Artisan Water Mixable Oil Colour: is a genuine oil colour which can be thinned with water and cleaned with soap and water. This enables the artist to thin and clean up with water rather than hazardous solvents such as turpentine or white spirit
Artisan is made from modified linseed oil and modified safflower oil. It has been specifically developed to appear and work just like conventional oil colour, the depth of of colour, buttery consistency, light fastness, opacity/transparency, performance and drying times of Artisan, allow artists to use this range for all oil colour techniques.
Primed Canvas and Canvas Boards: are the popular supports for oil colour, offering long term stability and the use of a variety of techniques. Paper may also be used when correctly sized and primed. When using thickly applied colour or impasto, hog brushes are most commonly used as well as palette knives. However when blending and glazing techniques are used a soft hair brush is recommended.
I use a limited palette
Colour - Medium - and Techniques I use in my work
Basic Palette: The selection of a palette of colours is largely a matter of personal preference, but often the initial temptation is to buy too many tubes. it is better to begin with a limited range of colours, adding to these gradually as your needs arise from experience. A broad spectrum of hues can be mixed from the colours shown here. The colours I use in my work starting with the 3 primaries are Cadmium Red - Cadmium Yellow - French Ultramarine - and when needed I add Cerulean Blue - Alizarin Crimson - Burnt Umber: I use Titanium White to lighten the colours:
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Artisan Oil Colour
In the first stage of my painting Sunrise and Gorse - Mayhill: I always start with the sky first: Having decided where to place the Horizon I make a faint pencil outline using a Burnt Umber watercolour pencil on the white canvas to define the hill shapes: here you can see that I have applied the rule of thirds to this painting: Once I am satisfied with the sky at this stage I then move on to blocking in the distant hills-the middle distance and foreground areas..........
Oil Painting Demonstration - In 3 stages
Stage 1
Stage 2
Now the second stage: The sky sets the overall tone of the rest of the painting, so I pitch the colours to match the sky, and carefully paint in the far distant hills up to the sky followed by the mountain on the upper left: Next I block in the middle distance hills to the right and left slowly moving forward to the foreground; At this stage I am pushing the colours around so as to get an impression and try to create depth so as to lead the eye along the valley and in to the distance. Any refinements and detail will come later: Before starting on the foreground area I go back on the sky to lighten it in places: The sky is now finished:
“That Landscape Painter who does not make his skies a very material part of his composition, neglects to avail himself of one of his greatest aids......” John Constable (1776-1837)
Stage 3
To finish the painting the foreground needed some attention to detail as this will give the painting scale and depth: it was the Gorse on the hillside when I first saw it that made me want to paint this view: Once I had established the angle of the bushes and some lead in lines to the left, all the painting needed was to paint the line of Gorse alive with bright Yellow and Orange glowing in the early morning light:
“Sunrise and Gorse”
The colours used for this painting consisted of
Cobalt Blue Cadmium Red Cadmium Yellow Burnt Umber Titanium White
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Canvas size 10x14in: High quality hand-made canvas: Double coated with acrylic primer
A Breezy Day Oil on Canvas 5x7in