1: What is Simultaneous Contrast?

2: A Brief and Interesting History

3: Examples

4: Color Tips

1: What is Simultaneous Contrast?

It all comes down to an important scientific phenomenon: simultaneous contrast.

Simultaneous contrast refers to the way in which two colors affect each other. 

When a different color is placed next to a color, it can change how we perceive the tone and hue of that color, even though it’s the exact same color. 

For example, when you place a gray rectangle inside different color shapes, the gray will take on a tint of the complementary color of the surrounding color.

Did you notice that the first gray within the yellow rectangle had a purple tint, while the gray within the green rectangle had a reddish tint? It’s quite fascinating, isn’t it?

The science behind it is that the human eye simultaneously demands the complementarity of a particular color it sees. As an example, when you look at a blue object for a while and then close your eyes, you will see the complementary color of blue, which is orange, in your mind’s eye.

2: A Brief and Interesting History

Simultaneous contrast was first described in the 19th century by Chevreul in his famous book on color theory, “The Principles of Harmony and Contrast of Colors,” published in 1839 (translated into English in 1854).

While working in a carpet-making factory, Chevreul discovered that the reason people complained about the carpet dye appearing “dull” was not due to the dye itself, but rather how the colors were arranged next to each other. This led him to conduct thorough research and publish his book.

In the book, Chevreul systematically studied color and color perception, demonstrating how our brains perceive color and value. He discovered that when two colors are placed close together in proximity, each color can take on the hue of the complement of the adjacent color. For example, if a dark red and a light yellow are seen side by side, the red will appear shifted toward violet, while the yellow will appear shifted toward green. Additionally, dull or near-neutral colors can make saturated colors appear more intense.

3. Examples:

Georges Seurat – “A Sunday on La Grande Jatte”: Seurat’s famous pointillist painting is a prime example of simultaneous contrast. By applying small dots of contrasting colors next to each other, Seurat achieved the optical mixing of colors in the viewer’s eye, creating vibrant and luminous effects.

Bridget Riley – Op Art: Riley’s optical art relies heavily on the use of simultaneous contrast. Her geometric patterns and repetitive shapes in contrasting colors create optical illusions, producing a sense of movement and depth that captivates the viewer.

4. Color Tips:

• Dark colors next to bright colors make the bright color appear even brighter and the dark color appears darker.
• Warmer colors look warmer when placed next to cooler colors.
• Cooler colors look cooler when placed next to warmer ones.
• A bright color next to a muted color makes the muted color appear more dull, and vice versa.
• If two colors have similar brightness, they will appear less bright when placed next to each other.

In addition to the above tips, when painting, it is helpful to start with a thin wash of colors and gradually build up layers. This allows you to view and judge the colors as they are applied together. I avoid finishing a small area of a painting first, as I never know how the color will appear next to other colors once the painting is complete.

I hope you find these insights on simultaneous contrast and color contrast in art helpful in your artistic endeavors!

The post Simultaneous Contrast in Art appeared first on Ying McLane.

So many of you showed interest in my Color series ebook. Don’t worry, I am working on it, and will keep you updated. 

Today we will continue our color series—the revolutionary Impressionists and how they changed the way we look at art. 

1: How traditional artists use colors

2: The rise of The Impressionism

3: Examples 

4: How to use Impressionist Techniques for Vibrant Paintings

1: How traditional artists use colors

Traditional artists since the Renaissance have primarily utilized local color in their paintings. 

Local color refers to the true color of an object as it appears under neutral white light. 

For example, in these two beautiful portraits made by 16 century Germain painter Hans Holbein the Younger, you can see even the background is vibrant blue, the artists didn’t paint any reflected blue light on the person’s skin. And the shadows are combinations of blacks and browns.

Hans Holbein the Younger (1497-1543) – Portrait d’Hermann von Wedigh III

Portrait of a Lady with a Squirrel and a Starling 

2. The rise of Impressionism

As the wheel of time turned to the 19th century, it brought the rise of the Impressionists to prominence. 

They propelled color to the forefront in the art world, revolutionizing the traditional artist’s approach to color. 

Few art movements have had as profound and lasting an impact as Impressionism. 

This movement was not just a stylistic departure but a radical rethinking of how art interacts with the natural world. 

At the heart of Impressionism is a focus on capturing the ephemeral moments of light and color, offering a fresh perspective that continues to inspire artists today.

Instead of seeing color as merely the object’s local tone, the Impressionists painted the colors as they perceived them with their eyes, understanding that light can dramatically alter colors. Under varying lighting conditions, skin tone is not just the pasty pinkish-yellow; it can appear blue, red, green, shadows are not just made of blacks and grey, but a mixture of colors like blues, purples, greens, etc

3. Examples:

Some of my favorite Impressionists are Claude Monet,Edgar Degas,Camille Pissarro, Berthe Morisot, and Mary Cassatt. 

Let’s take Degas’s famous ballerina paintings as an example: Notice that in each of these paintings, the ballerina’s skin tone takes on the color of the environment. This means that the skin tone includes many patches of greens, blues, and reds—colors that would never appear in traditional skin tones.

4: How to use Impressionist Techniques for Vibrant Paintings

To infuse your paintings with the vibrancy and light of Impressionism, consider adopting some of their revolutionary techniques:

1. Observe Light and Its Effects: Pay close attention to how light transforms colors and shapes in the natural world. This will help you understand how to replicate the dynamism of light in your work.

2. Experiment with Color Temperature: Use warm and cool colors to create contrast and depth. Placing them next to each other can make your paintings pop with life.

Camille Pissarro, The church and farm at erany

3. Break Down Objects into Color Patches: Rather than focusing on detailed outlines, try to see your subjects as a collection of color patches. This can help capture the fleeting impressions that the Impressionists so cherished.

Mary Cassatt, Mother and child

4. Use Complementary Colors for Shadows: Instead of traditional greys or blacks, experiment with complementary colors for shadows to add vibrancy to your paintings. 

Berthe Morisot, Young woman seated on a sofa

5. Embrace Plein Air Painting: Like many Impressionists, painting outdoors can provide you with a direct experience of light and color, enriching your work with authenticity and immediacy.

The Impressionists revolutionized the art world with their innovative use of color and light, offering a new way of seeing that transcends the boundaries of time. 

To know more about this movement, click this link: https://www.metmuseum.org/toah/hd/imml/hd_imml.htm

By adopting their techniques and embracing their spirit of experimentation, you can bring a piece of that revolutionary vibrancy into your own paintings. 

I am planning on using many of these tips I shared with you in my future paintings.

Let me know what you think about this post, or share with an artist friend !

The post Color series 9 – The Impressionists: appeared first on Ying McLane.

However, diving into custom pieces isn’t always a walk in the park. My top takeaway? Communication is absolutely critical.

I recently wrapped up a commission for a wonderful mother and her kids. The starting point was a photo of them in front of their house. We decided to switch up the backdrop to something more nature-inspired.

Being a big fan of vibrant blues, I whipped up a few backgrounds featuring blue-hued palm trees and flowers. I was quite pleased with the outcome. But when I shared it with my client, her reaction wasn’t as enthusiastic as mine. She responded by texting me a picture of a book cover adorned with cherry blossoms, showcasing a more subdued, gentle color palette.

That’s when it clicked—she’s more of a serene introvert, drawn to art that exudes a calm, soothing vibe.

I’m so glad I started off with a mockup. It really helped to nail down exactly what she was looking for.

It’s a common scenario where clients might not have a clear idea of what they want or struggle to articulate it. That’s where digging deeper or presenting mock-ups can make all the difference. Often, seeing is believing, helping them pinpoint their likes and dislikes.

Throughout the painting process, I made it a point to send her updates with progress shots, keeping the door open for any tweaks she desired.

She requested to be depicted without her glasses and for her children’s outfits to be changed, which I managed without a hitch. 

However, painting her son’s hand was a bit tricky—shifting from a short to a long sleeve meant rethinking the pose, ideally with his hand in his pocket. 

I made several attempts to paint from imagination, but something always didn’t feel right. 

Frustrated, I suddenly remembered that a couple of my own sons’s portraits hanging on our wall showed them with their hands in their pockets. 

So, I went back to my house and checked out these photos. One of the photos was exactly what I needed, allowing me to finish that part with satisfaction.

So here is Lesson two: Flexibility and resourcefulness are key in commissioned work. Sometimes, you’ve got to improvise to fulfill those expectations.

Lesson Three: Strive to Be an All-Around Artist

Don’t limit yourself to just one artistic category. 

For most artists, having multiple sources of income is crucial. Indeed, there are artists who solely display their work in galleries and consider their job done. However, based on my experience, even artists who are represented by multiple galleries often need additional revenue streams to sustain their business.

This is why being an all-around artist is not just advantageous for your artistic growth but also essential for maintaining a thriving art business. 

Currently, I am creating paintings that including both landscapes and portraits. I exhibit my work at various locations around town, offer private and group lessons from my home, and have developed several online courses to help my students accelerate their progress. 

Additionally, I am active on social media and am learning about marketing to increase the visibility of my art.

Yes, it requires a lot of effort, but I approach it with joy. After all, pursuing your passion is one of the most rewarding experiences in life!

Last, I’ve put together a quick video of the entire painting journey. Feel free to check it out on my Instagram. And hey, while you’re there, please click the follow button—I’ll hit you back with one, too!https://www.instagram.com/reel/C5BkS8VuHRv/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

With warmest regards,

Ying

PS: remember, you are just one piece of art away from your next breakthrough! 

The post Three lessons for you from my recent commissioned artwork appeared first on Ying McLane.

1: Why you do need to varnish your painting?

2: Two types of oil paint varnish

3: Materials needed

4: Step-by-step guide

5: Tips and warnings

6: Varnish acrylic painting 

1: Why you need to varnish your painting 

Because varnishing an oil painting is a crucial step in the process of preserving and protecting the artwork, while also enhancing its visual appeal. It has three main purposes:

• Protect from UV light, preventing your painting from yellowing over time.
• Even out the colors, especially where the paint appeared to sink in and dull. Bring out the vibrancy of colors and unify the overall appearance of the painting.
• Shielding the painting from dust, dirt, pollutants, and yellowing over time.

Here’s a comprehensive guide on how to varnish an oil painting:

2: Two types of oil paint varnish:

Choose a varnish specifically designed for oil paintings. There are two main types of varnish: removable/retouch varnish and non-removable varnish.

Retouch varnish can be applied to paint which is “touch-dry”.  The thin retouch varnish layer allows the paint to continue its deep drying thus avoiding cracking.

Retouch varnish is also excellent at reviving dull spots when you come back to a dry painting and want to blend dry and new wet oil colors together. 

Removable varnishes can be taken off without damaging the painting. 

This one is my favorite retouching/removable varnish: https://amzn.to/47NA1Cm

How to remove retouchable varnish:

If after a whole your varnish start to yellow or appear cloudy, you can remove the varnish with turpentine. 

Starting in a corner of the painting, dip a lint free cloth into the turpentine and gently rub the surface of the painting. 

keep a close eye on the cloth. If you see color coming off, stop right away. 

Working in small squares, make your way across the surface of the painting and try to keep using fresh and clean areas of cloth. 

Non-removable varnishes become a permanent part of the painting. 

You cannot remove it, and you need to wait until the painting is totally dry before you can add it. This means you usually have to wait 6 months to a year to do so. 

3: Materials Needed:

a: Oil Painting Surface:

Ensure that the oil painting is completely dry. If you use retouch varnish, make sure the surface is touch dry. Traditionally, it’s recommended to wait at least six months to a year after completing the painting before applying varnish. But nowadays, with the use of paint mediums like Liquin to speed up your drying time, you can varnish much sooner. So if you sell your painting before 6 month, or if you need to put your painting to gallery show, you can varnish them without worry. 

b: Brushes:

Select high-quality, soft-bristle brushes. Avoid using cheap brushes that might leave bristle marks on the varnished surface. But even good quality brushes will still leave hair on your canvas sometimes, so you just need to pay attention. If there is hair on your canvas, remove it immediately because varnish dries very quickly.

c: Palette Knife(optional):

Useful for removing any impurities or dust that may have settled on the painting. Alternatively, you can wear a glove and remove it with your finger.

d: Clean Cloth:

For wiping the painting surface and ensuring it’s free of any dust or particles before varnish.

e: Well-ventilated, Minimal Dust Space:

Ensure you are working in an area with good ventilation to avoid inhaling fumes from the varnish. Your space should have minimal dust floating around.

4: Step-by-Step Guide:

1. Clean the Painting Surface:  Before applying varnish, make sure the painting is free of dust and dirt. Use a soft brush or a clean cloth to gently wipe the surface.

2. Choose the Right Varnish: Select a varnish that suits your painting. Choose gloss varnish if you want to bring out the color vibrancy. But be aware that gloss creates a lot of reflection. Or opt for matt varnish, which means you avoid reflection, but color will appear duller.  If you like to go with the middle route, use semi-gloss varnish. Test a small area of the painting first to see how the varnish affects the colors.

3. Mix the Varnish: If the varnish is thick, you may need to thin it with a solvent like mineral spirits. Follow the manufacturer’s instructions for the proper ratio. Pour the varnish into a jar and apply it from there.

4. Apply Varnish:  Dip the brush into the varnish, ensuring it’s evenly coated. Apply the varnish using even, long strokes in one direction. Avoid going over the same area multiple times to prevent streaks or bubbles. Use thin, uniform layers. Add more layers if necessary.

5. Work Quickly and Evenly:  Varnish dries quickly, so work efficiently. Keep an eye out for drips or uneven application. If you notice any imperfections, use a clean brush or a palette knife to smooth them out.

6. Allow to Dry:  Let the painting dry completely before applying additional coats. Follow the recommended drying time specified by the varnish manufacturer.

7. Repeat if necessary: Depending on the desired effect, you may choose to apply multiple coats. Be sure each coat has dried thoroughly before applying the next.

8. Protect from Dust: While the varnish is drying, protect the painting from dust and debris. Cover it with a clean, breathable cloth.

5: Tips and Warnings:

• Test in a small area before varnishing the entire painting to ensure compatibility and the desired effect.
• Avoid applying too much varnish at once, as it can lead to cracking. Thin, even coats are preferable.
• Once varnished, store the painting in a dry, cool place away from direct sunlight to prevent yellowing.
• If uncertain, consider seeking advice from a professional conservator or restorer, especially for valuable or irreplaceable artworks.

By following these steps and tips, you can varnish your oil painting effectively, ensuring its long-term protection and enhancing its visual appeal.

6: Varnish acrylic painting 

Please note that this post pertains solely to oil painting. To varnish an acrylic painting, you must first apply an isolation coat and then proceed with varnishing.

An isolation coat for acrylic painting is a transparent protective layer positioned between your completed acrylic artwork and the varnish. This layer serves to physically separate them.

Primarily, it is utilized to shield the painting from any potential interaction with the varnish or protective finish. This precaution ensures that if you choose to remove the varnish at any point, your painting will remain intact.

Here is the isolation coat that I personally use for my acrylic paintings: https://amzn.to/3Gf7cD5

To read more about painting materials and mediums, check out this post:https://yingmclane.com/oil-painting-mediums-demystified/

The post All about Oil Painting Varnish — A Comprehensive Guide appeared first on Ying McLane.

In this chapter, we will cover the topics from the basics of preparing the palette to the intriguing realms of classic and limited palettes, and the unique charm of the Zorn palette.

1: Preparing Your Palette

2: Organize Your Colors

3: Classic Palette vs Limited Palette

4: Find Your Own Best Palette

5: Simple Exercise

1: Preparing Your Palette:

Wooden palettes are classic, while paper disposable palettes offer convenience; you can tear them off right after a painting session. You can also use a piece of glass as your palette. Glass palettes are easy to clean and allow for smooth color mixing.

If you choose to use a wooden palette, rub it with multiple coats of Linseed oil to protect the surface from paints.

Remember, the palette you choose has to be large enough to allow you to lay down all the paints and leave plenty of room for mixing colors.

I have all of these palettes in my studio. I use my glass palette most often. But when I want to do a quick underpainting with acrylics, I choose the disposable paper palette because acrylics dry quickly, and it’s hard to scrape off the wooden or glass palette as oil paints do.

Below is the link to the paper palette I use. I like how it was made of neutral grey paper to make judging color value easier: https://amzn.to/3uC3dxI

2. Organize Your Colors:

Arrange your colors in a logical order. There are many ways to organize your colors.

a: You can arrange them from light to dark, or dark to light.

b: You can group all the reds, yellows, blues, and browns together.

c: You can separate the bright colors from earth colors.

d: You can pre-mix the colors. You will mix each pure color with white or other colors to make tonal graduations. This method is especially useful in portrait paintings. As the skin color has many subtle graduations. So if you pre-mix the colors, you will save time in mixing the color as you paint.

3: Classic Palette vs Limited Palette

Classic Palette:

The classic palette is a broad spectrum of colors that includes primary and secondary colors. It provides a wide range for color mixing and is a staple for artists exploring various subjects and styles. The classic palette typically includes:

• Primary Colors:
  • Red
  • Blue
  • Yellow
• Secondary Colors:
  • Green (mix of blue and yellow)
  • Orange (mix of red and yellow)
  • Purple (mix of red and blue)

A recommended basic Classical palette includes:

Titanium White

Cadmium Yellow Light

Cadmium Red Medium

Cadmium Orange

Alizarin Crimson

Ultramarine Blue

Yellow Ocher

Raw Umber

Burnt Umber

Burnt Sienna

Ivory Black

Some of the additional paints I will add to my palette, depending on the painting I am working on, include:

Lemon yellow

Naples yellow (especially for portrait)

Cobalt blue

Prussian blue (especially for seascapes)

Phthalo blue (especially for seascapes)

Viridian green

Limited Palette:

In contrast, a limited palette restricts the number of colors used, fostering a more harmonious and cohesive look in a painting. 

Limited palettes have been commonly used in grisailles, underpainting, and tonal paintings. 

Grisailles are made using only black and white to achieve a grayscale effect. You can also add umbers like Burnt Sienna to add more warmth. 

A good practice to understand the warm and cool color temperature/relationship is using only red, yellow, blue, and white.

Common limited palettes include:

a: Burnt Umber, Yellow Ochre, Ivory Black, Titanium White

b: Burnt Sienna, Yellow Ochre, Ultramarine Blue, Titanium White

c: Cadmium Red Medium, Cadmium Yellow Light, Cobalt Blue

d: A cooler palette: Cerulean Blue, Alizarin Crimson, Lemon Yellow, Titanium White

Zorn Palette:

Named after the Swedish artist Anders Zorn, the Zorn palette is revered for its ability to capture a wide range of colors with just four pigments:

• Ivory Black
• Titanium White
• Cadmium Red
• Yellow Ochre
• The Zorn palette is particularly effective for portrait painting, creating a warm, muted color scheme with a distinct Old Masters feel.

Note: Expect the colors with the same name from different manufacturers to sometimes have slight and sometimes great variations. Try different brands and pay attention to the differences. And it’s absolutely ok to mix colors from different brands.

4: Find Your Own Palette

When it comes to choosing your own best palette, don’t stress out. The rule of thumb is, if you’re just starting, stick with a simple, classic palette—it’s your best bet. 

The best way to find a color arrangement that suits your needs is to just start painting. With time, you will find your working rhythm, and your color palette will follow.

But I encourage you to at least try the limited palette in your spare time. You will learn so much about color mixing, color temperature, and hues from the limited palette.

5: Simple Exercise

Paint a simple still life or abstract painting using different combinations of a limited color palette. So you can better understand color temperature, interactions, and relationships.

A: Paint a grisaille—use only black and white.

B: Add umbers like Burnt Sienna to it.

C: Now add a blue like ultramarine blue to see the warm/cool relationships.

D: Using only red, yellow, blue, and white to paint the same object.

Check out this post for some interesting color history: https://yingmclane.com/the-interesting-history-of-artists-color/

If you enjoyed this post, share it with a friend or leave a comment.

The post Color Series 2: Artist Palette—How to Find Your Palette appeared first on Ying McLane.

1: The Two Painting Stages You May Need Mediums

2: The Fat Over Lean Rule

3: How to Follow the Fat Over Lean Rule

4: An Important Rule to Remember

5: Some Other Popular Paint Mediums

1: The Two Painting Stages You May Need Mediums

There are two stages where you will likely need mediums when creating an oil painting:

A: At the beginning stages when you create a wash of colors, block the masses, or make a detailed underpainting.

B: During the painting process where you want to make your brushstrokes smooth and easy to glide on the canvas, making detailed paintings, or prolonging the drying time.

But before we start, we need to talk about a fundamental principle of oil painting: the Fat Over Lean rule.

2: The Fat Over Lean Rule

What is fat over lean? It means that the paint layers that are thinner (contain less oil) should be placed first on the canvas. The top layer on the top should be “fatter” (contain more oil) with each subsequent layer when you paint.

The reason is simple: oil paints are made of two components—binders and pigments. Binders play a crucial role in the composition of oil paints, affecting not just their consistency but also their durability and appearance on canvas. 

Because oil paint contains oil like linseed oil, walnut oil, or poppyseed oil, it expands and contracts slightly when it dries.

Because of this, if the paint layers on the bottom contain more oil than the layers on the top, then when oil paint dries, it will expand or contract at a slower speed than the top layer. The result is a cracking appearance on the canvas.

So, that’s why we need to follow the “fat over lean” rule when painting in oil.

(this picture above is why you need to follow the fat over lean rule)

3: How to Follow the Fat Over Lean Rule

We need to understand that there are two kinds of oil mediums:

A: The first one is thinning (breaking down) the oil paints. That’s what we generally call “paint thinner.” These products are what we use at the beginning stage of painting, like making washes, drawing masses, or making underpainting.

Mineral spirits and turpentine are the most commonly used thinners. Turpentine oil is a colorless fluid derived from the resin of certain tree species, including pine trees. Mineral spirits are made of 100-percent petroleum distillates and have no additives. Mineral spirits are a clean, clear product used for thinning oil-based paint.

I have been using this Gamblin odrless mineral spirits for years and loved it: https://amzn.to/3sEnsug ( note: if you puchase products through my amazon link, it will not add any extra cost to you. And I will get a very small commission from Amazon, so you will be able to contribute in supporting this blog.)

It’s important to remember that paint thinner describes the function of the product, not necessarily its makeup. So, paint thinner can essentially be anything that thins paint.

Another important role these products can play is cleaning your brushes. 

I usually give my paint brushes a wash in mineral spirits after I finish a session and then wash them clean with Master’s cleanser.

B: The second one is adding more oil (fat) to the paints to make it easy to slide on the canvas when you paint. This is what you will use in the middle stage of the painting.

Linseed oil is one of the most commonly used oil paint binders. Extracted from flax seeds, artists can manipulate its drying time. Linseed oil enhances the luminosity of colors and provides a glossy finish to paintings. 

This is the one I always have in hand: https://amzn.to/47Kj2kg 

Other popular mediums include walnut oil and poppyseed oil. If you are looking for prolonged drying time, check out walnut oil—with its pale color and slow drying time, and has a rich, clear finish. And poppyseed oil is known for its light color and subtle, silky texture—making it ideal for delicate brushwork.

4: An Important Rule to Remember

Use mediums only when needed. Because all mediums will more or less alter the density of the paint, thus affecting the temperature, vibrancy, and stability. Linseed oil and other mediums are known to darken the color with age. Since there are already oil binders in oil paints, in most paintings, there is really little need to add excessive muddiness.

Before we close this post, I want to briefly introduce other paint mediums:

5: Some Other Popular Paint Mediums

Liquin fast drying medium 

If you want to paint fast, try liquin fast drying medium. it halves the drying time of oil colour and reduces brush stroke retention. Creates a smooth, gel-like paint film that is easier to work with. Liquin allows the paint to dry faster and makes working with multiple layers easier.

This is the one I use when I need to paint fast in time for a show: 

https://amzn.to/47znPpa

Galkyd: Accelerating Drying Time

For those who prefer a faster drying process, Galkyd is a valuable medium. It accelerates the drying time of oil paints while maintaining a smooth and glossy finish. Artists often use it in layers to build up their paintings efficiently.

Impasto Gel: Creating Texture

Impasto gel is the go-to medium for artists who wish to add texture and depth to their paintings. By mixing this gel with oil paint, you can create thick, expressive strokes that leap off the canvas. It’s a fantastic way to add drama and dimension to your artwork.

Cold Wax Medium: Matte Finish and Collage

Cold wax medium is a unique addition to the oil painter’s toolkit. It not only extends drying time but also yields a matte finish. Artists often use it for collage techniques, creating layers and adding complexity to their compositions.

Oil Sticks: Direct Application

Oil sticks are a delightful departure from traditional tubes of paint. These versatile tools allow artists to apply paint directly to the canvas, offering a tactile and expressive approach to oil painting. They are especially popular among artists who enjoy the immediacy of drawing with paint.

As you embark on your oil painting journey, consider experimenting with different mediums to unlock new possibilities and enhance your artistic voice. Each medium brings its own set of characteristics, allowing you to tailor your creative process and produce works of art that captivate and inspire.

If you like this post, comment, and share it with a friend! If you like to learn about how to mastering brushstrokes, check out this post: https://yingmclane.com/mastering-the-art-of-oil-painting-brush-strokes/

The post Oil Painting Mediums Demystified appeared first on Ying McLane.

I paint a lot and I have many paintbrushes that have been with me for over 5 years! 

So I will show you how to properly clean and preserve your brushes as well as an introduction to paintbrushes. 

Here is a simple guide to different paintbrushes:

The Different Brush Shapes

The world of artist’s brushes is incredibly diverse. Brushes come in a multitude of shapes, sizes, and materials, each with its unique characteristics and applications. Here are just a few examples of the most commonly used artist paintbrushes:

• Round Brushes: These versatile brushes are a staple for artists. Their fine point is perfect for precise details, making them essential for intricate work like portraiture.
  
  
  
• Bright Brushes: Known for their broad, flat bristles, these brushes are great for creating sharp edges and covering large areas with bold strokes.
  
  
  
• Fan Brushes: I love fan brushes!  I use two types of pan brushes to achieve different effects: the ones that are flat and stiff could be used to quickly paint tree leaves or add small water drops in seascapes.   The second staple of fan brushes I use are soft and fluffy, perfect for blending skin tones and all other areas that need to be smooth and soft looking.
  
  
  
• Filbert Brushes: A hybrid of round and flat brushes, filbert brushes have a rounded tip that allows for both detailed work and broader strokes. It probably is the most versatile of all brushes.
  
  
  

The Brush Materials 

• Synthetic vs. Natural Bristles: Brushes can have either synthetic or natural bristles. Natural bristles, often made from animal hair, are prized for their ability to hold and release paint smoothly. Synthetic brushes are often cheaper, durable, and can be a cruelty-free alternative.

The Brush Sizes 

The size of a brush is determined by its width, with smaller brushes being ideal for intricate work and larger brushes for covering more substantial areas.

The size 0 is the smallest, great for painting hairs and the smallest details. 

The bigger the number is, the bigger the size of the brushes will be. 

I like to use a big Bright shaped brush to lay down the background and the first layer of thin and flat paint. Then progress to smaller brushes as I build up my painting.

Why You Should Avoid Mix Brushes Between Different Mediums

.Here are some key reasons why artists typically do not mix brushes between different mediums:

• Contamination: One of the primary concerns is contamination of the brush and the resulting impact on the artwork. Residue from one medium can remain on the brush even after cleaning, leading to unintended color mixing or undesirable effects when switching to another medium.
• Medium Compatibility: Brushes are designed and manufactured to work optimally with specific mediums. Watercolor brushes, for example, are typically made with soft bristles that hold water and pigment, making them unsuitable for use with thicker mediums like oil paint, which requires stiffer bristles to handle the consistency of oil paint.
• Medium-Specific Effects: Different mediums require brushes with specific characteristics to achieve desired effects. For instance, acrylic brushes often have synthetic bristles designed to withstand the harsh chemicals and fast-drying nature of acrylic paints, while oil brushes have natural bristles that work well with the slow-drying and viscous properties of oil paints
• Longevity and Durability: The compatibility between brushes and mediums also affects the longevity and durability of the brushes. Using a brush with a medium it’s not designed for can lead to premature wear and damage to the brush. And you will not want to ruin your favorite brush because of this reason!
• Artistic Precision: Artists often develop a familiarity and preference for specific brushes for their chosen medium and style. Mixing brushes between different mediums can disrupt this familiarity and make it challenging to achieve the level of precision and control they desire.

My Favorite Paintbrush Brand:

My favorite brands are Princeton, Silver Brush, and Rosemary Co. 

How to Properly Clean Paintbrushes

Properly cleaning brushes is essential to maintain their longevity and ensure they perform well in your artistic endeavors. Here’s a general guide on how to clean brushes effectively:

Materials Needed:

• Water: For water-based paints like watercolors or acrylics, you’ll need water for cleaning.
• Solvent or Paint Thinner: If you use oil-based paints like oil paints or alkyds, you’ll need an appropriate solvent or paint thinner. Common options include mineral spirits or odorless turpentine.
• Container for Cleaning: Use a container, such as a jar or a cleaning basin, to hold the cleaning solution.   I use a stainless steel cleaner with tight seals. There is also a removable trainer cup inside it so the residue from paints will filter to the bottom.  
  
  
  
• Paper Towels or Rags: These are handy for wiping excess paint and solvent from the brushes.

Cleaning Process:

• Remove Excess Paint: Before cleaning, gently wipe excess paint off the brush using a paper towel or rag. This step minimizes the amount of paint that needs to be cleaned in the solvent or water.
• For Water-Based Paints(Acrylics/Watercolors):
  • a. Rinse the brush under running water to remove any remaining paint.
  • b. Swirl the brush in a container of clean water, gently agitating the bristles to release the paint.
  • c. Repeat the process until the water runs clear and there’s no more paint coming off the brush.
  • d. Gently reshape the brush to its original form.
• For Oil-Based Paint
  • Although Oil paints need more elbow grease and steps to clean than acrylics, but with proper care, your brushes will last a very long time! 
  • First, swirl the brush in a container with the appropriate solvent or paint thinner. Use enough solvent to fully immerse the bristles without submerging the ferrule (the metal part that connects the bristles to the handle).
  • Second, Remove the brush and wipe it on a paper towel or rag to remove loosened paint.
  • Repeat the process with clean solvent until the brush is clean.
    
    
    Reshape and Dry: After cleaning, gently reshape the brush to its original form. Lay it flat to dry, ensuring the bristles are not bent or misshapen. Avoid leaving brushes standing in water or solvent, as this can damage the bristles and the handle.

Additional Tips:

• Avoid using excessive force or harsh chemicals to clean brushes, as this can damage the bristles over time.
• Cleaning your brushes immediately after use can make the process easier and more effective. A couple of times I forgot to clean some of my favorite brushes and left them in my studio overnight, ended up ruining them because they were made of delicate natural animal hair.  I hope you don’t repeat my mistakes.
• If you have neglected brushes with dried paint, you may need to soak them in the appropriate solvent or use a brush restorer product to revive them. Follow the manufacturer’s instructions for these products.

Proper brush care and cleaning are essential habits for any artist. By following these steps, you can help ensure your brushes remain in good condition for many years to come!

Let me know if this post is helpful and happy painting!

The post All about paintbrushes and the best way to clean brushes appeared first on Ying McLane.

While I was making my Three Weekend Portrait Painting masterclass, I realized that many people have a bit of a hard time transitioning from watercolors or acrylics to oil painting because no one has ever explained to them the basics of oil painting.  

So I am going to make a series of posts about this topic. 

And even if you are an experienced oil painter, you may find something helpful. So here we go.

First, we will start with Canvas:

Why choose canvas? 

Reason number one: Oil paints is a dense and heavy material so cotton and linen are ideal surfaces to hold an oil painting. 

Reason number 2: Canvas is a much lighter material than wood board. It’s easy to transport. And has the same longevity. 

How do artists choose canvas? 

The answer is, depends on your budget and your experience.

The two canvas materials are cotton and Linen. 

I love the cotton canvas. It’s affordable and easy to paint on. Linen canvas is smoother than cotton but it’s also more expensive, great for painting detailed portraits. 

You can buy canvas rolls and stretch bars to stretch your canvas. But I advise you to buy a pre-stretched canvas to save time. And they are not much more expensive.  

A good canvas will be tightly wrapped around the bars.  Beware a loosely stretched canvas.

A good tip: If you have a loose canvas, you can spray the back with a water mist bottle and let it dry in the sun. 

Most store-bought canvas already has been primed. But I suggest you do your priming anyway. I have made a post about why you need to do so and how to prime your canvas in the last week’s blog. You can access it here: https://yingmclane.com/the-best-way-to-gesso-the-canvas/

The frame of the canvas is important, especially for larger pieces. If your canvas is 24”x36” or larger, you will want to get a canvas with a horizontal bar going across the middle of the canvas. Better yet, a crossbar in the back as support. 

If you are a beginner who just learning to paint with oil, I suggest you get canvas boards, canvas pads, or stretched canvas in small sizes and sold in bulks in art stores.  

Because you will need to do a lot of practice painting and those are very reasonably priced choices.

Hope this post is helpful. Let me know if you have any questions! 

The post How to choose the right canvas for oil painting? appeared first on Ying McLane.

What is gesso?

Gesso is a paint-like substance that is brushed on a canvas or substrate to prepare it for painting. Its purpose is to protect the canvas from paint and provide a smooth painting surface.

Originally, gesso was a mixture of animal glue and gypsum(usually rabbit skin glue) applied to a wooden panel so a painting wouldn’t wash away. In the 14th century, gesso started as a primer for wood panels. This gesso primer allowed tempera paintings to stick to the painting support and last longer because the paint would sink in more evenly instead of unevenly in the wood grain.

But we don’t need to have an art history lesson here. Let’s talk about modern gesso—the gesso most artist use today. 

Created in 1955, modern acrylic gesso acts as a canvas sealant, a primer, and a painting ground and comprises an acrylic polymer medium (glue) and calcium carbonate (chalk). It’s similar to traditional gesso but more versatile and easy to use.

Why do you need to use gesso? 

You always need to gesso your canvas if you want to paint with oil because the oil will seep through the canvas over time and break down the fibers if you don’t have gesso to protect the surface. 

Theoretically, you don’t need gesso if you paint with acrylics, because acrylic paint is made of plastic substance and will not cause harm to the canvas. 

But in my personal opinion, it doesn’t matter if you paint with oil or acrylic, it’s best you gesso your canvas to prevent the paint sink into the canvas. Gesso will also make the surface smoother to paint. And because gesso contains chalk, the paint will stick to the surface better. 

There are two different grades of gesso: Artist-grade and Student grade. The difference between the two amounts to the different ratios of pigment vs. filler. The Student’s grade is cheaper because it contains more filler than the Artist’s grade. The artist’s grade has more pigment than the Student’s grade, making it thicker and more opaque. These differences are reflected in the price, and also in the quality. 

My favorite gesso brand is this one: https://amzn.to/459lBuY ( I thank you in advance if you choose to use these links in my blog to shop art supplies. This will not add any extra cost to you, and it will support this blog over time). 

I used to directly put down the gesso on the canvas and use a big brush to spread it. But somehow it will always leave hard ridges that I can’t sand off.

Now I found the best way to gesso a canvas:

Mix roughly 2/3 gesso and 1/3 water and gesso in 2 to 3 layers. The water makes gesso spread thinner and smoother.

Mix well and test on your canvas. Some gesso are thicker so you may need more water. You want a consistency that is easily spreadable but not running down to the sides. 

How do you gesso a canvas?

There are many ways to gesso your canvas, as long as you leave the layers even and smooth.

I like to start from the middle of the canvas if the canvas is a smaller size. 

First I pour some gesso and water mixture in the middle, then I spread it outwards with my brush. After that, I use strokes from left to right, from top to bottom to spread the gesso to the entire canvas, and repeat several times. 

For a bigger canvas, I will drop the same amount of gesso evenly throughout the canvas, then spread them from left to right. 

After I’ve done this, I then examine the canvas closely by tilting it in different directions, so I can see if there are any big paint ridges were missed. I usually give my final layer of gesso some sanding using sandpaper. 

Gesso is usually white. But you can also find grey, or black gesso in the store. 

If you already know what your painting background will be, you can also add acrylic colors to the gesso, to make a colored gesso ground. 

This is especially useful for paintings that have big areas of sky as background, or abstract painting. 

What do you use to spread gesso? 

I have followed advice from different people and spent a good amount of money on brushes, in the hope to find the best one for spreading gesso on canvas easily and smoothly. 

But I found the best tool to use is the cheapest foam paint brush like these: https://amzn.to/45bQZJl

How many layers of gesso do you need?

Even with pre-stretched stored-bought canvas, which usually already has a layer of gesso, I advise you still do at least two layers of gesso and water mixture. Because the store-brought canvas usually is gessoed by machine. The gesso on them is very thin. It will not be enough to allow your brushes to glide smoothly. I found two to three layers of gesso are the best. You can sand in between layers as well, to make it even more smooth.

You must make sure each layer is totally dry before you apply the next layer or start sanding.

You don’t need too many layers or sand down too much either. Or your painting surface will become too heavy and slippery to paint. Trust me, I have made all of those mistakes before so now you don’t have to.

Important Tip:

Remember to wipe off any drips of the gesso on the edge of the canvas. Or you will have hard ridges in those areas, and they are almost impossible to get rid of. 

Let me know if this post is helpful! 

The post The Best Way to Gesso the Canvas appeared first on Ying McLane.

1. Solid Color Extension

Pros: Adding a solid color extension to the canvas edges complements the main artwork and provides a clean and polished look. This method allows artists to choose a color that complements the painting, adding depth and coherence to the overall presentation.

Cons: While it offers a neater finish, this method still requires the use of frames if desired. Choosing the right color for the extension can be challenging, as it must harmonize with the painting without overpowering it.

2. Mirrored Edge

Pros: The mirrored edge technique involves replicating a part of the painting’s outer edge and extending it to the sides. This creates an illusion of continuity and a 3D effect, giving the artwork a more substantial presence. Mirrored edges work well with a wide range of paintings, including landscapes and abstract art.

Cons: Achieving a seamless mirror effect can be tricky and time-consuming, especially for intricate and detailed artworks. It requires careful planning and precision during the painting process.

3. Natural/Unfinished Edge

Pros: Embracing the natural or unfinished edge of the canvas can create an organic and raw aesthetic. This technique works well with certain artistic styles, such as impressionism or abstract expressionism. It saves time and effort, as it requires no additional painting on the edges.

Cons: Leaving the edges unfinished may appear unprofessional and less refined. It may not be suitable for all types of paintings, particularly those with a realistic or polished style.

4. Gallery Wrap

Pros: Gallery wrap usually involves stretching the canvas around the wooden frame so that the image continues around the edges. It provides a modern and contemporary look, eliminating the need for a frame. The artwork can be displayed without distraction, focusing solely on the painted image. The artist can also choose to leave the side unpainted or paint with a solid color.

Gallery-wrapped paintings are easy to hang, saving time and money on framing costs.

Cons: Gallery-wrapped canvas cost more than stretched canvas. So it may not be the best option for new artists.

5: Frame the canvas

Pros: If you don’t like any of these options, you can always frame the canvas. You can go to a professional framing service or buy your re-made frame. But sometimes you still need to paint the edges of the canvas, especially with a floater frame. Because most of them have a small gap between the canvas and the frame, you need to pay attention to whether you need to paint the edges or not.

Cons: It’s obviously more costly.

A tip to remember:

If you plan on exhibiting your new series of works at an art gallery, you should use the same frame for all of the paintings. Or leave the edges on all of your paintings the same look. This way you will achieve a more consistent and professional impression to the viewers.

Lately, gallery-wrapped canvas has been my favorite. Because it looks modern and clean, and it does not need a frame.

What’s your favorite way to finish your canvas edges? Please let me know and hope this article is helpful!

Cheering you on!
Ying

The post 5 Ways to Paint Canvas Edges: Pros and Cons appeared first on Ying McLane.