I used liquin to oil out a couple of times and in one painting it yellowed very badly within 12 months and in the other, dark yellowed drips appeared within 6-9 months. I didn't much care about the one with drips as I didn't like the finished painting anyway, but the other, I was quite upset over. I painted over the areas that were obviously yellowed a couple of weeks ago, mainly to experiment as it was that or discard the painting altogether, and I'm waiting to see what happens. However painting over liquin can be an issue if you're using a very thin layer over it, particularly if you are glazing. I've had issues with beading up in this scenario, so I now only ever use liquin in my top layer, and mix it with stand oil to slow down the drying, not only to prevent cracking and/or beading up, but because liquin tacks up way too quickly for my liking.
Retouch varnish is best for me. You work with small brush strokes from end to end. Takes time but worth it. Protects the painting but you can keep working on the painting after it dries.
I spray clear shellac between layers. It doesn't yellow, and has the added benefit of stabilizing the oil layer and prevents cracking, like adding rebar to concrete
Do you know if rosemary or lavender spike oil (as non-toxic solvent alternatives) would also work to not over-oil it instead of gamsol? I do paint without harmful solvents, but never drew so large, that I got this problem. Thanks for creating relaxing and informative content!
I have heard that some oils that aren't made for painting aren't good to use because they aren't designed to dry/cure over time like coconut oil. I don't know if rosemary or lavender spike oil are like this, but I do think knowing that not drying/curing is a possibility can help with researching and asking questions. Best if luck finding your information!
Hi! I am from Argentina, a very new oil painter. I finished a painting around one months ago. It is dry in touch. It's an abstract painting. It has one layer, very thin. My question is how I can varnish the piece to protect It from dust. Oiling out is not necessary I think you commented. What can I do? Sorry for my english! Thank u for all your videos, I love them!!
I would not oil out on an acrylic painting. And I am not an expert on cold wax medium, so I am not sure. You can paint oil over the top of acryilic paint, but never the other way around.
Thank you for the video! Sorry if I'm missing something but wouldn't a varnish layer once the painting is finished, solve the uneven mate vs shiny areas? The varnish layer will not only protect the painting but also make its surface shiny?
That is correct. You should only oil out your painting when you are still working on it. The sinking in occurs when your paint has dried, and if you plan to apply an additional layer of paint, oiling out reveals the true value of those matte areas.
I had a touch-dry painting that I used Gamvar picture varnish on hoping it would even out the dry areas. It did not. I had to remove the varnish (which was scary). I contacted the manufacturer who told me to oil out (after removing the picture varnish)and then re-varnish. I used Liquin in the painting, but very little was used in the final stages. Gamblin suggested I used Galkyd mixed with Gamsol to oil out before re-varnishing with the picture varnish. UGH!
@tannersteedart Thank you! I have been trying to find the answer to this for a while and haven't gotten one until reading this comment, so thank you! I had gotten the impression that a painting will eventually all sink in once it is cured enough for varnish and thus wait for something that might never happen because of mediums used (apparently some mediums cause an "enamel-like evenness and sheen" and with fat over lean, not every layer or part of a piece will include or use the same mediums equally).
Stupid question, but what if I were to discover a change I wnat to make on a painting after a few weeks of thinking it's done, would making the change technically reset the clock on when it's safe to varnish? I have a piece where the blue turned green over thr time it has been left to dry and cure. I talked with some people about this problem and they think the tube itself went bad since i didn't use any yellows with the blue whatsoever. I'm thinking of maybe skinning that blue if I can and replacing it with a better blue if I can, but I am curious if doing this would mean restarting the clock of when I can varnish the whole piece or if i can somehow just varish everywhere that hasn't been touched up.
I would wait to varnish everything at once. If you touch it up, I would wait additional time. The recommendation is 6-12 months. That may seem like a long time, but your artwork will likely outlive you. Could the "bluing" be the result of sinking in? I'm surprised by this description. I've never heard of oil paint doing this. If you add a very thin layer of oil, does the color return to the original color? Let me know! BTW I love your thoughtful questions. Consider scheduling an online critique/lesson to answer more of your questions and get more personable support. Let me know if you're interested! I'd love to chat.
Thank you for a great informative video! If my oil painting is dry for a year or more.....one, can I still oil out and ....two, is it okay to varnish? many thank! .
So can oiling out be a synonym for varnishing? I thought you were essentially varnishing this so as to make it all a similar texture/shine without blotches. Would love to know. Also would you say that to strip down the medium situation that I could just go with liquin original and gambsol and call it good...like for everything, washing brushes, varnishing, thinning/mixing paints and oiling out? I'm just trying to simplify with a priority of fast drying. Thanks!
As you say, only oil out the area you are going to be working on, but I don't understand how it doesn't go super tacky before you paint over it, because it has every time I've tried it. If you let it dry and try painting over that, not only do you waste a layer, but there are issues with beading up.
So only medium I use is straight up linseed oil. I only oil out finished painting that is touch dry - to make the glare more uniform. Doeas that mean I have more leeway in applying linseed oil as the very last coat? Just add some spirits to it and I'm good to go?
If I understand the question correctly, it is best to varnish the painting instead of using linseed oil as the last layer. If you apply oil to the entire surface after you have completed the painting, you will create a surface that is very likely to yellow. If you were referring to using linseed oil as a preparation for the application of the final layer (oiling out), then you are using the method correctly. Oiling out will reveal the richness of the darks and will create a nice fluid surface to paint into for the next layer. Feel free to ask a follow-up question if this was not clear enough.
@@tannersteedart Oh no! I was told that I can oil out to make sheen/glare more consistent in a finished piece, and I should not relay that varnish will do that... What now? O_o
@@pawehordyniak636 I have done it, but only on a painting with a black background and only on the black background, so hopefully yellowing won't show. That was only a month or so ago so I've another 11 months to go to be really sure. I've found black backgrounds tend to dry patchy no matter what you do and I'm considering not even using solid black backgrounds anymore because of it. The only other thing I can think to do if it yellows is put a thin oily black top layer on a black background. It's a pain because black is one of the paints that naturally takes longer to dry.
Yes, you can use linseed oil to oil out, BUT make sure to wipe off the excess oil so it does not drip down the canvas. You can oil out when the paint is touch dry.
Thanks! Do I need to add slightly more oil when oiling out each subsequent layer or just the same thin layer every layer as I’ll already be adding more oil to my paints anyway with respect to fat over lean ? Would stand oil be better than straight linseed for oiling out? Thanks for any consideration
The problem with stand oil is it is thicker and dries even more slowly than refined linseed, so you could end up putting more oil on than you intended. I've heard other people say that it also drips if you use it by itself. If they are talking about drips that appear slowly some months later, I've had this happen to me, but it wasn't stand oil that was the culprit as I hadn't tried using it at that point. I've only just started experimenting with stand oil mixed with a little liquin or OMS, for glazing purposes, so I can't give you much advice other than to tell you to proceed with caution, from what I've read.
Thanks answered my question. I dont use solvent but i will if i oilout. There are other oils that dont yellow much. Are they ok? I use a little poppy seed oil when attempting wet on wet or if paint too stiff
can I oil out with a mix of linseed oil and liquin? (the painting was done more or less with a similar mixture in the paint, used both mediums) thanks!
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?
You could try to scrape away the drips with a pallette knife or sand the top layer. But make sure you wear a mask as the particulates are likely very toxic. You may have to repaint that area, but that will be better than having drips on your painting. Everyone has done this before, so do not feel too bad about it. It only takes once to learn. Next time, use significantly less oil. Or even better use oleogel by rublev. It's my favorite product to oil out now. It doesn't drip at all.
Tanner, this was really useful. I was actually thinking about how to oil out today because even though i usually paint alla prima, i have a commissioned piece that I let sit for a while and need to tweak. I will freely admit I've never used my medium thinned out with gamsol in the past when I oil out, and I wonder if that's been messing things up for me. I also appreciated you commenting on staying consistent with mediums... I have been playing with gamblin's solvent free gel (which the jury is still out on.. it's not thixotropic like liquin, so it doesn't break up and turn into liquid it just stays a fairly gummy gel... not my favorite, but it's nice to have a toxic free, odorless medium that is faster drying than linseed) Anyways I was wracking my brain since it's too gelatinous to really oil out with, but surely if i thin out with gamsol I think i should get the effect i need. So thanks man! You're helping a lot!
My pleasure! Thanks for your input and dedication to the craft. Oiling out is essential to my process, as I paint in many layers. I will have to try the solvent free gel as I have heard it is similar to oleogel by natural pigments which I like very much.
You do know that Gamblin solvent free gel has alkyd in it, which is the active ingredient in liquin? I tried various things for glazing layers. I tried making my own oleogel with fumed silica. It worked but after a few weeks it started to dry in the jar. I then tried Art Spectrum glazing gel. It was like my dried home made oleogel, stank, and was totally useless. I've now resorted to just a tiny bit of liquin and plain linseed oil. Seems to work okay, but I need to wait for another 6 months or so to be totally sure this formula doesn't do something awful to my paintings.
@@warpedweft9004 yes it has alkyd resin but doesn’t have the petroleum distillates and odors that liquin has which I find nice. I do like the working properties of liquin though!
@@DannySabraArt It is the alkyds that are the problem for me, as they speed up the drying process too much and go tacky too quickly for me to be able to use it either for oiling out or as a couch for glazing.
Stupid question, but why do some paints have more oils than others if the amount of oil can effect how it dries? I would think this would cause cracking and flaking due to the amounts of oil techically being uneven. This is assuming the oil content isn't changed with mediums, but even if it is, I am still curious about how this works. I am used to watercolor and, as far as I know, just about every pigment has the same binder and pigment ratio or at least the properties of the medium don't pose the same risk--you don't really get impasto with watercolors and it's a medium meant to soak into the paper moreso than cure to the surface/substrate. Forexample, if I were to use a pigment with a lot of linseed binder on one layer, but put a layer over that with a pigment that has very little linseed binder, assuming I haven't added any medium to effect the binder to pigment ratio, wouldn't this cause cracking? Even if it isn't very thick? I am a newbie to ouls so please pardon my ignorance.
Actually what amt gamblin solvent to what amot oil in this mix on a painting with no solvent employed please. I see a little goes a long . Proportions will help.10/90 or 50/50 or what?
For me oil out it isnt so simple, so i maked several testings, but for me if i use in each glaze Liquin orginal and if i hade fine details depends what have, i thin colors with those two, so when work is done or finished i took a 25% leenseed oil +75% of Liquin orginal or fine details....It make paint alive and i see true values again, so when is complete dry Damar gloss Varnish or 4k Windsor gloss Varnish...And that i maked the two latest exibition and , painting it isnt on sale after 6 months i returned home and next half year goes its same...But i did something on few paintings,i have finished its been half year time i just with rug take down dirt and i didnt oil out!? Just twice with Damar gllosy varnish,bro first glaze god amount of varnish and next day one more time. All areas are same gllosy with 3dimension...No yellow no to gllosy on some spots i think the varnish make it self job. He is that medium who are for protecting and make balance.Dry and to glossy parts just expired.Puctures has returned damaged from exibition, but its hands of woman and mans.My friends artist do it ,one work has been Bob Ross on Steroids masterpiece, expression palete knife work winter night and cabine but somebody on 3 spots damaged painting so its hall of 1,5mm i just repair and now are healing process,worked over varnish i want to se what will be.Make All time and experiments just like color that isnt possible to mix home and i have recipe,it isnt so hard i have just lucky,most expensive colors i mix and i have in book all described... Andrew Tischler doesn't oil out when he works he goes straight on Job and he makes so good paintings....No philosophy just liquin orginal and deasnt colour 40ml for profi artist Sennerlier, Rembrandt, Smith Daniels and all be good.
What chance do you have of judging relative tonal values etc. across the whole canvas if you oil out only locally! You completely unbalance the work by doing this. Neither can I see why you would use such a small brush to oil out such a large area. I would remove all excess oil with a clean cotton rag after oiling, which you did not appear to do. If for some reason you want to oil out with pure Liquin, why use the gel form - free flowing Liquin 'detail' version would be more suitable. I don't think we are a 'fit'.
Thanks for your comment. I oil out locally when I am only planning to work on a specific area for the session. To reduce the amount of oil spread across the picture, I do not feel the need to oil out the entire picture every time I sit down to paint. Also, good point on using a rag to wipe off the excess oil. I always do so. It is a mistake that I didn't mention it in the video (this one is pretty old, and I have improved immensely since many of these were posted). I'll be happy to make an updated video on the subject, as I think it's about time to update everything on here. Thanks again for your comment. Have a great day.
I'll not judge: but - (I sort of will, a bit); don't oil out; fat over lean isn't really very relevant unless you're working on flexible surfaces. Don't waste your time with Gamsol or Turpentine; you're only going to get drips with Linseed oil if you apply it too heavily. And no, don't oil out to start with, and if you do, don't use Liquin. And do look up the meaning of the word "dry" in relation to oil paint. You'll do what you do, and good luck to you. But as advice to other painters? This isn't useful.
I used liquin to oil out a couple of times and in one painting it yellowed very badly within 12 months and in the other, dark yellowed drips appeared within 6-9 months. I didn't much care about the one with drips as I didn't like the finished painting anyway, but the other, I was quite upset over. I painted over the areas that were obviously yellowed a couple of weeks ago, mainly to experiment as it was that or discard the painting altogether, and I'm waiting to see what happens. However painting over liquin can be an issue if you're using a very thin layer over it, particularly if you are glazing. I've had issues with beading up in this scenario, so I now only ever use liquin in my top layer, and mix it with stand oil to slow down the drying, not only to prevent cracking and/or beading up, but because liquin tacks up way too quickly for my liking.
Thank you for sharing your bad experience. I've learnet a lot from itt.
Liquin is to be used as medium and only 1 part to 3 parts paint. With that ratio, you won't have to worry about yellowing.
Thank you. It's much needed help for many of us out there with old oil paintings that have begun to show tiny cracks. Great !
This is the best explanation I’ve seen on YT! Btw, what a beautiful painting!!
Thank you for sharing using medium and how to blending the color.
You are so welcome!
Retouch varnish is best for me. You work with small brush strokes from end to end. Takes time but worth it. Protects the painting but you can keep working on the painting after it dries.
Very informative.. especially the fat over lean process.. Great stuff.. thanks
I need these fundamentals explained like this. I'm self taught, which means I know nothing going in. Suuuubscribed.
Glad I can be useful! Good luck on your painting journey.
@@tannersteedart thanks!
I spray clear shellac between layers. It doesn't yellow, and has the added benefit of stabilizing the oil layer and prevents cracking, like adding rebar to concrete
If I had any doubts in oil painting, I always watch your videos!! ❤
It's good to hear that you're finding the content valuable! Thanks for watching. And feel free to leave a question for an upcoming livestream!
Watching on lunch while subbing for intermediate art.
Love that! I hope it was helpful.
Great info others don’t cover. Great lesson,thanks.
My pleasure. Thanks for watching.
Thanks for the video, Tanner! I’m new to oils and I have a painting that needs this for sure.
My pleasure. Glad it was helpful!
Do you know if rosemary or lavender spike oil (as non-toxic solvent alternatives) would also work to not over-oil it instead of gamsol? I do paint without harmful solvents, but never drew so large, that I got this problem. Thanks for creating relaxing and informative content!
I have heard that some oils that aren't made for painting aren't good to use because they aren't designed to dry/cure over time like coconut oil. I don't know if rosemary or lavender spike oil are like this, but I do think knowing that not drying/curing is a possibility can help with researching and asking questions. Best if luck finding your information!
Thank you, You are amazing
Hi! I am from Argentina, a very new oil painter. I finished a painting around one months ago. It is dry in touch. It's an abstract painting. It has one layer, very thin. My question is how I can varnish the piece to protect It from dust. Oiling out is not necessary I think you commented. What can I do? Sorry for my english! Thank u for all your videos, I love them!!
Useful info thank you
My pleasure! Thanks for watching.
Excellent!!! Thanks a ton
Thank you so much for this video. But now my question is; Can you oil out on an oil painting that has already been varnished with gamblin gamvar?
@creativemargie1 no, you need to remove the varnish to continue using oil.
Hi Tanner, can one oil out on acrylic paintings or use cold wax as a finish?
Greetings from Munich/Germany
I would not oil out on an acrylic painting. And I am not an expert on cold wax medium, so I am not sure. You can paint oil over the top of acryilic paint, but never the other way around.
Thank you, Tanner! How long would you suggest to wait to use a Gamvar Picture varnish after you have oiled out?
I wait six months to a year after the final application of oil
Thank you for the video! Sorry if I'm missing something but wouldn't a varnish layer once the painting is finished, solve the uneven mate vs shiny areas? The varnish layer will not only protect the painting but also make its surface shiny?
That is correct. You should only oil out your painting when you are still working on it. The sinking in occurs when your paint has dried, and if you plan to apply an additional layer of paint, oiling out reveals the true value of those matte areas.
I had a touch-dry painting that I used Gamvar picture varnish on hoping it would even out the dry areas. It did not. I had to remove the varnish (which was scary). I contacted the manufacturer who told me to oil out (after removing the picture varnish)and then re-varnish. I used Liquin in the painting, but very little was used in the final stages. Gamblin suggested I used Galkyd mixed with Gamsol to oil out before re-varnishing with the picture varnish. UGH!
@tannersteedart Thank you! I have been trying to find the answer to this for a while and haven't gotten one until reading this comment, so thank you! I had gotten the impression that a painting will eventually all sink in once it is cured enough for varnish and thus wait for something that might never happen because of mediums used (apparently some mediums cause an "enamel-like evenness and sheen" and with fat over lean, not every layer or part of a piece will include or use the same mediums equally).
Stupid question, but what if I were to discover a change I wnat to make on a painting after a few weeks of thinking it's done, would making the change technically reset the clock on when it's safe to varnish?
I have a piece where the blue turned green over thr time it has been left to dry and cure. I talked with some people about this problem and they think the tube itself went bad since i didn't use any yellows with the blue whatsoever. I'm thinking of maybe skinning that blue if I can and replacing it with a better blue if I can, but I am curious if doing this would mean restarting the clock of when I can varnish the whole piece or if i can somehow just varish everywhere that hasn't been touched up.
I would wait to varnish everything at once. If you touch it up, I would wait additional time. The recommendation is 6-12 months. That may seem like a long time, but your artwork will likely outlive you.
Could the "bluing" be the result of sinking in? I'm surprised by this description. I've never heard of oil paint doing this. If you add a very thin layer of oil, does the color return to the original color? Let me know!
BTW I love your thoughtful questions.
Consider scheduling an online critique/lesson to answer more of your questions and get more personable support. Let me know if you're interested! I'd love to chat.
Thank you for a great informative video! If my oil painting is dry for a year or more.....one, can I still oil out and ....two, is it okay to varnish? many thank! .
Yes, you can oil out at any time. But once you varnish, you are locked out of the painting. But you can always remove the varnish if you need to.
So can oiling out be a synonym for varnishing? I thought you were essentially varnishing this so as to make it all a similar texture/shine without blotches. Would love to know. Also would you say that to strip down the medium situation that I could just go with liquin original and gambsol and call it good...like for everything, washing brushes, varnishing, thinning/mixing paints and oiling out? I'm just trying to simplify with a priority of fast drying. Thanks!
Great content very helpful
Ladies note : linseed oil is very good for your skin. It keeps your hands soft and youthfull. It is a non-toxic organic product.
Is the odor of linseed harmful?
Good video enjoyed
As you say, only oil out the area you are going to be working on, but I don't understand how it doesn't go super tacky before you paint over it, because it has every time I've tried it. If you let it dry and try painting over that, not only do you waste a layer, but there are issues with beading up.
So only medium I use is straight up linseed oil. I only oil out finished painting that is touch dry - to make the glare more uniform. Doeas that mean I have more leeway in applying linseed oil as the very last coat? Just add some spirits to it and I'm good to go?
If I understand the question correctly, it is best to varnish the painting instead of using linseed oil as the last layer. If you apply oil to the entire surface after you have completed the painting, you will create a surface that is very likely to yellow.
If you were referring to using linseed oil as a preparation for the application of the final layer (oiling out), then you are using the method correctly. Oiling out will reveal the richness of the darks and will create a nice fluid surface to paint into for the next layer.
Feel free to ask a follow-up question if this was not clear enough.
@@tannersteedart Oh no! I was told that I can oil out to make sheen/glare more consistent in a finished piece, and I should not relay that varnish will do that... What now? O_o
@@pawehordyniak636 I have done it, but only on a painting with a black background and only on the black background, so hopefully yellowing won't show. That was only a month or so ago so I've another 11 months to go to be really sure. I've found black backgrounds tend to dry patchy no matter what you do and I'm considering not even using solid black backgrounds anymore because of it. The only other thing I can think to do if it yellows is put a thin oily black top layer on a black background. It's a pain because black is one of the paints that naturally takes longer to dry.
Did you make the trolly yourself?
I did not. You can find similar taborets on Jerry's Artarama
Very interesting ty
Hi, thank you so much for the tips. Can I use only linseed oil to oil out?? How long should I wait before paint the oiled out path?
Yes, you can use linseed oil to oil out, BUT make sure to wipe off the excess oil so it does not drip down the canvas. You can oil out when the paint is touch dry.
@@tannersteedart thank you! And when can I paint over it the next layer?
@flaviolopes5440 You can paint immediately into the wet oil.
@@tannersteedart thank you
thanks 🙏🏻 😊
If using alkyd oil paint can I just use liquin on its own to "oil out"
Yes, I do that all the time. Just make sure to use as little as possible. I will apply and then wipe off the excess with a paper towel.
Thanks!
Do I need to add slightly more oil when oiling out each subsequent layer or just the same thin layer every layer as I’ll already be adding more oil to my paints anyway with respect to fat over lean ?
Would stand oil be better than straight linseed for oiling out?
Thanks for any consideration
Linseed oil is great. Even better is oleogel. Use as little oil as possible. Wipe away excess.
The problem with stand oil is it is thicker and dries even more slowly than refined linseed, so you could end up putting more oil on than you intended. I've heard other people say that it also drips if you use it by itself. If they are talking about drips that appear slowly some months later, I've had this happen to me, but it wasn't stand oil that was the culprit as I hadn't tried using it at that point. I've only just started experimenting with stand oil mixed with a little liquin or OMS, for glazing purposes, so I can't give you much advice other than to tell you to proceed with caution, from what I've read.
Thanks answered my question. I dont use solvent but i will if i oilout. There are other oils that dont yellow much. Are they ok? I use a little poppy seed oil when attempting wet on wet or if paint too stiff
Linseed oil provides a stronger paint film than poppy or safflower oil. So although linseed yellows, at least it doesn't crack as much.
@@tannersteedart thank you!
can I oil out with a mix of linseed oil and liquin? (the painting was done more or less with a similar mixture in the paint, used both mediums) thanks!
Yes. With a very small amount.
@@tannersteedart cheers, nice videos thanks a lot.
I used to use linseed oil, but my cat dog wanted to lick my paintings. They leave me alone when I use Liquin.
Haha. Yeah, I'm sure liquin is not a very tasty substance.
Good video
Thanks! Glad you enjoyed
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?
You could try to scrape away the drips with a pallette knife or sand the top layer. But make sure you wear a mask as the particulates are likely very toxic. You may have to repaint that area, but that will be better than having drips on your painting.
Everyone has done this before, so do not feel too bad about it. It only takes once to learn. Next time, use significantly less oil. Or even better use oleogel by rublev. It's my favorite product to oil out now. It doesn't drip at all.
@@tannersteedart thank you so much....especially for replying so promptly and with kind consideration! ..have a great weekend!
@@davehall8584 you too!
I heard people using retouch ending up in a bad situation and having to painstakingly remove it
Tanner, this was really useful. I was actually thinking about how to oil out today because even though i usually paint alla prima, i have a commissioned piece that I let sit for a while and need to tweak. I will freely admit I've never used my medium thinned out with gamsol in the past when I oil out, and I wonder if that's been messing things up for me. I also appreciated you commenting on staying consistent with mediums... I have been playing with gamblin's solvent free gel (which the jury is still out on.. it's not thixotropic like liquin, so it doesn't break up and turn into liquid it just stays a fairly gummy gel... not my favorite, but it's nice to have a toxic free, odorless medium that is faster drying than linseed) Anyways I was wracking my brain since it's too gelatinous to really oil out with, but surely if i thin out with gamsol I think i should get the effect i need. So thanks man! You're helping a lot!
My pleasure! Thanks for your input and dedication to the craft. Oiling out is essential to my process, as I paint in many layers. I will have to try the solvent free gel as I have heard it is similar to oleogel by natural pigments which I like very much.
@@tannersteedart absolutely! You might like it. It’s nice to have a not toxic medium that dries quicker than linseed.
You do know that Gamblin solvent free gel has alkyd in it, which is the active ingredient in liquin? I tried various things for glazing layers. I tried making my own oleogel with fumed silica. It worked but after a few weeks it started to dry in the jar. I then tried Art Spectrum glazing gel. It was like my dried home made oleogel, stank, and was totally useless. I've now resorted to just a tiny bit of liquin and plain linseed oil. Seems to work okay, but I need to wait for another 6 months or so to be totally sure this formula doesn't do something awful to my paintings.
@@warpedweft9004 yes it has alkyd resin but doesn’t have the petroleum distillates and odors that liquin has which I find nice. I do like the working properties of liquin though!
@@DannySabraArt It is the alkyds that are the problem for me, as they speed up the drying process too much and go tacky too quickly for me to be able to use it either for oiling out or as a couch for glazing.
Stupid question, but why do some paints have more oils than others if the amount of oil can effect how it dries? I would think this would cause cracking and flaking due to the amounts of oil techically being uneven. This is assuming the oil content isn't changed with mediums, but even if it is, I am still curious about how this works. I am used to watercolor and, as far as I know, just about every pigment has the same binder and pigment ratio or at least the properties of the medium don't pose the same risk--you don't really get impasto with watercolors and it's a medium meant to soak into the paper moreso than cure to the surface/substrate. Forexample, if I were to use a pigment with a lot of linseed binder on one layer, but put a layer over that with a pigment that has very little linseed binder, assuming I haven't added any medium to effect the binder to pigment ratio, wouldn't this cause cracking? Even if it isn't very thick? I am a newbie to ouls so please pardon my ignorance.
Can you thin out Liquin with turps?
Yes. My favorite medium mixture lately is equal parts: liquin, stand oil, and turps.
Retouching is a varnish, not for use as a oil film, so- archivally, it is bad to use before you have finished your painting.
Can I mix liquin with linseed oil in the oiling out process?
Can oiling out be done if you don't want to rework the painting and just get the saturation back?
I wouldn't reccomend oiling out for that. If you're done with the painting, varnish is the last step and will get the effect you're looking for.
@@tannersteedart OK. Thank you
Im confused because it sounds as if oiling out is done while the painting is in progress not when the painting is finished.
That's correct. When you are finished, you can use varnish to make a more consistent sheen.
Actually what amt gamblin solvent to what amot oil in this mix on a painting with no solvent employed please. I see a little goes a long . Proportions will help.10/90 or 50/50 or what?
Mostly oil. Maybe 70/30. Make sure to wipe it off with a sponge or towel so that it doesn't drip down the painting. Less is more..
@@tannersteedart great. I really appreciate you answered.
@@cynthiamarston2208 anytime.
For me using retouching varnish gives too glossy effect
For me oil out it isnt so simple, so i maked several testings, but for me if i use in each glaze Liquin orginal and if i hade fine details depends what have, i thin colors with those two, so when work is done or finished i took a 25% leenseed oil +75% of Liquin orginal or fine details....It make paint alive and i see true values again, so when is complete dry Damar gloss Varnish or 4k Windsor gloss Varnish...And that i maked the two latest exibition and , painting it isnt on sale after 6 months i returned home and next half year goes its same...But i did something on few paintings,i have finished its been half year time i just with rug take down dirt and i didnt oil out!? Just twice with Damar gllosy varnish,bro first glaze god amount of varnish and next day one more time. All areas are same gllosy with 3dimension...No yellow no to gllosy on some spots i think the varnish make it self job.
He is that medium who are for protecting and make balance.Dry and to glossy parts just expired.Puctures has returned damaged from exibition, but its hands of woman and mans.My friends artist do it ,one work has been Bob Ross on Steroids masterpiece, expression palete knife work winter night and cabine but somebody on 3 spots damaged painting so its hall of 1,5mm i just repair and now are healing process,worked over varnish i want to se what will be.Make All time and experiments just like color that isnt possible to mix home and i have recipe,it isnt so hard i have just lucky,most expensive colors i mix and i have in book all described... Andrew Tischler doesn't oil out when he works he goes straight on Job and he makes so good paintings....No philosophy just liquin orginal and deasnt colour 40ml for profi artist Sennerlier, Rembrandt, Smith Daniels and all be good.
Maybe a little bit bigger brush?
I will use fish oil from the dietary supplement
pls let me know how that goes
@@tannersteedart pretty good it was my first time I read online they did it back then. It wasn’t as gross as using crushed bugs blood.
What chance do you have of judging relative tonal values etc. across the whole canvas if you oil out only locally! You completely unbalance the work by doing this. Neither can I see why you would use such a small brush to oil out such a large area. I would remove all excess oil with a clean cotton rag after oiling, which you did not appear to do. If for some reason you want to oil out with pure Liquin, why use the gel form - free flowing Liquin 'detail' version would be more suitable. I don't think we are a 'fit'.
Thanks for your comment. I oil out locally when I am only planning to work on a specific area for the session. To reduce the amount of oil spread across the picture, I do not feel the need to oil out the entire picture every time I sit down to paint. Also, good point on using a rag to wipe off the excess oil. I always do so. It is a mistake that I didn't mention it in the video (this one is pretty old, and I have improved immensely since many of these were posted). I'll be happy to make an updated video on the subject, as I think it's about time to update everything on here. Thanks again for your comment. Have a great day.
I'll not judge: but - (I sort of will, a bit); don't oil out; fat over lean isn't really very relevant unless you're working on flexible surfaces. Don't waste your time with Gamsol or Turpentine; you're only going to get drips with Linseed oil if you apply it too heavily.
And no, don't oil out to start with, and if you do, don't use Liquin. And do look up the meaning of the word "dry" in relation to oil paint. You'll do what you do, and good luck to you. But as advice to other painters? This isn't useful.
Could you please elaborate as I’m interested ? Why shouldn’t you oil out to start with?