Oil Painting Technique FAQs

Oil Painting Technique FAQs

How long should I leave the block-in before adding detail?

That depends on the material used for the block-in. Acrylic can often be ready very quickly once fully dry, while oil-based block-ins may need considerably longer. Before beginning detailed oil layers, make sure the block-in is properly dry and stable rather than relying on a fixed waiting time.

How much paint should I put on the brush?

It depends on the mark you are trying to make. Fine details often need a carefully loaded brush and a light touch, while stronger highlights or textured marks may need more paint. Michael generally works in controlled, relatively thin layers, reserving thicker paint for selected details and highlights.

Should I wait for each oil layer to dry?

Not always. Much of Michael's detailed work is painted wet-on-wet, so new marks are placed over paint that is still workable. The key is controlling paint consistency, brush loading and pressure so the new layer does not simply mix into the layer underneath.

For a fuller explanation, see Wet-on-wet oil painting method explained.

What does 'fat over lean' mean?

In traditional layered oil painting, later layers generally need to remain at least as flexible as the layers beneath them. Adding oil or medium changes the behaviour of the paint film, so avoid making arbitrary mixtures or applying very lean layers over substantially richer, slower-drying layers. If you are building multiple dried layers, follow the guidance supplied by the paint and medium manufacturer.

How do you scale a reference image?

Michael often uses a grid to place complex subjects accurately. A grid lets you transfer the main shapes and proportions to a different-sized surface while keeping the composition consistent. Once the drawing is established, remove unnecessary grid lines before painting, particularly in light areas.

How do you mix colours?

Start by judging value, temperature and saturation rather than trying to find a single 'perfect' tube colour. Mix small amounts gradually and compare the mixture with the reference. Michael normally works from a consistent core palette and adjusts those colours to create the variations needed for each subject.

You can see the colours he regularly uses in What Paint Do I Use?.

How do I create fine foreground detail?

Use a brush that holds a clean point or edge, load it carefully and work with very little pressure. Rigger and pointed brushes are particularly useful for grass, branches and other fine marks. Avoid overworking the area; varied direction, length and spacing usually looks more natural than repeated identical strokes.

How do I create realistic trees and foliage?

Build foliage in layers rather than painting every leaf individually. Establish the larger dark masses first, then introduce mid-tones and selected highlights. Vary the size, direction and spacing of your marks so the foliage does not become repetitive. Fan, Tree & Texture and Comber brushes can each create different natural effects.

When should I varnish an oil painting?

There is no single waiting period that suits every oil painting. Drying depends on the paint, pigments, thickness, mediums, environment and the varnish being used. Follow the varnish manufacturer's instructions and make sure the paint film has reached the condition required for that specific product before varnishing.

See How to varnish an oil painting for more information.

What should I use to thin or modify oil paint?

Only use materials intended for artists' oil colour and follow the manufacturer's directions. Mediums and solvents can affect flow, transparency and drying, but they should not be added automatically to every mixture. Use the minimum needed for the effect you are trying to achieve and observe the safety information supplied with the product.

For complete demonstrations of these techniques from start to finish, visit MJS TV.