An Opinion on Painting with Water- Mixable Oils

Looking Northwest
Water-Mixable Oil on Canvas Panel
8 x 8 in/20 x 20 cm
Copyright 2014

About eight months ago I made a concerted effort to try water-mixable oil paints--which is what I call them--although they're also known as water-miscible and water-soluble as well.

I wanted to try them because I had previously painted with regular old oil paints that  everyone is used to, but to be truthful, just couldn't abide the solvents, the smell, and the messiness. I realize almost every painter, bona fide or otherwise, since the Renaissance paints with oil.

However, I have primarily used acrylic (for years) and continue to do so. But still I wanted to try something different and, as I've said before, that's how we learn. In the ensuing eight months I have painted more than 15 paintings, give or take, with water-mixable oil

 Like anything it takes time to get used to something new; however, if you have been painting with either oil or acrylic, it's a pretty easy switch, especially from oil.

No surprise, what I like about water-mixable is that you don't need toxic solvents, it's much less messy, there is less odor, and brushes clean up with soap and water. They handle pretty much like oil in my humble opinion. I did notice a difference in viscosity among the brands. I have used W&N Artisan, Weber WOil, and Lukas Berlin.

WOil is buttery, Berlin seems creamy, and Artisan has the most body among these three, but as with a lot of things in painting, it's a personal choice. Today's image was painted using all three brands, and there was no problem with mixing them. I've also read good things about the Holbein and Talens brands, but haven't tried them yet.

There's not too much I don't like about using these paints except they don't dry as fast as acrylics--but what else does? I have added fast-drying medium to speed up the process, but it still takes at least 24 hours for some colors to dry to touch and up to more than a week for others. Without the fast-drying medium it takes months to dry completely just like regular old oil paints, bummer.

Anyway, if you haven't tried them and are looking for something in between acrylic and oil--process-wise, that is--I say go for it.

    

Too Blue

"Hollywood"
Acrylic on Stretched Canvas
22 x 28 in/56 x 71 cm
Copyright 2014

Last week I bought two "new" blues that I want to try out on my palette. By "new" I mean that I haven't used them very much at all either in watercolor, water mixable oils, or acrylic. But I have used them, or something like them, before so I know what to expect, sort of.

I bought a tube of Pthalo. I have used Pthalo and what's also known as Primary or Brilliant blue (by some manufacturers). I knew they were the same by comparing their pigment colors, which are listed on the tube (except for the cheapest paints). Pthalo is PB15, that is, Pigment Blue15. Brilliant blue is also PB15, so they the same color. If you don't know what I'm talking about, learn more about pigment numbers and the color index--it will help you in building your own personal color palette.

Modern Prussian blue is actually a hue, which I'm sure you know means that it is a mixture of several pigments. Golden Artist Colors acrylic Prussian BlueHue is PB15 (or Pthalo), PV23 (Violet 23), and PBk9 (Black 9). The development of Prussian blue has an interesting history--here's a link to read more.

Anyway, I know both of these blues will need to be used with caution, at least until I (or you) get used to them. That's because Pthalo is a very strong, in-your-face, bright blue that leans to the green side. It's really good for some types of water scenes and also for adding--just a touch, however--to ultramarine blue skies.

And Prussian blue, well, let's just say it has a dark personality and leave it at that.

Happy painting!

It's Simple, Simply Simplify Your Paintings

Stucco Lighthouse
Acrylic on board
18 x 24 in/45.7 x 61 cm
Copyright 2014

Yes, the title of today's post is simply silly.

But the message is not silly. It's something I struggle with on every painting I attempt. I used the word attempt rather than complete because every painting I attempt does not always end up exactly as I imagined it would.

As a painter who likes to paint contemporary impressionism, I try to keep simplicity top of mind as I paint. That is, I try to keep it simple as I plan the composition, select my color palette, sketch out the main elements, and especially when I paint the painting.

Not that painting is ever easy, but it's easier to paint exactly what you see before you rather than to edit out any of it. But therein lies the problem. It takes experience and some courage to leave out not only superfluous details but also some major elements if they aren't adding anything for the viewer or the painting.

In his excellent book on how to master impressionism (of which I was fortunate to be able to purchase a copy), Creating Impressionist Landscapes in Oil, Colley Whisson says, among other really good advice, "don't overdo detail because detail kills imagination."

I try to remember that along with the KISS (Keep It Simple Stupid) principle every time I pick up my paintbrush.

Out of a Painting Slump

From a Distance
Acrylic on Canvas Panel
11 x 14 in/27.9 x 35.6 cm
Copyright 2014

Last week I lamented how I had fallen into an unexpected painting slump and didn't know why.

Although still not 100 percent, I seemed to have weathered the painting storm, and I feel pretty sure I'm almost back to my normal equilibrium--that is, I've got my confidence back.

I think I know why. Having or regaining confidence is the key to overcoming a slump (or worse) in your painting life or any other life, actually.

I think the slump came about when my confidence took a dive after my inability to accept my paintings for what they were--my paintings.

After finding paintings, the style of paintings, and the work of painters that I aspire to be able to reproduce, I lost confidence when I was not able to render them at the same level or what I presume to be the same level.

And that's another thing. In addition to confidence, you should love or learn to love your own unique style of painting. Just because I think a painter or several painters are able to paint the perfect picture and achieve nirvana in the way they paint, doesn't mean everyone (or anyone) else feels the same.

I forgot that beauty is in the eye of the beholder and there is an audience and group of people somewhere in the world who think my paintings are perfect and that I have achieved nirvana, too.

Now that's confidence.

In a Painting Slump

River Valley
Oil on Canvas Panel
11 x 14 in/27.9 x 35.6 cm
Copyright 2014

Oops. After I painted this oil painting two weeks ago, I tripped and fell into a painting slump. I don't know why.

I've been in slumps before, so I know it won't last forever. But when you're in one, it's difficult to see the light at the other end or to know when you'll come out of it.

I didn't know I was in one until I discarded my second painting. When I discard two paintings in a row, I know I'm in a painting slump.

The painting knowledge and experience gained over several years doesn't seem to matter. Even though I can still visualize what I want to paint, I can't connect my mind's eye to my left hand onto the canvas.

I still have enthusiasm so that's good, I think. But I seemed to have regressed overnight or it seems that way.

I switched back to acrylic, thinking that my short stint with oil paint may be the cause. My paintings didn't look like anything I would have painted. I even painted over the second one with gesso and tried again before I gave up and threw it away.

Then I went online and viewed the works of my favorite painters, both living and dead, in hopes that would infuse me with inspiration. I think it helped because I'm ready to start another painting this afternoon.

We'll see how the week goes. If you have any suggestions, please leave a comment.

Time to Get Out Your Oil Paints

Spring Green Road
Oil on Canvas Panel
11 x 14 in/27.9 x 35.6 cm
Copyright 2014

After a season of painting mostly in acrylic, I decided it was time to get out my oil paints.

I really like painting with acrylics, what with all their versatility. And if you've been following OrbisPlanis for any time, then you know I also try to use acrylic like oil paint. One of my goals is to paint so that a viewer couldn't tell the difference between the two mediums, which is not easy to achieve, but I try.

Sometimes, however, I just want to feel the smooth flow of oil paint on the canvas and enjoy its buttery consistency especially if you use a medium or even linseed oil.

And nothing gives you a more beautiful edge or color mix than oil paint with its ability to be applied just the way you want it. You can make it as smooth as silk or you can paint with brushmarks of color slabs.

I know there's some controversy about using water-mixable oil paint, but I paint with it because it doesn't have an odor (at least not to me), you don't need to use mineral spirits or other petroleum-based thinners, and you can clean your brushes (and hands) with soap and water.

I'm not too particular about brand. Right now I'm using a rather limited palette of both Winsor & Newton Artisan and Martin F. Weber WOil. It's a matter of preference, but I find the WOil more creamy and easier to move around.

Don't worry, I'll paint with acrylic again soon, but for now it's time to get out your oil paints!

Sometimes Painting = Frustration

Sailing Away
Acrylic on Canvas Panel
11 x 14 in/27.9 x 35.6 cm
Copyright 2014

Today's image is one of my recent paintings, fresh off the easel just last Saturday. I suppose the warmer weather here in Texas has me thinking of summer, so I sifted through a lot of my digital photos until I found one that fit my mood, and painted it.

I like the high horizon line and the somewhat complementary colors of the green-ish water against the warm orange-ish glow of the late afternoon sun on the hills.

Just so you know, I did it over several times trying to paint the illusion of distance in the water correctly, and it can get frustrating. But understanding that sometimes frustration goes with painting helps. I think I read even Monet had those moments--not comparing myself to Monet, of course, just the frustration.

Anyway, I hope you like it. If anyone is interested in it, email me.

Keep on Painting

The Summer House
Acrylic on Canvas Panel
8 x 10 in/20.3 x 25.4 cm
Copyright 2014

The simple message in today's blog is to remind yourself to keep on painting no matter what. Paint through the good times and bad, through the successes and failures.

When your head tells you to quit but your heart won't allow it--keep on painting.

When you're ready to throw your painting(s) in the proverbial trash bin, don't do it--keep on painting.

When you've run out of things to paint and your creativity has left the building, just take a walk, and when you get back--keep on painting.

Like getting back up on that horse after you've been thrown, you must get out your paints and keep on painting.

Otherwise, like so many things in life, you will regret it in the morning.

Deciding on a Color Palette

A City by the River
Acrylic on Canvas Panel
12 x 12 in/30.5 x 30.5 cm
Copyright 2014

One of the things I have both enjoyed and struggled with in my painting life is finding a color palette that suits me. Evidently this causes angst for others as well from all the blogs and articles you read online. Everyone seems interested to know which painter uses which colors and how that works or not and how many colors should you use, etc.

It's enjoyable, in a way, in that it's a continuous learning process on color theory and you get to try it out with each painting. The struggle is that it can get confusing and, if you're like me, you tend to switch it up too often as you run across painters you admire and want to paint like.

I admit I don't spend too much time worrying about if I have too few or too many colors or if I should use both a warm and cool of each primary, or whether split complementary colors is the way to go or whatever.

Anyway, for the moment--this week!-- here is my palette for both acrylic and oil (water-mixable):

Titanium White

Cad Red Light

Primary Red

Cad Yellow Light

Lemon Yellow

Yellow Ochre

Ultramarine Blue

Pthalo Blue (green shade)

I basically try out a palette and if I like the way it looks on a finished painting, then I'm happy (or pretty happy).

To Paint or Not to Paint Photo-Realism?

Southern Coast
Acrylic on Stretched Canvas
16 x 20 in/40.6 x 50.8 cm
Copyright 2014

You would never know it by looking at today's image, but I was NOT trying to paint it photo-realistically. No way around it--it looks like a photograph or pretty much like a photograph.

That is not how I wanted to paint it. Yes, I was using a reference photo, but to repeat, that is not how I wanted to paint it.

Many people like (or love) photo-realism. If the painting doesn't look like a photo, then they don't like it.

Many people don't like photo-realism either very much or at all. I am one of those who doesn't like it very much. I think it has its place and is naturally convincing--if done well, how could it not be? Certain motifs lend themselves to photo-realism, such as architecture, in my opinion.

I, however, would much rather be painting more loosely, more openly, more impressionistically. I have been working and working on doing that. And then I painted today's image, and even though I could see it happening (before my very eyes), I just couldn't seem to stop it.

I believe it's because for several years I did nothing but paint almost exactly what was in my reference photos. That's the problem with painting from reference photos--you rely too much on the camera and not enough on your artistic and painting ability.

Others may love it, but I am trying not to paint photo-realistically. However I may just enter it in the annual National Society of Painters in Casein & Acrylic show.