16x12 Oil on linen
As discussed in my previous posts, the personality of a sky is essential to defining landscapes and seascapes. It automatically becomes the focal point when the majority of the canvas contains clouds or atmosphere, regardless the amount of color and contrast.
In these oil paintings, the fading sun seems to merge with the sea. Cast shadows are visible on the beach. These are ordinary scenes with flow between the elements. My goal was to recreate the peaceful sunset at the coast, with an underlying message of simplicity. An oil-based medium was used for creating smooth transitions.
Oil on canvas
The first few layers are what I like to call the base coat. With these paintings, I used a foundation of gray. Two or three layers is usually enough to obtain thorough coverage. You can select between oils or acrylics for priming the surface, but never apply acrylics over oils in the following stages.
I find it easiest to work from medium to dark and lastly adding highlights. In rare instances, I will forgo the priming step and paint directly onto a white surface.
There is some controversy regarding the long-term effects for applying acrylic and oil paints in the same work. I believe the ideal scenario is to have an oil-primed surface, base, and top coat. Having mentioned that, none of my prior paintings have cracked or shown changes in color, when acrylics have been used underneath the oil layers and as a base coat. I ensure the acrylics are thoroughly dry, curing overnight. My evidence dates back to early 2000, with paintings that still remain in my collection. Please feel free to share your experience and knowledge about combining mediums in the comments section!
Mediums as Paint Thinners
Oil-based mediums used as paint thinners are ideal for creating an ultra-smooth transitional appearance, as compared with turpentine substitute. Depending upon the type of brush, the paint spreads onto the surface like glass, enabling a single dot of pigment to go a long way.
I have also tried blending with Liquin. Still others on the market are Neo-Megilp and Maroger medium. Some are more hazardous than others, so keep in mind proper ventilation for a safe studio environment.
Since there are many different brands of oil and acrylic mediums, I recommend using one for several months. Learn its properties and outcomes. Additionally, many paints contain enough oil within the tube and you may not need to thin them at all.
If you choose an oil-based glazing method, plan for several days of drying time in between layers. When the surface feels tacky to touch, this means the oil is still wet. Wait several more days, before painting the next layer. Otherwise, the paint may lift from the canvas. Even worse, it can cause areas to cake or bead. I am also cautious when applying turpentine substitute over layers containing dried oil medium and vice versa.
On the other hand, many artists effectively use two mediums at various stages in their paintings, such as oil for canvas priming and turpentine substitute (or equivalent) for paint removal. The most important aspect is learning which products will help you achieve the desired effect.
Continuity of Products
Until you develop a consistent way of painting, it is best to use the same medium, paints, and products. Determine what you like and want to change. Once the outcome is predictable, you can gradually experiment with new products and adopt the most effective method for creating your work.