and very helpful video...thank you, Dianne!
You are so welcome!
Thank you again Dianne, another wonderful quick tip, this one was especially interesting for me with oil painting colours oiling out ... it has been a problem for me for ages, thank you again for showing us how to remedy it. I will most certainly try this and make my colours sing.
Great. We can thank the person who requested this one.
Your tips are like gems , so valuable . Thank you Dianne 🌷
You are so welcome!
Thank you for this tip. Did you miss the upper left hand corner? Or was it dark enough not to need oil?
The beauty of your videos is....I need the instruction yet did not know what I needed. Thank you ma’am. 🧑🎨
My pleasure. Enjoy the journey!
thank you Dianne, that was succinct & easy to understand. So very helpful
Thanks!
Thanks again for this great quick tip, Dianne, it's gives excellent answers to questions I had!
Diane, I just watched your tip on oiling in. I have always applied retouch varnish to my paintings. Is this incorrect? Virginia
Virginia, retouch varnish is temporary whereas oil is permanent. It is best to oil in then let it thoroughly dry before applying retouch varnish.
Dianne this was a wonderfully informative video. Thank you! New to oils , I used far too much solvent. However, you gave me the confidence and skills to restore the sheen on my artwork and I can now confidently varnish in a couple of months without the fear of a patchy final work. A delight to watch and hear a teacher with obviously many years of experience behind her.
Thanks, Robyn. I'm always delighted to learn that my teaching has been helpful.
Hi Dianne, I'm going to be painting again and so I come for inspiration and tips from you...almost like warming up exercises. Thank you for a very good lesson.
It's a pleasure.
Thank you for explaining oiling out so very well!
You're so welcome! Thanks for watching.
I must've watch hundreds of various tutorials over the years. Invariably, your are the best! You explain perfectly- you answer questions that are in my head that weren't even asked of you yet, like drying time of the oil. You are my main source of information now and I thank you so much. I'm working on a commissioned piece and so much of the blue where I added black to it sunk in badly, while the straight ultramarine blue with a dash of oil looks too oily. So I really need to fix this. Thank you so very much!
My pleasure. And thanks.
Hi!! I just discovered your channel! I ran into this issue and I'm going to try this on my painting. I hope it works. I will be watching more of your videos. Thanks for the tips!
I, too, hope it works.
most helpful and clear video on that topic, thanks.
Our pleasure.
Thank you so much for this very helpful video. This is something I needed to know to do before final vanishing of the paintings,.
You are so welcome!
Thank you. I didn’t realize/understand why I had dull areas on my paintings. Very helpful!
Glad it was helpful!
Good explanation, all my questions answered, thanks!
Great to hear!
Now that I think about it , I believe there were times during the painting process that I would use a bit of turp instead of a medium and that sunken in color has been a big problem for me - I'll not do that again! Also, happy to find out about using gauze. Thanks, Dianne you're such a gem!
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Many thanks, Dianne, for that quick tip. Your channel is a real treasure chest for me as a learning painter.
Thanks.
Thank you for this information!!
My pleasure.
Excellent and informative - thank u
My pleasure. Thanks for watching.
love this lady :)
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Helpful. Thank you.
Glad it was helpful! Thanks for watching.
Thanks for another very informative Quick Tip. I have found oiling out to be very helpful and effective. I use a 50-50 mixture of Liquin and Gamsol which works very nicely and dries probably more quickly than a linseed oil mixture. I started doing this after seeing a very good video about oiling out on the Gamblin website wherein a 50-50 mixture of Galkyd and Gamsol is used.
Thanks for adding that, Greg. I'll check into the Gamblin method to have as a future reference.
For those of you reading comments, the Gamblin method of oiling out is found here: vimeo.com/51473622
thanx ..very nice explanation ..😻
Thanks
You’re great!
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Most of my paint in tubes that I purchased from Michaels were not at the proper consistency for painting. I had to add a little linseed oil to get it just right. Also I did layers upon layers, wet on dry. Auhhh, when I added the varnish I can definitely see the inconsistency in the varnish on the painting. I am happy with the finished painting but was not happy with how the varnish seemed to have ruined my painting. Thank you for that great advise.
Kathryn, I am not a fan of the cheap paints on the market today. It is worth it to spend your money on artist grade paints and have fewer colors than to buy cheap brands that often contain inferior materials.
Also, varnish should never be mixed with the paint and should only be applied to oil paint after it is thoroughly dry. Go to vimeo.com/434803650 for good varnishing practices.
@@IntheStudioArtInstruction Thank you.
Thank you.
Welcome!
Thanks Dianne. You explain things so clearly. I'm wondering if this process works if continuing to add paint to a painting done recently, ie., to do any editing or also to touch up an old painting. I have a couple of old paintings I would like to finish.
You can do this process as long as the painting is totally dry. If you want to work back into the painting, it is best to wait until the oiling as totally dry, then go for it.
@@IntheStudioArtInstruction Great, good to know! Thanks so much. Yes, you're the best!
Thanks Dianne. Very useful tip. Do you think using another oil such as walnut oil would be ok? Also do you think there would be no problem varnishing (Gamvar) once the oil has dried?
Stick with linseed or the formula of sun thickened/gamsol. Walnut oil is extremely slow drying so is not ideal for oiling in. Once the oil is thoroughly dry, there is no problem with varnishing.
QUESTION: I want to be sure I understand you completely. If I oil out my painting as you instructed, it will stay looking fresh for the 6-12 months until time for a final varnish? I need to be sure so I can inform my customers who buy portraits.
Not necessarily. It depends upon how much opaque paint is in the painting and the absorbency of the painting ground.
I love your instructions…. I did exactly this oiling out technique that you show here on three of my paintings…. All three have a horrible tacky-sticky touch now, today is day 4 after oiling out.
I used very thin layer of refined linseed oil with a plain gauze dressing …. What do I do ? I have upcoming shows….
Patricia, did you wipe it down after putting the oil on? If not, it is possible you left too much linseed oil on.
@@IntheStudioArtInstruction I applied the oil super thinly and I don’t recall wiping it off with another cloth……. Is it just a waiting game now?
Thankyou for your excellent advice. I am excited to try oiling an old dry painting where the colours all look faded. But is it necessary to varnish as the final coat afterwards? I hoped just oiling would be sufficient to bring it back to life without varnishing. Cheers Kathy.
Kathy, varnish gives a protective layer to an oil painting like glass does to a watercolor painting. Artist varnish can be removed using mineral spirits and a soft, lint-free cloth.
Thank you so much for sharing your knowledge. If you have painted using artist walnut oil should you oil out with the walnut or use linseed . Thanks.
Either one will work if the painting is dry. In fact, any plant derived oil will work.
This was very helpful. Can you use less yellowing oils like walnut or safflower, or is that not really important?
Walnut and safflower oils are slow drying so are not optimal for oiling out. Linseed oil works great or poppy oil.
Dianne, what do you think about water soluble oils. I found that Lukas brand has a great line, not gritty but a buttery consistency.
Andi, I've never painted with water soluble oils. Over the years, a few of my students have used them, but I don't have any experience with them so can't really make a call.
Hi, Diane! Thank you so much for the video and I really appreciated your demo. I experimented oiling out on some of my old paintings from a year and a half ago. And I noticed the paint came off on to the rag too like what happened in your video. Will this residue of paint stain the other part of the painting and accidentally "glazed" the painting as you keep rubbing the surface? Thank you!
Not if you are careful and keep rotating the wiping cloth. Wipe small areas at a time, and rotate with sweep.
@@IntheStudioArtInstruction So maybe use different rags for different areas will be a good idea too?
Is this about some color being glossy and some color being matte on a finished painting? We deal with this in acrylic all the time. The resolution for acrylic is either varnish or mixing gloss/matte medium with your paint. This is seen more in professional paint like M. Graham and Golden. Student paint like Liquitex Basic and Grumbacher are all uniform.
Not sure though if that's what your talking about.
This process applies only to oils. Oils don't dry like acrylics, rather the oil itself oxidizes rather than evaporates.
Do you use retouchevarnis sometimes as well for the sunken in parts Dianne
No, Ada, I don't use retouch varnish at all.
Thanks Dianne, that was so helpful! The detailed instruction is much appreciated. Just one question: Can I continue working on a painting that's has been oiled out and is now dry? Many thanks again!
Yes you can!
@@IntheStudioArtInstruction Awesome, thanks!
I do have a question, Dianne! When changing colors, what do you dip your brush in to clear the brush of that color? I've recently been using Gamsol to have a clean brush, but I think it is interfering with the paint even though I squeeze out every drop off the brush. I'm trying to not end up with ten brushes to clean after my painting session. thank you!
Marie, I have Turpenoid turpentine substitute in my brush washer, but Gamsol works just as well, though because it costs more than Turpenoid, I reserve it from my notan washes. I always roll the brush on the side of the washer under the Turpenoid to be sure all the paint is washed out, then be sure I dry it thoroughly by squeezing the bristles between paper towels.
How can you avoid paint sinking in from the beginning before we even begin to paint? I have been told that mixing gesso with PVA glue will give a perfect seal the the canvas but I am not sure if doing that. I do sand my canvas and then apply another coat of gesso and even sand again and gesso again if necessary but I always stick to the fat over lean method. All first coats of oil paint I use thinned down quite a lot and as I add layers they get fatter and fatter until I am using straight from the tube. Doing it this way means painting thin tree branches in early because the paint has to be thin to get a nice thin tree branch. However I have seen artists use thinned down oil paint last to put in tree branches over thicker paint and adding foliage over thicker paint thinned down. What do you think of this practice please, Diane? Thank you for your valuable tips. xx
A thrice gessoed canvas should be thoroughly sealed if you're using a good quality acrylic gesso. But caution: don't sand the final layer because doing so opens it up.
Fat over lean refers to the amount of oil in the paint vs. solvent or other lean mediums. Sounds like you're using the correct procedure. No matter what we do, some of the more opaque colors are going to sink in. Usually, if it's not caused by the paint being too lean, a coat of varnish will even these out and bring them back up.
About thin tree branches, etc, towards the end--adding a tiny bit of linseed oil without any thinner should work fine.
Hello, geat video! I have a question, I used retouch varnish on an oil painting I will be showing at a gallery and the varnish is "beading",I m not sure this is the right term, but in some areas it s just not sticking to the paint and instead of evening out the shine it s worse :(.I m not too worried the painting is ruined since it is retouch varnish and not definite varshing but I can t show my painting like this..I was thinking of letting the varnish dry a couple days and then oil out the patches that the varnish did not "stick" to.Let ot dry for a while and eventually reapply a thin layer of retouch all over the canvas.Do you think this could help?
Emily, I'm not sure what's going on there, but beading is a characteristic of damar varnish. The quality of the varnish you use is extremely important. The other question I would ask is what medium you used while painting because some mediums will cause spotting shiny surfaces. I think it would be wise to remove the retouch varnish using a refined mineral spirits solvent such as Gamsol or Turpenoid. Soak a gauze with the solvent and use a circular light scrubbing motion to remove it. It might require going over it several times. Once all the varnish is removed, do the same thing with isopropyl alcohol to remove all the mineral spirits. Let it dry thoroughly than apply a fresh coat of a professional grade varnish. See instructions here: vimeo.com/434803650
Dianne, thank you so much for your quick tips. Can you explain what "sunken color" looks like? Is it referring to dull areas in a painting?
I asked Google after posting. Yes, dull and light looking areas. I usually paint alla prima so don't run across this problem much.
Sunken color is just one way of saying that the color had gone dull and lost its vibrancy.
Thank you so much for this video. Also, how much time do we have to wait till we can apply the final varnish? Many brands of varnish say wait for 6 to 12 months, but in many UA-cam videos I have seen artists applying varnish in just couple of months, especially if they are working with thin paint layers and some use special varnishes like Gamvar which can be applied when painting is just dry to touch. So I would like to know the things to consider and corresponding time to wait to apply the varnish and also how do we know which brands of varnish can be applied sooner like Gamvar?
There are many opinions about when to apply the final varnish. If Liquin or Gamvar or one of the alkyd mediums is use throughout the painting, you can safely apply the final varnish quicker, perhaps in a couple of weeks. But if the paint is very thick with no drying agents added, six months to a year is a good policy because oil paint oxidizes, meaning it feels dry on the surface where the oxygen has quickly reached the paint, but is still wet underneath the surface. It's how wet the paint is underneath the surface that determines how soon a varnish can be applied.
@@IntheStudioArtInstruction Thank you so much. I started painting only about a year ago and your videos helped me a lot to hone my skills.
I have taken classes with some big brushes and no one ever even approached this subject. I was taught to keep paint thin in the beginning and then thicker over that for more control. I look at my paintings now and after this video I see all the sunken-in places and was so disappointed to see that. Thank you for teaching us and I will be more informed next painting. Also is it good to use baby oil in place of any mediums?
Avoid using baby oil as it will not dry and will contaminate the integrity of your paint.
@@IntheStudioArtInstruction Will do!
I'm hoping you review some of these older video comments. I paint oil on quality plywood that has gesso applied several times before painting. I normally leave the completed paintings for a year before varnishing. Some of my paintings have impasto paint that I assume takes a while to fully cure. I'm concerned about a recent painting that I let sit 4-5 months then went back and added a glaze to add depth to an area. I applied linseed oil first and rubbed it in and the surface took the glaze smoothly and evenly. I haven't noticed any "sinking in" that you mentioned; in fact the glazed area is glossier than the original surface...probably from the oil I added to the surface. Should I oil out the entire painting to get a consistent surface before varnishing? How long should I wait for the final varnishing; a year after glazing? A year after the basic painting? Waiting isn't a problem for me since it was framed after it was dry and I enjoy it either way. I watched several videos on the subject of oiling out but no one mentioned a "timeline" between the finished painting, oiling out, or varnishing. I would value your guidance.
Mike, all the comments become visible to us as soon as they are posted, so no problem there.
Proper varnishing should even out the surface quality of your painting without the need to oil out again. Be sure you clean it adequately, though, prior to varnishing. I use isopropyl alcohol and gauze pads for cleaning.
@@IntheStudioArtInstruction I wasn't sure how the messaging worked. The advice on cleaning is appreciated and I think it sounds logical. Plus, it's good to know that the painting should be OK. It's a copy of Van Gogh's copy of First Steps...and my wife and I like the way it came out. Thanks for the advice, I'll be watching.
@@IntheStudioArtInstruction Thank you, I have the same situation as Mike- and am noticing the dark colors are faded- am going to try the oiling and wait to varnish. Thank you!
Dear Diane,
Thank you for your kind advice. I have a question about couching. I’m glazing and would like to introduce a layer of completely clear, smooth, colorless oil in between the third and fourth layers of color. Could you please give an explanation of how to couch and what it works for and doesn’t work for?
Couching is not a common term in oil painting and has only recently (as far as I know) been added to the painting vocabulary. It does not appear in any of the materials and techniques handbooks. I'm not sure where it originated, so perhaps you can enlighten me there and tell me where you found the term/process and in what context it was used.
Couching is a stitching term common to the fabric arts, so I assume it has been adapted by someone to painting, perhaps to refer to layering. But being unfamiliar with it, I won't venture to try to explain it to you.
@@IntheStudioArtInstruction After googling it, I found where Will Kemp included couche as - a thin layer of medium or oil that you can paint thin glazes into whilst the medium is still wet, commonly called ‘laying down a couche’ but in addition to that and to fabric arts, it's apparently a term used in baking-- a folded tea towel covered in flower to rest bread dough on while it rises. I learn so many things following your art, and here's one more. Lol.
You are the best! Thank you. My question is what did you paint on originally? Was it a piece of canvas, or primed paper?
The piece is painted on a sheet of primed canvas. I cut sheets from primed canvas rolls on which to do the video lessons I teach.
@@IntheStudioArtInstruction Thank you.
Help please! I've just oiled out a big painting..like a week ago..just using neat Linseed oil....and I must have used far too much.....and it's got drips and runs..and awful patches...can i go back with solvent and fix this up?
If it's dripping, yes you either used way too much or applied it over varnish. It takes very little oil to oil out. There is no safe way to reverse linseed oil because it doesn't liquify with solvent. Any harsh paint remover would also take away the paint underneath.
In the old days, artists often used straight damar to varnish, often resulting in the drips like you describe, but I don't think I've ever heard of refined linseed oil doing that. I am so sorry, but I don't know any way to repair it.
Dianne, I usually avoid using solvents, only refined linseed oil, from start to finish. I have three questions. (1) Is the oiling in medium the same as glazing medium? (2) When a linseed-based painting is "touch dry" could I safely oil in (or glaze) with undiluted Galkyd instead of linseed to speed drying of the top layer without causing problems like cracking with the still curing under-layers? (3) Is it safe to "cut" the linseed or galkyd with solvent for either oiling in or glazing on top of an uncured linseed-based underpainting?
John, (1) A glazing medium is any medium used for glazing, no matter what its content, (2) An area dry to touch might still be wet underneath the surface, depending upon the thickness of the paint, so if you use a fast drying medium such as Galkyd on top, most likely the upper surface will crack as the wetness underneath oxidizes and contracts. (3) When using oil, it's wise to be cognizant of the drying rate. Oils oxidize rather than evaporate. Solvents evaporate. So to prevent a painting from cracking, we layer so that they layers underneath dry faster than subsequent layers, thus fat-over-lean.
@@IntheStudioArtInstruction Thanks! So if I have linseed/no solvent base layers I should stick with pure linseed for either oiling-in or glazing. If I want to work with Alkyd/no solvent I should work with alkyd (Galkyd) INSTEAD of linseed through the entire painting. Right?
Hello Dianne, thank you for all your content. I wonder - if i used other kind of oil as a medium for my painting ( I used safflower oil mixed with turpentine as a medium ) , when oiling out - do i still use linseed oil? Thats a different kind of oil. Or do I use safflower oil for oiling out in my case? Thank you
Also, can i oil out a painting done with Liquin? Do I also use linseed oil for oiling out this painting? Thanks a lot
I appologize but I add more to this question. This topic of oiling out and colors sinking in is a big topic and I think many starting painters are often confused about it. Lets say someone paints a complicated painting that requires many layers / or is not skilled enough yet to paint it in 2-3 layers but needs like 10 of them? What would be an example of how to do it? Is the following sequence of layers right according to the "thick over lean" principle? : 1.) First use only turpentine to thin the paint 2.) Use a medium mixed with turpentine 3.) Use a little bit thicker medium that contains more oil that before 4.) Use even thicker medium 5.) Use only paint from the tube ????? What if the paint straight from.the tube is too thick for me to work with? Also, what if I paint in many layers and the colours sink in in between the sessions? Can I oil out in between every session or will that be too much oil for the painting to bear? Thanks a lot if anyone has any comments
Martina, Bryce Cameron Liston does a better job than I did here showing oiling out, answering several of your questions, and demonstrating how to do it. Check out his video at ua-cam.com/video/7vmpbavXNyk/v-deo.html .
As he explains, what we are doing when we oil out is that we're feeding oil back into "hungry" areas of the painting. Liquin will not do that.
Now, about safflower oil: I question the wisdom of using it in place of linseed oil because it has a history of making the paint more brittle when thoroughly dried. It is used in some of the lighter colors, especially whites, because it yellows less than linseed.
Safflower is classified as a semi-drying oil because it dries at a much slower rate than linseed oil. I can't find in any of my technical books how it works for oiling out, so I hesitate to advise you on that, but I suspect that since it becomes more brittle as it dries, linseed might be a better choice.
@@IntheStudioArtInstruction thank you Dianne for all your information, i will check his video too. Thanks a lot!!
Can I oil out with linseed oil a painting that was done with liquin as the medium? Or can I just use liquin to oil out?
Linseed oil is way to go. When we oil out, we are feeding oil back into the paint. Liquin doesn't do that very well.
Thank you. If you were concerned about linseed oil yellowing could you use poppy oil instead?
Walnuts oil
Both walnut oil and poppy oil are very slow drying. There's really not enough linseed oil left - if you follow the procedure for wiping down - to be concerned about yellowing.
Hello Dianne, Can I also use safflower oil for oiling out my paintings? If not, why are linseed oils more preferable for oiling out?
Yes, safflower oil works, as does poppy oil--both slow drying. Linseed oil is the traditional oil for oil paint. It's drying speed and durability keep it the industry standard.
Thank You very much! @@IntheStudioArtInstruction
thank you Dianne. can I use pure walnut oil in lieu of linseed oil for the process you showed above
Thank you,William
Walnut oil will probably work fine, but keep in mind that is dries more slowly than linseed. They are both plant based so neither is toxic.
many thanks,Diane.
Should the painting be laid flat after doing this to avoid any excess oil from running down?
If you wipe off correctly, this should not be necessary as most of the oil will have sunken into the dull areas. You do not want to leave behind enough to run down, else you risk cracking and yellowing.
What about mineral spirits and a fast dry alkyd 50/50? I have heard this method with no oil. I’m very confused….
Don't be confused, Allen. Oiling out/in simply means adding oil back in. The formula need not be complex--just a good artist quality oil like linseed or poppy and a solvent like mineral spirits. I don't recommend alkyds for this because they tend to dry rather than soak in.
Do I have to use sun-thickened linseed oil. Is some other linseed oil acceptable
Regular refined linseed oil works well without adding a solvent. That's what I used in this demo. Also, I just discovered that Gamblin is using a different method which you can find here: vimeo.com/51473622
How many days does it take for the linseed oil to dry?
Mercedes, that depends upon the degree of humidity and the colors the oil is mixed into as well as the thickness of the oil. Linseed oil does not evaporate but oxidizes. The amount of oxygen that can come in contact with it determines how fast it will dry.
your videos are very helpful, my quation is, i used a sprey retouch varnish on my canvas, the resultant is not so good, can I use your technisch now by using linseed oil on the same canvas,,, I mean 2 time different technisch on same canvas, thank you
The purpose of retouch varnish is to even out the visual surface quality of a painting once it's finished but not dry enough for the final varnish. It should not be used in the painting process. If you want to work on a painting after you've applied retouch varnish, remove the varnish with odorless mineral spirits first, then allow it to dry thoroughly before continuing to paint.
There are three terms that tell you how materials are to be used: (1)medium=to be used with the paint, (2)solvent=to be used for thinning paint in early stages and rinsing brushes, (3)varnish=to be used on the surface of the painting to bring up sunken colors or to protect the painting from atmospheric particles.
WHat about using only oil? Fear the solvent will harm the painting (even if it´s very dried to the touch) does the solvent promote an even spread? (I don´t mind drying times).
Using only oil works, too. The solvent evaporates as the mixture is applied, so no harm comes to the painting.
@@IntheStudioArtInstruction thanks a lot!
So, just varnishing can't bring sunken areas back up and even the sheen? Ouiling out is necesary before varnish?
Not really. Oiling out is important for bringing out sunken areas while in the process of developing a painting, but varnishing does bring back the sunken areas once a painting is finished.
@@IntheStudioArtInstruction Thank you so much on clarification.
If I want ro continue painting is the process the same?thank you
Yes. But be sure the oiling has dried first.
Can you please assist me. I have varnished my oil painting with a gloss painting varnish. But is is to glossy. And some places are not even. Can I take of the varnish somehow. Or could I paint a mat varnish over the glow varnish. Thank you so much.
Kobé , you should remove the vanish before applying a new coat. Lay the painting flat, using a solvent such Gamsol or Turpenoid and a lint-free cloth such as gauze. Soak the cloth and with the circular motion, gently go over the entire surface, rotating the cloth several times. Make several passes, with a clean solvent soaked cloth each time. Then, remove the solvent with rubbing alcohol and allow the painting to thoroughly dry before adding fresh varnish.
Thank you me Dianne for your assistance, I appreciate it very much. I will follow the advise. Thank you. ✨
Hi. Can you frame under glass after this?
You should not frame an oil painting under glass. Oil needs lots of ventilation to breathe. Rather than framing under glass (which we do to protect the work), we varnish oil paintings.
Would saying that colors have "sunken in", the same as saying that the colors have "matted out"? This is the first time that I've heard the terminology of "sunken in".
Yes. Sunken in is not a technical term. It's just a way of describing that the color has turned dull.
Thanks. I've been drawing and painting in some form for most of my life, but I've mainly just done what seemed to be the way to go, and not knowing all the terms that are used, or why. All my efforts have been done as hobbies and not so much as an educated endeavor. I'm 73, but it's never too late to learn. I'm to the point in my life where I finally have the time to learn the whys and wherefores of art, and I'm enjoying finally learning the real reasons for the final outcomes when you do this and that. I've always just done things because it seemed to be the right thing to do, because it looked right. It feels good to finally know why it looked right. I guess you could say that I have been painting "by ear". Haha. I'm so glad that I found your videos, because there is so much crap on UA-cam that is being presented as the gospel, and it's apparent that they are just talking to hear themselves. Thanks for teaching in a down to earth way that is easy to understand, and not boring. I'm learning so much.
Many fine painters have found their way on their own. I'm delighted to be a part of your journey.
How do you frame the paintings you complete on paper?
If it's watercolor or pastel, you mat it and frame under glass. I do not recommend doing oil paintings on paper although studies on gessoed paper are a different matter. However, some folks do. In that case, I recommend allowing a professional framer make the decision as to how it is framed.
But this can lead to another problem that is yellowing due to linseed oil...how can we get rid of that
Use less linseed oil. You wipe off most of it. Or if that bothers you, use poppy oil.
I feel like I have this problem a lot with Burnt Umber, I heard it's because it dries quicker than other colors?
OIl colors do dry at varying rates and yes, Burnt Umber is a fast drying color. I'm not sure what problem you're having with it, but it shouldn't be drying fast enough to cause problems.
@@IntheStudioArtInstruction I get areas that dry matte and dull, no matter if I use medium or not. I have to keep oiling those areas out to be able to continue my painting. It's mostly dark areas. It's a big problem for me because I don't see the true color and value until I've oiled it out. Thanks for your videos, they are the best on youtube, by the way. I learn a lot.
Dianne, I do not understand what is meant by the colo9r 'sinking in'. Will you show example. Thank you.
Lolita, "color sinking in" is just a way of saying that the color becomes dull. Actually, the oil sinks down away from the pigment of the paint, causing the color to lose its depth. We also say that the paint is thirsty.
@@IntheStudioArtInstruction Thank you, Dianne, for your simple thorough explanation...now I get it.
Where does retouch varnish fit in here?
In my world, it doesn't. Retouch varnish is used by artists to give a temporary varnish on a painting whose surface is dry to touch, but not dry enough for a permanent varnish. Conservators advise us not to use it during the painting process.
Thanks for your kind response.
How to work back into a varnished oil painting
You don't. The varnish should be thoroughly removed with a solvent such as mineral spirits before go back into a painting that has been varnished.
oiling out is a necessary evil. Be careful about the amount of solvent used though because picking up colours and smearing them over your beautifully painted portrait for instance, will contaminate the previously painted very nearly dry colours.
Thanks for adding this. May I add that if the dry paint is correctly applied, this will not happen.
Hi there, abdul muiz here. How r u. I would like to invite you to Islam n success. If I may ask, how do I oiling in if I don't use mineral spirits or turpentine?
Abdul, mineral spirits and turpentine are solvents. Oiling out requires oil.
@@IntheStudioArtInstruction i mean, you said combine the solvent with the oil...but what if I dont use any of the solvents...could i just use the linseed oil to oil in