Oil Painting - Surface Preparation and Supplies | Tina Figarelli | Skillshare

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Oil Painting - Surface Preparation and Supplies

teacher avatar Tina Figarelli, Oil painter

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

1 Lessons (10m)
    • 1. Oil painting surfaces and supplies for gesso

      10:05
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About This Class

In this class, you will learn about priming panels and canvases to keep your oil paintings as archival as possible. I also go over different surfaces and gesso brands that I recommend! Learning about proper oil painting surfaces and techniques.

Meet Your Teacher

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Tina Figarelli

Oil painter

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Hello, I'm Tina. I am an oil painter currently studying for her Associate's in Fine Arts, looking to further my education in Art Education!

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Transcripts

1. Oil painting surfaces and supplies for gesso: when it comes to oil painting, a very important part is climbing and prop in your pants when it really comes down to it. There's mainly just three really common types of surfaces you campaign on. So why here? I have a canvass board, a little canvas texture and slat is you conceive, um, doesn't is generally better. If you want to do something, stay like a landscape or something with just more texture. Um, I would not recommend this report trips just because of the texture of the actual canvas. It's just a little too bumpy, kind of its texture to the skin. We also have just regular campus. You can't really find these anywhere. I think these are pretty common. I got this one at Michael's, I believe, and one thing you want to know is that make sure they stable the back and not the sides of the campus. You know what canvases stretched really well when it bounces just a little bit. Kind of sounds of the drum I get in canvas is not one of my favorites to use just purely because of the texture that I got. It is just a personal preference. You could even stretches at home if you want. You do need some equipment like a staple God, but they could be done way. Have my personal favorite, which is just panel. This is just a hardboard panel 11 by 14. The one thing that I do really like about these is how it's like, smooth they are. There's not a lot of texture must you want there to be texture on? These are also very cheap, the generally like media dollars each. You can either get them out like a hardware stores and Home Depot or I reminded Blick it was late 63 sons, I think for like a six by six. They're very, very affordable. Only thing about these, though, is he doing to prime them and most likely stand them. So there is a little bit mark prep work for this, but I think it's definitely worth it. Okay, so now we're just gonna go over the general materials used to actually prime the actual surface that you're painting on. So what's jointly recommended for oil painting his, uh, that you first prime, you are surface with Jessel. Jessel was essentially just a a type of acrylic paint that used to bind the oil paint to a surface that is not factual board or canvas. If the oil paint where to actually touch the canvas or board, it would tend to just kind of eat at it, and it wouldn't be very archival. So generally what everybody recommends is just some type of Jessel. So what we have here, this is just one that I picked out. We have a clear just so this is better for stay. If you were painting on like the wood panel and you wanted the wood to show through, this will be great because it's still primes the panel without hiding the surface of the green and then make sure when you are climbing you're doing at least three layers of just. So this is just to make sure that the wood or canvases actually readyto be primed, painted on just to be safe. It's better to be safe than sorry. And then here this is just a favor that I use. It's by you track. It's the studio Siri's Jessel, So this one have actually ran out of, So I had to go buy a back up. It's just very thick. And then you really will need three coats with this form, just those time to cover it very well. And then here we have just another kind that you track. This is actually artists great, which I do recommend if you are more professional or just more experienced in oil painting , it's a little bit more expensive, but I would say it's worth it. And then last but not least, we have another one by liquid text. This is actually a great just So this is a pretty cool just to use just cause it's kind of fun. It kind of those two steps and one where, instead of having to do, like, under painting or an m premature Oh, you would just have to put a one step of great Jess. Oh, this one I would recommend about three coats. Definitely. It's just a little thin. And now we're just gonna go ahead and talk about materials that used to actually put the Jessel on. So I used all three of these just depending on what I want todo So this is just a phone brush. I got these really cheap. That's like hobby lobby came in like a pack of, like 20. You're okay. They're not the best. They put it on kind of been. So you really have to go over a couple times. But for something cheap, it's pretty good. Then we also have just a good old flat brush. This one kind of does take a little bit, especially your surface kind of big. But you kind of generally do want cheaper brushes, just find like Jess. It was a little hard on your brushes, especially someone like me. It's not the busted cleaning that he's kind of just do the job, and then once they're kind of bad, you could just throw em away, become a new one they're not to expect. And then here, this is something that is a little, um, no to common, I would say, for a just so tutorial, it's a catalyst. Silicone wedge. I believe I got this on Amazon. Generally, it's supposed to be used for mixed media paintings. I believe it's kind of just like a spreader, and you just kind of spread whatever you want on your work. But I find this works really, really well for just so on. And best of all, It's really easy to clean. You just literally just have to wipe it off. And it kind of takes all the hassle from private your panel, which it is always good. So after you have everything primed, prepped and ready to go, it's also recommended that you do sand paper. You're Jessel board. I don't really find myself doing this too often, just cause I kind of like the texture of the Jessel that it has. Everything is all set. You can go ahead and put in premature. On top of that, what in premature is is basically a a little thin down paint that you put on top of the Jess. Oh, this is just a little easier and I prefer it than working on a plain white canvas. Generally, I do recommend using a complementary color. A neutral, complementary color on top of the justice is actually just a penny. I just completed the other day. So with this I did put a neutral orange in premature on top of it. And then I did choose a neutral orange because the dress is mainly blue, so by putting a complementary color underneath, it really makes the colors on top pop. So ask yourself with the main color in the image you want a paint is gonna be and then go ahead and just put that down. But make sure it's a little bit control. Just so it's wrong to saturated because on any color you put on top of it is gonna look a little dull. And then when you do mix the color for in premature up, you're gonna wanna have to add a little bit of mineral spirits trip in time or damsel anything that you use. I personally used damsel Um, because I feel like it's a little bit safer just cause I paint in such a enclosed area. I don't want turpentine. I don't want anything with a very strong smell, anything that couldn't maybe hurt my my body in any way. So I do prefer use. Cancel. Don't put too much, said it becomes run. Hannah runs off your palate. Make sure that it's a very, you know, a little soft consistency, easy to spread on the board. And then once you put that down, give it about a day to dry. If it's hot out, might take a little less, but make sure it's completely dry before you begin your painting, you can do. If you would like to just practice, maybe work a little bit your sketchbook. It's a little tricky for oil painters to practice in their sketchbook. Just because sketchbook paper generally isn't made for oil. Paint oil paint tends to kind of eat everything that it's on. So, for example, I did this in my sketchbook about two years ago and still held up really well. This is just the most in art book, I believe. So what I had to do was actually do two coats of gesso on the sketchbook paper. I only did one side, but I'm sure you could do to like doing this is better than just painting straight onto the actual paper. Just because it's not made for oil paints is gently just me for, you know, just sketching, maybe markers, but not very money like wet mediums. So it's recommended to just so and then here it is, actually done. It's still the does need about two more coats just to make it fully opaque, Um, but it's about it, and then generally, what you do want to do is on the next layer. So say, for this one I went up and down for the next layer. Do want to do site to side. And then after that and the one up and down. This is just to make sure that all the strokes are more uniform. You don't really have to worry about, um, any strokes standing out, that they're not to be there.