Dianne, I am an acrylic painter who is not a beginner anymore but still far away from an expert. I saw most of your 200 quick-tips and i learned SO MUCH of it!! Most of the are also appliable to acrylic. I like to let you know you're one of my favourite experts on UA-cam (and there are so many! And lots of them are awesome.). I really hope you wil enrich us for many years coming with your lovely expertise. Thanks very much!
Thank you for being clear and precise, so many videos have great info but my brain gets so thrown off so easily that I don’t even gather what I came for and I’m just left like “what just happened”. You were clear and to the point which meant I can grasp all the information and apply it without having to replay over and over again.
Thanks so much. My hope is that emerging artists will play with these tips and really see how they work. That can only happen with one thing at a time.
I appreciate your tips so very much!! I’m trying to learn oil painting. I’ve been learning acrylics for two years. So very different but you are making things much easier to understand. Thank you so much❤❤
Thanks for explaining this in a straight forward and quick manner. I've tried watching other fat over lean explanation videos and they were all needlessly long with jokes and whatnot. Great upload!
I'm an 'ala-prima' oil painter. I'll always start off with a slightly diluted "turpy" oil paint w/ Gamsol just to cover the canvas. then it is followed up with a thicker application ( straight from tube , no medium) over it. If I still need to paint further and find that the oil painting has semi-dried or dried, I will apply an even thicker amount of oil , straight from the tube,over a select area, along with an impasto medium from Rublev, but never use extra linseed oil additions , because I do not like the flattening-out appearance that all linsed oils impart to the painting, regardless of what type of linseed oil it is. Excellent video!
Excellent info, Dianne! I've read a great deal about 'fat over lean', but I was never really clear about how Liquin or Galkyd affected the ratio, so great to know that now! Thank you!
Wow this is realy helpfull. I am a biginner oil painter. I painted whit acrylic,s wen i was 15 myby 16. I love this video. I learn so mutch about oil paint. Thank you ma'am 😊👍🏾🖐🏾👋🏾
Thank you for finally spelling this out...Have been searching for a clear explanation for a long while, video after video. So glad to have found you. Thanks so much for excellent teaching! Looking forward to watching more of your channel (and have subscribed)!
Thank you! Your explanation is what I've been looking for the whole day. My previous paintings are cracked. Now I will try using Liquin for my next paintings.
Dianne, your palette is so beautiful. Could you do a video on how to make one like that? I do have the same pochade box you do, although mine is probably smaller.
Limit the solvents you use to refined mineral spirits such as Gamsol or Odorless Turpenoid. And be sure the area you're working in is adequately ventilated. That's about all you need to do.
I rarely use the traditional layered approach when painting. Remember that "fat" means how much oil is in it. When using fat over lean, just be aware that when you cut the oil with solvents, you make it leaner and that thicker layers of paint are fatter than thinner layers.
For the new water soluble oil, can we add water or Liquin into the paint in some spaces where there is already an undercoat painted with paint from the tube ? Sorry for my English language, I hope it's understandable. And thank you a lot for all ! 😘
What about working with a mix of galkyd lite and stand oil? Each layer of paint has medium added to it. The medium mix added consists of the same amount of galkyd lite but with increasing amounts of stand oil. The galkyd lite acts similar to the solvent as it makes paints dry faster and flow better. If alkyds like galkyd lite does not factor into fat over lean, then each layer of paint is still receiving more oil content with this mixture due to the stand oil aspect of this mix.
Daniel, when we combine oils with drying agents like Galkyd and Liquin, there is a chemistry to consider and that is how long it takes the catalyst to interact with the oil, causing it to oxidize. I don't have the answers to that.
Thank you so much.Does it mean,that I can paint only with liquin with every layer?Lets say I pant first layer only with liquin,let it dry overnight and another day I paint second layer with liquin and so on…Is it ok or is it not the roght procces?Thank you so much
As far as we know to date, yes, you can use Liquin as the medium for layering. It is too new to have the long test of time that linseed oil has undergone.
Great quick tip again, thanks so much. How long must a painting dry before using a medium in the paint when adding another; ie., for signatures and for glazing?
Great Video, thank you! When you talk of fat over lean when building up layers of paint, Do you mean painting wet over dry? But why is it a problem that the lean layer drys faster, than the more fat one under it, when the fat one is already dry?
Max, fat refers to the amount of oil in the pigment. The fat over lean concept is more relevant for layer painting. When there are layers, if one on top dries before one underneath it, the surface is likely to crack. Oil paint oxidizes rather than evaporates and pigments dry at a different rate. Even though a surface feels dry, the paint might still be wet underneath, but when we control the amount of oil in the paint while building layers, the drying rate is more likely not to present a problem. See en.wikipedia.org/wiki/Fat_over_lean
HELP - I'm changing from acrylics to oils. So I plan to paint using Walnut Alkyd Medium for it's quick dry properties, and Lavender Spike oil as my turpentine substitute because I want a totally non toxic studio. But I'm having a problem finding out for sure on youtube anywhere, how to use the quick dry medium and still abide by the fat over lean principle with my fairly thin normal layers of paint. I do portraits and customers want their paintings asap. But I can't risk my oil paintings cracking in the future. H E L P. :) Joyce.
Joyce, the fat over lean principle was set long before fast drying alkyd mediums were invented. If you are painting alla prima, there's really not a worry as long as you use the medium throughout the painting so that it dries evenly. However, if you are using the layering method, your concern will be that top layers don't dry prior to those underneath it, else there is a chance of the paint surface cracking. There comes a time when you, not the customer, determines when the painting will be finished and ready. If you're not willing to do that, then it might be best to stick to acrylics where drying is not a concern. Let me add that oil oxidizes rather than evaporates like acrylics and other water-based mediums. That oxidation speed varies from color to color with the more opaque color oxidizing more slowly.
Ok this may explain how a painting I did several years ago (maybe 8 yrs.) was still wet.....yes indeed. The area was done with a palette knife applied very thickly. I do not remember using a medium, but perhaps this is the reason....not letting the layers dry. I did not varnish it so no extra layers. The rest of the painting was dry. Now (if) I use a medium, it is quick dry Linseed oil. Since you explained the oxidation process, how soon can I continue working on a passage? I usually just go for it, applying Liquin or The Quick Dry Linseed Oil (but rarely). Thank you again!
Hi Dianne, a wonderful explanation, thank you! But I am a bit worried about putting a layer of paint mixed with liquin over an existing layer of paint out of the tube. I know it is not a solvent, but won't it eventually crack because it is drying quicker than the bottom layer?
Good info. Where I'm getting confused is, when I've heard on other videos, they used straight paint on top of paint that had medium in it...because it is "thicker". But if by adding medium such as linseed oil actually "fattens" the paint...then straight paint wouldn't actually be fatter would it?
Thank you for all this information it’s very helpful. I would just like to know if I can paint a layer on top of a touch-dry layer of paint that has the same level of fatness. For example, my previous layer was just oil paint straight out of the tube, and it’s now dry so will it still be safe for my next layer to be oil paint straight out of the tube?
Your explanations are so helpful. Can you clarify, from what you said regarding galkyd and liquin, I took it to mean that those do not affect fat over lean at all so you could use them at anytime during the painting process and not have a problem with the fat over lean rule. Is that correct?
Let me qualify that just a bit. The fat over lean principle applies to painting in layers where it is important for the bottom layers to dry before or with the layers on top, otherwise the top layer is prone to cracking. Drying agents, when added in equal amounts to bottom layers will facilitate their drying so that the risk of cracking is minimized.
Hi Dianne.. I'm new to oils.. for my first painting I went with the ala prima technique.. but I want use fat over lean in my future paintings.. i have a question I have seen many oil paintings with drips how do I achieve that ?? To my knowledge drips are made by mixing solvent but how does it imply on fat over lean if I had to add it on top layer? Thank you for sharing your knowledge 💖
Celestial Hue, I have seen drip paintings crack and suffer serious surface scratches. Allowing that loose, running paint "effect" seems to work best with acrylic paint, but with oils (yes, it is thinned with solvents), it looks cool, but the artist risks the weakened paint surface becoming vulnerable to being damaged in the future. When you over-dilute the oil pigment, In essence, the pigment particles have no way of clinging to the surface.
So just to make this clear, this only applies to when painting wet oil paint on top of dry oil paint, right? Bob Ross would oftentimes say "a thin paint sticks to a thick paint", and he would thin the paint down with a tiny bit of paint thinner so that it flowed more easily off the brush and he could paint on top of layers of paint. But he was painting on top of wet paint, not dry paint. Is that technically sound? Are the areas of his paintings that he made a little thinner, which included when he made his signature, are those secure on the canvas? Long question short, does the fat over lean principle only apply to when painting on top of dry paint? And it doesn't apply to when painting over wet paint?
Fat over lean is about the ratio of oil to pigment. The concern is that the top layer doesn't dry before the layer underneath. When painting wet into wet, we don't have to be concerned about that, but it is important that we keep the ratio consistent to prevent cracking.
Hi Dianne, great explanation! Thank you! I'm glad you mentioned to add oil or Liquin to the paint when signing the painting; I hadn't thought of that :) I do wonder how to use Liquin. Can I add any oils - linseed, walnut - to the alkyd drying medium? Can that allow you to use the paint wet into wet or is it just for layering? Hope that wasn't confusing. Thanks again!
Roxanne, the purpose for Liquin is to speed up the drying of paint. As you know, our oil colors have different drying rates depending upon their pigments. Also, the lighter colors, especially, tend dry slower (sink) and to go dull as they dry. Adding a bit of Liquin can speed up their drying rate and to a degree prevent them from sinking. It's a good idea to know what any medium will do before using it. Walnut oil, for example, will slow the drying speed. On their website, Gamblin has a section that explains how mediums behave. Also, you can get that info by Googling any medium that interests you.
Very interesting - had never heard of this -- question, if after the fat had dried could I apply a glaze of color thining the color with the solvent or would I need to use a special glazing medium? Love your classes
Hi Diane, Thankyou this is good explanation and will help me with my future paintings. But can I repaint over a cracked section of my latest oil painting where I added a new feature weeks later believing it was dry enough to do so. I didnt use any solvent, so do I need to remove some of the cracked paint first or can I just re-paint over the area. Your advice would be so appreciated as I was very happy with the painting until I noticed the cracking. Kathy.
Kathy, if there are cracked sections, something went fowl with the paint's integrity. I would need a lot more specific information before I could begin to understand what caused the cracking, and without knowing that, we have no way of knowing what would happen if you did anything else to the painting. I wouldn't advise doing anything further to it. To do so might just cause further frustration.
what happens to oil paintings that are fat over fat? no solvent, just straight-up linseed/walnut oil with no solvent and no alla-prima (there are layers)? I know Dianne, you said the principle applies only to paintings that use solvent, but you said it so close to mentioning wet-on-wet that I want to dumb it down for myself.
As long as the amount of oil is consistent, you can expect nothing to happen. Oil oxidizes so when layers are used, the bottom layer should not dry after the top layer, else there is a risk of the paint cracking. You should not expect that if you're doing the entire painting wet in wet because the painting will have only one layer of paint.
Olivia, I'm not sure Liquin has been around long enough to provide us with a true test as to whether using it as a glazing medium on dry-to-touch will or will not cause cracking a hundred years form now. I've not really settled my mind about that and the research is not definitive, so I think it's probably safe so long as the paint underneath is not too thick. Otherwise, rather than straight Linseed Oil, perhaps it is safer to use a glazing medium.
so the fatter the paint the longer to dry which is the reason for putting fat paint on top to allow it to dry over the thin paint which already dried. Does putting lean paint on as a final coat slow the process of drying for the fat coats below since they cant oxidize that easy with a dry coat on top, eventually leading to cracking?
Great video , thanks. I like to paint using a lot of glazes . Usually start with a first layer and thinners , then usually use a medium, one question I have once you start using mediums does it need to be used on all layers or can the top layers be straight paint . Thank you.
Just keep in mind that the layer underneath must dry before or with the layer on top. The fat over lean concept is to prevent cracking as the painting ages.
Great Video ..... Do you have any tutorials explaining in detail how to use the fat over lean principle and Walnut Alkyd Medium to speed oils' drying time? Do I use more drops of this medium with each layer? And/or do I just use less Lavender Spike Oil thinner with each layer? Or both. I want to start doing oil portraits but need a fast dry solution for impatient customers, while at the same time keeping a non toxic art studio. Thanks for any help. As soon as I can get a clear understanding on this, I want to begin a portrait business. So far all I've done is sold graphite portraits. .... joyce
Thanks for your question, Joyce. I don't have any experience with the Walnut Alkyd medium nor with Lavender Spike Oil thinner, so I can't give you an answer to this. My practice is to not use medium while painting UNLESS I need a passage to dry quickly for doing scumble or glaze--and that is rare. When I do need quicker drying, I use Liquin. A highly respected painting conservator advised me back in the 1980's that artist grade paint out of the tube is already perfectly balanced by the manufacturer and when we add medium to that, we weaken the integrity of the paint. THAT was when I ditched totally using mediums in my oil paint.
Just an "off the wall" thought if you don't mind... Can there be a painting surface made to wick away any fat stuff through the back side and reduce the hazard of cracking for the painter...?
Thomas, I'm not aware of any such material being invented. Materials that would wick the oil would also rot as a result. That's why we prime surfaced to prevent wicking.
@@IntheStudioArtInstruction I s'pose that a material could be developed that after the wicking happens you could apply some sort of varnish on the back side and that would reinforce it against future deterioration. Just a thought, possibly not important enough for commercial consideration.
Thank you again. I know it may be a silly question, but why would an artist want to use solvent in a painting? If youre going to tone the canvas, just to cover it up with a thicker coat, I dont see the point. Will you explain? Thank you for everything you do.
Good question, Skin Vandal. One reason is that many artists work better when they get rid of the white of the canvas. Another is that some artists' method of painting allows the tone to show through in various parts of the painting, therefore will tone it with either a complement (mixed with solvent) or some related color to create color harmony. Still another is that using a solvent with the paint is a good way to lay out the composition or to create a notan underpainting that can easily stand editing. There are probably other reasons, too, but these are the most traditional ones.
So if I understand when you use Liquin you do not have to worry about the fat over lean rule: use only that (I mean Liquin) and don't add solvente nor oil. Am I right? Or there is a chance using Liquin only (only) that some colors (i.e. burnt umber) will dry so quick compared to others (as permanent rose PV19) that you can still have cracking troubles??? that you can still have cracking troubles??? that you can still have cracking troubles??? If you will answer that it will be useful to me thank you thank you thank you JF
The jury is still out as to just how Liquin should be taken into consideration regarding the fat over lean principle. Some conservationists say it contains a percentage of fat, others say the drying rate discounts it. My advice is to take into consideration the the degree to which using it dries your paint. There's really no reason to use Liquin unless you need a passage to dry faster.
I'm so glad I found your tips. I took my first class and the instructions I got were not correct. Can I save the work I started as I was told to add lots of paint to my block in and then use spirits on top so I could blend colours on top without paint lifting off the canvas. That is going to be a problem with drying now. Can I use spirit to remove the paint on the canvas let it dry and start again. I also used an acrylic ground and heard the is not good either. Thanks in advance for your feedback.
If all the paint were still wet, you could easily scrape it all off and start again, but if it's already dried, it can be done, but I think it best not to frustrate yourself by going that route. It requires lots of scraping and can weaken the integrity of the canvas. An acrylic primed canvas is fine. There are die-hards who insist that an oil painting should be done on an oil primed canvas, but the professional grade acrylic gesso made today works just fine.
The simplest way to explain it is that when oil molecules combines with oxygen, they cross-link causing the oil to harden. It is a slow process. Drying time depends upon the available oxygen in the atmosphere. Actually, the oil cures rather than dries, since we normally think of drying as evaporation. Hope this helps.
Question: #1 - Do I understand you clearly? If I use only Liquin as my medium for oils, I don't ever have to worry about the fat over lean principle because the liquin dries the paint quickly through oxidation and the next layer of paint will stick to it just fine no matter how thinned or thick the paint is with the Liquin? That would be fantastic! I could put thin glazes over a slightly heavier painted underpainting? #2 - If I'm doing a portrait and start the second layer over dried oils & Liquin, I'll need to refresh those flesh colors so I can match them perfectly again in a realism style portrait. To refresh the dried sunken in shades to make them a fresh paint color value, can I use Liquin thinly applied to refresh the dry paint's color value? Or what do you suggest for "oiling out?" if I'm using that term correctly to refresh colors to paint over. If I use something else for "Oiling out" it may make the paint dry slower or affect the Liquin? help. .... Thanks! You're my favorite youtube art teacher! ..... joyce
Thanks for those questions, Joyce. Let me say first that Liquin, being relatively new to oil paints (introduced only 25 years ago), has not had the real test of time, but because the alkyd resin reacts chemically with the oil binder in oil paints, it does enable faster drying, usually overnight, and in some cases just a few hours. Yes, it can be used to refresh sunken colors, but it doesn't take much. Just as using oils for oiling out, there should be just enough to bring the color back, but not so much that your next layer of paint slide uncontrollably. As to how thick or how thin a layer is, the proportion of Liquin to paint determines the drying time. If you want impasto layers underneath thinner layers, it might be wise to use an alkyd gel medium for the impasto layers. Hope this helps.
The fat over lean principle applies only to oil paints. The reason is that the oil used to bind the pigment does not evaporate, but oxidizes as oxygen hits the surface. Therefore, it dries more slowly from the surface downward. Fat means more oil, therefore slower drying than lean, so the idea is for layers underneath to dry at a similar speed as those on the surface in order to prevent cracking.
That’s the clearest explanation I’ve ever heard.
I'm delighted!
The best clearest explanation I have heard to date regarding "Fat over lean rule". Thank You Dianne
Thanks.
Straightforward and clear as a bell. Thank you!
That's good to know. Thanks.
Agree!
Dianne, I am an acrylic painter who is not a beginner anymore but still far away from an expert. I saw most of your 200 quick-tips and i learned SO MUCH of it!! Most of the are also appliable to acrylic. I like to let you know you're one of my favourite experts on UA-cam (and there are so many! And lots of them are awesome.). I really hope you wil enrich us for many years coming with your lovely expertise. Thanks very much!
Thanks, @Pe. G. We, too, hope to continue the Quick Tips for as long as we feel they are being helpful.
I watched 7 videos about fat over lean and this is “loud and clear” So much confusion there.. thank you for being precise.
My pleasure. Thanks for watching.
No one ever explained that to me. You are such a great teacher! Thank you for sharing these quick tips!
I'm always happy to share. Thanks for watching.
Thank you for being clear and precise, so many videos have great info but my brain gets so thrown off so easily that I don’t even gather what I came for and I’m just left like “what just happened”. You were clear and to the point which meant I can grasp all the information and apply it without having to replay over and over again.
Thanks so much. My hope is that emerging artists will play with these tips and really see how they work. That can only happen with one thing at a time.
Treasure trove of information to enhance our skills for a right approach to painting right. Thanks Dianne
My pleasure as always.
This is absolutely the best explanation of fat over lean on the internet. Thank you :)
My pleasure. Thanks for watching.
You give the clearest instruction on fat over lean. Thank you so much!
My pleasure.
I appreciate your tips so very much!! I’m trying to learn oil painting. I’ve been learning acrylics for two years. So very different but you are making things much easier to understand. Thank you so much❤❤
Keep enjoying the journey!!
Thank you for the great straight to the point explanation!!! Helped a lot!!!!
Great! Thanks for watching.
This lady is such a wonderful teacher: wish I had known her for as long as I have tried to paint!
Thanks for that, Jimmie. Now is what counts!
Thanks for explaining this in a straight forward and quick manner. I've tried watching other fat over lean explanation videos and they were all needlessly long with jokes and whatnot. Great upload!
I'm delighted you found this helpful.
Thank you,you are the first person to explain this so simply and yet so clearly.
Thanks. I'm delighted you find it helpful.
No nobody has dealt this point with so clarity...
Very very straight and clear message...👌🏻
Thanks. My pleasure.
Thank you so much!! This has always confused me, but you explained it very well
You're very welcome!
I'm an 'ala-prima' oil painter. I'll always start off with a slightly diluted "turpy" oil paint w/ Gamsol just to cover the canvas. then it is followed up with a thicker application ( straight from tube , no medium) over it. If I still need to paint further and find that the oil painting has semi-dried or dried, I will apply an even thicker amount of oil , straight from the tube,over a select area, along with an impasto medium from Rublev, but never use extra linseed oil additions , because I do not like the flattening-out appearance that all linsed oils impart to the painting, regardless of what type of linseed oil it is. Excellent video!
Thanks for sharing your process, Prince.
Excellent info, Dianne! I've read a great deal about 'fat over lean', but I was never really clear about how Liquin or Galkyd affected the ratio, so great to know that now! Thank you!
With so many new advances in painting mediums, it can get complicated. I'm glad this gave clarity for you.
You have made that so much easier to understand. I just love your style of teaching thank you xx
My pleasure, Brenda. Thanks for watching.
You are so clear in instructions and generous in sharing. Warmest regards .
Thanks.
Your explanations are wonderful
Thank you!
Thank you that was explained so well! The thought of oill painting sounds scary with all the rules etc. But when you explain it like it’s clear to me
Throw the rules out the window.
Wow this is realy helpfull. I am a biginner oil painter. I painted whit acrylic,s wen i was 15 myby 16. I love this video. I learn so mutch about oil paint. Thank you ma'am 😊👍🏾🖐🏾👋🏾
My pleasure. Thanks for watching.
Thank you for finally spelling this out...Have been searching for a clear explanation for a long while, video after video. So glad to have found you. Thanks so much for excellent teaching! Looking forward to watching more of your channel (and have subscribed)!
You're very welcome! Glad you found us.
Thank you! I have been sitting here for an hour watching videos on fat over lean and thanks to you I finally understand it! Thank you so much!
I am delighted.
You are the best tutor 💐💐💐💐💐💐
Thank you so much 😀
finally someone explaining fat over lean that was easy to understand ,thank you Dianne
I am delighted.
This is the clearest explanation I've found on UA-cam. Thank you.
My pleasure.
Thank you! Your explanation is what I've been looking for the whole day. My previous paintings are cracked. Now I will try using Liquin for my next paintings.
Glad it was helpful! And thanks for watching.
@@IntheStudioArtInstruction can I use gold leaf with oil paint?
Awesome Sauce Dianne! :-) Thank you so much! You explain everything about oil painting so well. ;-)
Thanks, Peggy. My pleasure.
GREAT INFORMATION . . . Thank you, Dianne . . . every Tip is FANTASTIC!!!!!
Thanks, Joan.
Excellent information. Clarifies so much. This is the instruction required.
Clarity means everything.
Very good explanation thank you
Glad it was helpful! Thanks for watching.
exactly what I needed to know, thank you!
You're welcome! Thanks for watching.
Thank you for that information Dianne .
As always, it's a pleasure.
Thank you Dianne, this helped me understand the principle "Fat over lean"
Great. Have fun with it.
Thank you. I enjoy your videos very much.
My pleasure. Thanks for watching.
You’re awesome totally helpful
Thanks.
Best explanation I’ve seen! Thank you
You're very welcome!
Thank you, I didn't know what that meant. Very Helpful
Is it clear now? Hope so.
Thank you Dianne. Love your video's.
My pleasure, and thanks.
What a great teacher you are!
Wow, thank you!
Thank u for a great tips
My pleasure 😊
Thank you very much for this outstanding explanation!👍🏻
My pleasure. Thanks for watching.
Excellent - clear and to the point. Thank you
Glad it was helpful!
Greatest vid on the subject. Thanks
I appreciate that!
This was great, I enjoyed the information, thank you for this quick tip👍🏼🎨
Thanks for watching.
Thank you for explaining how Liquin factors into the scenario! I only use liquin with my paints, so I should be good!
👍
Thanks for your clear explanation 👍it was helpful, God bless
Thanks for watching!
Thank you very much for your teaching.
Always a pleasure.
New to this, very helpful explanation
Wonderful.
Dianne, your palette is so beautiful. Could you do a video on how to make one like that? I do have the same pochade box you do, although mine is probably smaller.
Fabrizio, check out Quick Tip 115 ( ua-cam.com/video/RORenwUXMDI/v-deo.html ) and let me know if that answers your question.
Clear and simple! Thank you so much!
My pleasure.
Thankyou! Finally a simple explanation 👍
My pleasure.
excellent tutorial, just what I need, concise facts!
Thanks.
I FINALLY understand fat over lean ---- thank you!
My pleasure.
Great info.thank u, S
A pleasure.
Excellent explanation 👍
Thanks
Thank you so much!! This is exactly what I needed :)
Thanks for watching.
Would you please address the issue of the toxicity of solvents. How have you protected yourself in using solvents? Thank you very much.
Limit the solvents you use to refined mineral spirits such as Gamsol or Odorless Turpenoid. And be sure the area you're working in is adequately ventilated. That's about all you need to do.
Super clear tip, thanks. Love to hear your thoughts on "oiling out".
More about oiling out coming up in June.
@@IntheStudioArtInstruction Great. Enjoying watching you teach - super job. Thanks
So how would you approach a QUICK oil painting session while using Fat Over Lean?
(Quick = drying time between layers is
I rarely use the traditional layered approach when painting. Remember that "fat" means how much oil is in it. When using fat over lean, just be aware that when you cut the oil with solvents, you make it leaner and that thicker layers of paint are fatter than thinner layers.
For the new water soluble oil, can we add water or Liquin into the paint in some spaces where there is already an undercoat painted with paint from the tube ? Sorry for my English language, I hope it's understandable. And thank you a lot for all ! 😘
Liquin is not water soluble, so if you add it to water soluble oil, then your oil is no longer water soluble.
brilliant tank you
My pleasure.
What about working with a mix of galkyd lite and stand oil? Each layer of paint has medium added to it. The medium mix added consists of the same amount of galkyd lite but with increasing amounts of stand oil. The galkyd lite acts similar to the solvent as it makes paints dry faster and flow better. If alkyds like galkyd lite does not factor into fat over lean, then each layer of paint is still receiving more oil content with this mixture due to the stand oil aspect of this mix.
Daniel, when we combine oils with drying agents like Galkyd and Liquin, there is a chemistry to consider and that is how long it takes the catalyst to interact with the oil, causing it to oxidize. I don't have the answers to that.
Thank you so much.Does it mean,that I can paint only with liquin with every layer?Lets say I pant first layer only with liquin,let it dry overnight and another day I paint second layer with liquin and so on…Is it ok or is it not the roght procces?Thank you so much
As far as we know to date, yes, you can use Liquin as the medium for layering. It is too new to have the long test of time that linseed oil has undergone.
Well explained!
Thanks.
Gracias
Thanks for watching.
Great quick tip again, thanks so much. How long must a painting dry before using a medium in the paint when adding another; ie., for signatures and for glazing?
For both, dry to touch is fine.
Do you have a video on the use(s) of Neo Megilp ? Thank you for your videos 💜
Sorry, I've not used Neo Meglip.
Great Video, thank you!
When you talk of fat over lean when building up layers of paint, Do you mean painting wet over dry? But why is it a problem that the lean layer drys faster, than the more fat one under it, when the fat one is already dry?
Max, fat refers to the amount of oil in the pigment. The fat over lean concept is more relevant for layer painting. When there are layers, if one on top dries before one underneath it, the surface is likely to crack.
Oil paint oxidizes rather than evaporates and pigments dry at a different rate. Even though a surface feels dry, the paint might still be wet underneath, but when we control the amount of oil in the paint while building layers, the drying rate is more likely not to present a problem. See en.wikipedia.org/wiki/Fat_over_lean
❤omg thank you!
You're welcome!
HELP - I'm changing from acrylics to oils. So I plan to paint using Walnut Alkyd Medium for it's quick dry properties, and Lavender Spike oil as my turpentine substitute because I want a totally non toxic studio. But I'm having a problem finding out for sure on youtube anywhere, how to use the quick dry medium and still abide by the fat over lean principle with my fairly thin normal layers of paint. I do portraits and customers want their paintings asap. But I can't risk my oil paintings cracking in the future. H E L P. :)
Joyce.
Joyce, the fat over lean principle was set long before fast drying alkyd mediums were invented. If you are painting alla prima, there's really not a worry as long as you use the medium throughout the painting so that it dries evenly. However, if you are using the layering method, your concern will be that top layers don't dry prior to those underneath it, else there is a chance of the paint surface cracking.
There comes a time when you, not the customer, determines when the painting will be finished and ready. If you're not willing to do that, then it might be best to stick to acrylics where drying is not a concern.
Let me add that oil oxidizes rather than evaporates like acrylics and other water-based mediums. That oxidation speed varies from color to color with the more opaque color oxidizing more slowly.
Ok this may explain how a painting I did several years ago (maybe 8 yrs.) was still wet.....yes indeed. The area was done with a palette knife applied very thickly. I do not remember using a medium, but perhaps this is the reason....not letting the layers dry.
I did not varnish it so no extra layers. The rest of the painting was dry. Now (if) I use a medium, it is quick dry Linseed oil. Since you explained the oxidation process, how soon can I continue working on a passage? I usually just go for it, applying Liquin or The Quick Dry Linseed Oil (but rarely). Thank you again!
Hi Dianne, a wonderful explanation, thank you! But I am a bit worried about putting a layer of paint mixed with liquin over an existing layer of paint out of the tube. I know it is not a solvent, but won't it eventually crack because it is drying quicker than the bottom layer?
Yes, Sharon, it will and that IS cause for concern.
Good info. Where I'm getting confused is, when I've heard on other videos, they used straight paint on top of paint that had medium in it...because it is "thicker". But if by adding medium such as linseed oil actually "fattens" the paint...then straight paint wouldn't actually be fatter would it?
Teresa, sadly not all painters understand the fat over lean principle. Choose those from whom you take advice wisely.
Thank you for all this information it’s very helpful. I would just like to know if I can paint a layer on top of a touch-dry layer of paint that has the same level of fatness. For example, my previous layer was just oil paint straight out of the tube, and it’s now dry so will it still be safe for my next layer to be oil paint straight out of the tube?
Yes, Kneishan. Since you're not adding any medium, you don't have any worries.
Thank you!
Your explanations are so helpful. Can you clarify, from what you said regarding galkyd and liquin, I took it to mean that those do not affect fat over lean at all so you could use them at anytime during the painting process and not have a problem with the fat over lean rule. Is that correct?
Let me qualify that just a bit. The fat over lean principle applies to painting in layers where it is important for the bottom layers to dry before or with the layers on top, otherwise the top layer is prone to cracking. Drying agents, when added in equal amounts to bottom layers will facilitate their drying so that the risk of cracking is minimized.
Hi Dianne.. I'm new to oils.. for my first painting I went with the ala prima technique.. but I want use fat over lean in my future paintings.. i have a question I have seen many oil paintings with drips how do I achieve that ?? To my knowledge drips are made by mixing solvent but how does it imply on fat over lean if I had to add it on top layer? Thank you for sharing your knowledge 💖
Celestial Hue, I have seen drip paintings crack and suffer serious surface scratches. Allowing that loose, running paint "effect" seems to work best with acrylic paint, but with oils (yes, it is thinned with solvents), it looks cool, but the artist risks the weakened paint surface becoming vulnerable to being damaged in the future. When you over-dilute the oil pigment, In essence, the pigment particles have no way of clinging to the surface.
So just to make this clear, this only applies to when painting wet oil paint on top of dry oil paint, right? Bob Ross would oftentimes say "a thin paint sticks to a thick paint", and he would thin the paint down with a tiny bit of paint thinner so that it flowed more easily off the brush and he could paint on top of layers of paint. But he was painting on top of wet paint, not dry paint. Is that technically sound? Are the areas of his paintings that he made a little thinner, which included when he made his signature, are those secure on the canvas?
Long question short, does the fat over lean principle only apply to when painting on top of dry paint? And it doesn't apply to when painting over wet paint?
Fat over lean is about the ratio of oil to pigment. The concern is that the top layer doesn't dry before the layer underneath. When painting wet into wet, we don't have to be concerned about that, but it is important that we keep the ratio consistent to prevent cracking.
Hi Dianne, great explanation! Thank you! I'm glad you mentioned to add oil or Liquin to the paint when signing the painting; I hadn't thought of that :) I do wonder how to use Liquin. Can I add any oils - linseed, walnut - to the alkyd drying medium? Can that allow you to use the paint wet into wet or is it just for layering? Hope that wasn't confusing. Thanks again!
Roxanne, the purpose for Liquin is to speed up the drying of paint. As you know, our oil colors have different drying rates depending upon their pigments. Also, the lighter colors, especially, tend dry slower (sink) and to go dull as they dry. Adding a bit of Liquin can speed up their drying rate and to a degree prevent them from sinking.
It's a good idea to know what any medium will do before using it. Walnut oil, for example, will slow the drying speed. On their website, Gamblin has a section that explains how mediums behave. Also, you can get that info by Googling any medium that interests you.
Thanks, Dianne! That's helpful and yes, I'll do some googling :)
Very interesting - had never heard of this -- question, if after the fat had dried could I apply a glaze of color thining the color with the solvent or would I need to use a special glazing medium? Love your classes
Never use solvent for glazing because it will diminish the integrity of the paint. Always choose a reputable glazing medium.
Hi Diane, Thankyou this is good explanation and will help me with my future paintings. But can I repaint over a cracked section of my latest oil painting where I added a new feature weeks later believing it was dry enough to do so. I didnt use any solvent, so do I need to remove some of the cracked paint first or can I just re-paint over the area. Your advice would be so appreciated as I was very happy with the painting until I noticed the cracking. Kathy.
Kathy, if there are cracked sections, something went fowl with the paint's integrity. I would need a lot more specific information before I could begin to understand what caused the cracking, and without knowing that, we have no way of knowing what would happen if you did anything else to the painting.
I wouldn't advise doing anything further to it. To do so might just cause further frustration.
Very helpful! :)
Great!
what happens to oil paintings that are fat over fat? no solvent, just straight-up linseed/walnut oil with no solvent and no alla-prima (there are layers)? I know Dianne, you said the principle applies only to paintings that use solvent, but you said it so close to mentioning wet-on-wet that I want to dumb it down for myself.
As long as the amount of oil is consistent, you can expect nothing to happen. Oil oxidizes so when layers are used, the bottom layer should not dry after the top layer, else there is a risk of the paint cracking. You should not expect that if you're doing the entire painting wet in wet because the painting will have only one layer of paint.
Hi Dianne great video. Is it OK. to use liquin as a glazing medium once painting is touch dry or is it better to use something like linseed oil.?
Olivia, I'm not sure Liquin has been around long enough to provide us with a true test as to whether using it as a glazing medium on dry-to-touch will or will not cause cracking a hundred years form now. I've not really settled my mind about that and the research is not definitive, so I think it's probably safe so long as the paint underneath is not too thick. Otherwise, rather than straight Linseed Oil, perhaps it is safer to use a glazing medium.
so the fatter the paint the longer to dry which is the reason for putting fat paint on top to allow it to dry over the thin paint which already dried. Does putting lean paint on as a final coat slow the process of drying for the fat coats below since they cant oxidize that easy with a dry coat on top, eventually leading to cracking?
The lean will dry and run the risk of cracking over time as the layers underneath oxidize.
Should you let one coat dry before applying the next.
Not necessarily. It works either way.
Great video , thanks. I like to paint using a lot of glazes . Usually start with a first layer and thinners , then usually use a medium, one question I have once you start using mediums does it need to be used on all layers or can the top layers be straight paint . Thank you.
Just keep in mind that the layer underneath must dry before or with the layer on top. The fat over lean concept is to prevent cracking as the painting ages.
Great Video ..... Do you have any tutorials explaining in detail how to use the fat over lean principle and Walnut Alkyd Medium to speed oils' drying time? Do I use more drops of this medium with each layer? And/or do I just use less Lavender Spike Oil thinner with each layer? Or both. I want to start doing oil portraits but need a fast dry solution for impatient customers, while at the same time keeping a non toxic art studio. Thanks for any help. As soon as I can get a clear understanding on this, I want to begin a portrait business. So far all I've done is sold graphite portraits. ....
joyce
Thanks for your question, Joyce. I don't have any experience with the Walnut Alkyd medium nor with Lavender Spike Oil thinner, so I can't give you an answer to this. My practice is to not use medium while painting UNLESS I need a passage to dry quickly for doing scumble or glaze--and that is rare. When I do need quicker drying, I use Liquin.
A highly respected painting conservator advised me back in the 1980's that artist grade paint out of the tube is already perfectly balanced by the manufacturer and when we add medium to that, we weaken the integrity of the paint. THAT was when I ditched totally using mediums in my oil paint.
@@IntheStudioArtInstruction - Thank you. I understand.
Thank you so
My pleasure!
Just an "off the wall" thought if you don't mind... Can there be a painting surface made to wick away any fat stuff through the back side and reduce the hazard of cracking for the painter...?
Thomas, I'm not aware of any such material being invented. Materials that would wick the oil would also rot as a result. That's why we prime surfaced to prevent wicking.
@@IntheStudioArtInstruction I s'pose that a material could be developed that after the wicking happens you could apply some sort of varnish on the back side and that would reinforce it against future deterioration. Just a thought, possibly not important enough for commercial consideration.
Thank you again.
I know it may be a silly question, but why would an artist want to use solvent in a painting? If youre going to tone the canvas, just to cover it up with a thicker coat, I dont see the point. Will you explain?
Thank you for everything you do.
Good question, Skin Vandal. One reason is that many artists work better when they get rid of the white of the canvas. Another is that some artists' method of painting allows the tone to show through in various parts of the painting, therefore will tone it with either a complement (mixed with solvent) or some related color to create color harmony. Still another is that using a solvent with the paint is a good way to lay out the composition or to create a notan underpainting that can easily stand editing. There are probably other reasons, too, but these are the most traditional ones.
So
if I understand
when you use Liquin
you do not have to worry
about the fat over lean rule:
use only that (I mean Liquin)
and don't add solvente nor oil.
Am I right?
Or there is a chance
using Liquin only (only)
that some colors (i.e. burnt umber)
will dry so quick compared to others
(as permanent rose PV19)
that you can still have
cracking troubles???
that you can still have
cracking troubles???
that you can still have
cracking troubles???
If you will answer that
it will be useful to me
thank you thank you thank you
JF
The jury is still out as to just how Liquin should be taken into consideration regarding the fat over lean principle. Some conservationists say it contains a percentage of fat, others say the drying rate discounts it. My advice is to take into consideration the the degree to which using it dries your paint. There's really no reason to use Liquin unless you need a passage to dry faster.
I'm so glad I found your tips. I took my first class and the instructions I got were not correct. Can I save the work I started as I was told to add lots of paint to my block in and then use spirits on top so I could blend colours on top without paint lifting off the canvas. That is going to be a problem with drying now. Can I use spirit to remove the paint on the canvas let it dry and start again. I also used an acrylic ground and heard the is not good either. Thanks in advance for your feedback.
If all the paint were still wet, you could easily scrape it all off and start again, but if it's already dried, it can be done, but I think it best not to frustrate yourself by going that route. It requires lots of scraping and can weaken the integrity of the canvas.
An acrylic primed canvas is fine. There are die-hards who insist that an oil painting should be done on an oil primed canvas, but the professional grade acrylic gesso made today works just fine.
Thanks you for you much needed advice.
Good. Now can you explain how oxidation happens in oil paint? What chemical reaction takes place?
The simplest way to explain it is that when oil molecules combines with oxygen, they cross-link causing the oil to harden. It is a slow process. Drying time depends upon the available oxygen in the atmosphere. Actually, the oil cures rather than dries, since we normally think of drying as evaporation. Hope this helps.
Question: #1 - Do I understand you clearly? If I use only Liquin as my medium for oils, I don't ever have to worry about the fat over lean principle because the liquin dries the paint quickly through oxidation and the next layer of paint will stick to it just fine no matter how thinned or thick the paint is with the Liquin? That would be fantastic! I could put thin glazes over a slightly heavier painted underpainting?
#2 - If I'm doing a portrait and start the second layer over dried oils & Liquin, I'll need to refresh those flesh colors so I can match them perfectly again in a realism style portrait. To refresh the dried sunken in shades to make them a fresh paint color value, can I use Liquin thinly applied to refresh the dry paint's color value? Or what do you suggest for "oiling out?" if I'm using that term correctly to refresh colors to paint over. If I use something else for "Oiling out" it may make the paint dry slower or affect the Liquin? help. .... Thanks! You're my favorite youtube art teacher! ..... joyce
Thanks for those questions, Joyce. Let me say first that Liquin, being relatively new to oil paints (introduced only 25 years ago), has not had the real test of time, but because the alkyd resin reacts chemically with the oil binder in oil paints, it does enable faster drying, usually overnight, and in some cases just a few hours.
Yes, it can be used to refresh sunken colors, but it doesn't take much. Just as using oils for oiling out, there should be just enough to bring the color back, but not so much that your next layer of paint slide uncontrollably.
As to how thick or how thin a layer is, the proportion of Liquin to paint determines the drying time. If you want impasto layers underneath thinner layers, it might be wise to use an alkyd gel medium for the impasto layers.
Hope this helps.
@@IntheStudioArtInstruction Thank you soooooo much!
Thank you, that was clear. How does this apply to the use of media like r&f pigment sticks? Or cold wax medium.
The fat over lean principle applies only to oil paints. The reason is that the oil used to bind the pigment does not evaporate, but oxidizes as oxygen hits the surface. Therefore, it dries more slowly from the surface downward. Fat means more oil, therefore slower drying than lean, so the idea is for layers underneath to dry at a similar speed as those on the surface in order to prevent cracking.