Home Forums Explore Media Oil Painting Re-Thinking "Oiling Out"

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  • #991187
    WFMartin
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        In the past I did not advise the “oiling-out” procedure as one of the operations for creating a final finish to an oil painting. My feeling was that the painter is only adding another layer of material (drying oil) that will eventually become yellowed with age, and [unlike varnish] cannot be removed after it has yellowed.

        Well, Sid Bledsoe made some convincing arguments regarding the advantages of oiling out. He pointed out that the amount of oil used in the process is extraordinarily thin, and that most of it is wiped away from the glossy areas anyway, leaving only the dull areas that truly need the oil to aid in enhancing their gloss. My logic suggests that the amount of actual “oil” being applied to the surface of the dried painting is not much more than is already contained in the painting, itself, and that the added application of “oil” will not be detrimental to the painted surface, in terms of yellowing.

        Well, I have tried using this oiling-out process on several paintings, and I do believe that I will adopt the technique, and I will recommend it in the future.

        One good thing that I’ve noticed is that when I do apply my varnish to a previously, oil-out, and dried, painted surface, it just seems to “take” a bit better, and that the final varnish truly does even out (unify) the sheen of the entire painting after it has dried, and it does this better than if the oiling-out layer had not been applied.

        I’m thanking Sid for his advice, and I’m just explaining that when logic suggests that an oil painting operation or material makes really good sense, I am willing to try it. In this case, I have tried it, I’ve found it to have more advantages than disadvantages. I plan to use it myself, and I plan to recommend the technique to others from now on.

        By the way, my “recipe” for my oiling-out medium is 1 part Stand Oil to 3 parts Turpentine. Stand Oil has the reputation for being one of the least yellowing of the Linseed Oils, so that is my reason for having chosen it for this purpose. Turpentine (real, bona-fide, distilled spirits of Gum Turpentine) is an extraordinary fast drier, so that is the reason I chose that as the solvent in this recipe.

        wfmartin. My Blog "Creative Realism"...
        https://williamfmartin.blogspot.com

        #1192231
        Alan P. in OC
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            Bill,
            Thanks for explaining your change of heart and new experiences concerning oiling out. I for one haven’t given it much thought, as my few experiences in final varnishing have indeed unified the paint surface satisfactorily, and any differences in gloss during the painting process hasn’t bothered me or affected me in any detrimental way.

            I am surprised to hear that your medium contains both turp. and stand oil. It makes sense in terms of drying and non-yellowing aspects; but my concern is twofold:

            Even after months of drying the turp has to ‘bite into’ the top paint layer. When wiping off the oiling-out medium, I would assume some of this paint comes off (it has for me in similar situations). When painting into a couch, I’ve stopped wiping off the excess (and just spread the medium/oil even thinner) because I cringe seeing paint on the paper towel as well as missing paint from the raised spots of the painting I’ve just wiped. I would imagine the results would be the same in wiping off the oiling out medium.

            I love using stand oil, I’ve incorporated it into your medium successfully (dropping the V.T. and adding an extra 1 part oil of spike and 1 part stand oil). I does create a harder, glossier surface, which is both a plus and minus.
            The minus is it makes the next layer more likely to bead up, in my experience, which may be a small inconvenience or a giant pain in the ass (there have been times for me where all the rubbing in the world would not get a medium/oil to stick and spread evenly over a glossy, stand-oiled surface). Basically I wonder if the stand oil in the oiling out medium hinders the Gamvar in sticking.

            My concern comes from my last varnishing venture (the Clownfish painting) where Gamvar just wouldn’t stick to a few areas of the painting that were done in Titanium white (with a small amount of stand oil medium mixed in it). I had to remove the varnish with much OMS and many paper towels, and even after a long drying time there was a significant amount of paint removed in this process.

            Your thoughts?

            #1192234
            lovin art
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                I often will use oiling when I have to go back into a dry painting that’s needed extra working …your right Sid is very cool ! :D

                I tend to just use the W&N brand for this purpose …

                Alan – I’m sorry you had probs , it’s not enough we have to be so creative , but it must take rocket science too it seems :D

                #1192228
                Anonymous

                    Hey Bill I’m glad it seems to be doing what you want it to do. I think that is the right idea, to just put a little bit of oil back into the spots where it is needed. If it is wiped off really good then there won’t be a layer on top, the only oil you will add will be what is absorbed down into the dull spots. That sounds like a good recipe too.
                    Hi Sandra down unda!

                    #1192224
                    Ribera
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                        In painting, obviously, oil’s the “glue” which holds
                        the pigment in place. It’s color, in time, alters,
                        and, of course, can crack somewhat, too.
                        That stated, asides from it’s use as binder, it al-
                        so an essential ingredient for other reasons:
                        Oil preserves both the depth and luminosity of
                        the paint (Deep works by the likes of Ribera,
                        Rembrandt, and many others are inconceivable
                        without the addition of oilier paint – The colors
                        could’ve only sunken-in, and appeared “pastely,”
                        as opposed to the depth of mood they did por-
                        tray).
                        Also, as the final work’s tones will hold up more,
                        obviously, they’ll require less of that final var-
                        nish to replace the insufficient oil.
                        r

                        #1192221
                        WFMartin
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                            Alan,

                            I use Stand Oil for two purposes: I make a medium of 1 part Stand Oil to 5 parts Turpentine for toning my canvas with white oil paint mixed with a bit of Raw Umber. I apply that paint using a rather “juicy” mixture of my medium with the paint. In this case, I have chosen Stand Oil because it is more viscous than Linseed Oil, creating a medium that still has some “body” to it, even with adding 5 parts Turpentine. If I were to use Linseed Oil for this lean a medium, it would be much to “watery” for my taste.

                            Then, I am using Stand Oil for this oiling out process, and here I’m using it primarily for its non-yellowing characteristic.

                            When My painting has dried, I don’t have much problem with the Turpentine in the oiling-out concoction removing the paint. Once in a while I will see some color on my rag, but it is minimal. I suppose I could use Odorless Mineral Spirits, and that would be fine. I just use Turpentine because of its faster-drying characteristic.

                            Nothing wrong with using OMS, and perhaps I may switch to that if I discover the medium I have to be removing too much paint routinely.

                            And, so far, I’ve had NO problems with either GamVar Varnish, or W & N Artists Varnish adhering to the oiled-out surface. In fact, it seems to actually have reduced the beading problem when applying the varnish.

                            wfmartin. My Blog "Creative Realism"...
                            https://williamfmartin.blogspot.com

                            #1192236
                            Gigalot
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                                still have not found a reliable method for this procedure. I applied oiling out three times with one month drying time for each layer. First and second time I used pure 50/50 linseed/OMS and avoid turpentine. The third layer was thin alkyd in OMS. Now, painting gloss became more or less unified. It is risky and needs much time. Alkyd can be allied only once because of delamination risk. (Alkyd do not adhere well on top of Alkyd) Without alkyd, varnish on top of painting became sticky and collected dust (I used pretested 30% Damar solution). The disadvantage of alkyd is that oil can penetrate into alkyd layer from painting and this oil can make alkyd matte after about one year. And matte spots still appears.
                                I guess, the proper way is to apply 2 oil layers, one alkyd and, finally, one removable gamvar layer. But a lot of time needs to do that :D.

                                I really understand now why Ron do not use extra varnish on top of his painting!
                                One thick and clumsy, spotted coat of artist’s varnish looks very ugly!

                                #1192225
                                OK
                                Default

                                    Of cause if you used Liquin as your medium evenly throughout the painting you would have no need to oil out. :lol:

                                    :wave: Dave

                                    “What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes!—and you, Garcia Lorca, what were you doing down by the watermelons?”
                                    — Allen Ginsberg
                                    Are you ready for a Journey?
                                    PS Critiques always welcome but no plaudits or emoting, please don’t press the like button.

                                    #1192237
                                    Gigalot
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                                        I think, the general “Oiling-out” idea, according to Sid’s advice, assume us to use a very thin final varnish layer to preserve our brushstrokes and canvas structure as well as possible. but also free of any matte or glossy spots.

                                        Is there Japanese lacquer technique book?

                                        #1192235
                                        lovin art
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                                            Of cause if you used Liquin as your medium evenly throughout the painting you would have no need to oil out. :lol:

                                            :wave: Dave

                                            Dave :lol: so is that liquin ‘s real use ? , just think all those poor unsuspecting artists out there who all thought it was the fact that they were using some brilliant technique but really it’s just a great oiling out product !!!! :D

                                            #1192226
                                            OK
                                            Default

                                                You’re misreading what I said Sandra.

                                                :wave: Dave

                                                “What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes!—and you, Garcia Lorca, what were you doing down by the watermelons?”
                                                — Allen Ginsberg
                                                Are you ready for a Journey?
                                                PS Critiques always welcome but no plaudits or emoting, please don’t press the like button.

                                                #1192238
                                                Gigalot
                                                Default

                                                    Dave :lol: so is that liquin ‘s real use ? , just think all those poor unsuspecting artists out there who all thought it was the fact that they were using some brilliant technique but really it’s just a great oiling out product !!!! :D

                                                    “Oiling-Out” is dark side of the oil painting’s moon.
                                                    If you imagine linseed oil as an inscrutable “Shaving cream” for oiling out people, liquin is “After shaving” product. :thumbsup:

                                                    #1192230
                                                    Ron Francis
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                                                        Regarding turpentine v OMS, I don’t believe that either significantly decreases the drying time of the oil.
                                                        That is, once the solvent has evaporated, the oil will take approximately the same amount of time to dry in either case.
                                                        Of course the OMS will take longer to evaporate, but the difference is insignificant compared to the time the stand oil would take to dry.

                                                        I rarely oil out at the end of a painting, but I will often work into a couch, and in both cases I prefer to use OMS because it is less aggressive.

                                                        Also, I think it is reasonably common to use oil without any solvent, but I haven’t tried it. Stand oil may be too viscous for that though. Not sure.

                                                        Thanks for your thoughts Bill.

                                                        Ron
                                                        www.RonaldFrancis.com

                                                        #1192241
                                                        maxmad
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                                                            Stand oil works marvels on a paint that is dry to the touch. In my opinion there is no need to cut the oil with turpentine or anything else. Although a rather unpleasant process when applied with a rag (it’s very sticky and pulls lint from the rag), determination wins out. After application, continue removing the oil that hasn’t absorb into the paint until the surface is again dry (non-tacky). All of the stand oil should be “inside” the paint, with little or none on the surface, and by the end of it the lint should disappear away from the surface.

                                                            A few hours and your painting should be ready to work on. Always oil out before varnishing, as the process will even out the sheen, surface, and saturation before the varnish is applied (months later).

                                                            I have come to believe that oiling out is an elemental procedure for fulfilling the color and surface potential of oil paint. Don’t miss out on it!:eek:

                                                            #1192239
                                                            Gigalot
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                                                                Alex ~ LADY Lovin Art! May be, Epoxide oil is great stuff for “Oiling out process”?

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