Raw or cooked, the choice is very vast and it is through learning that we discover them, according to the needs. Their role is to thin the paint, make it more greasy and, according to their drying power, they allow to work in the cool longer. They are usually used at the end of painting because they are very fat. There are different types, but to start the essence of turpentine is perfect. Its role is to dilute paint and varnishes. It is therefore a thinner that makes the paint more “lean” while accelerating drying. Of course, gas is also used to clean tools and equipment.

Work in a ventilated area when using gasoline, away from a heat source. Wash the rags in cold water before putting them in the machine. There are different products, but they always have the same function, that accelerate the drying of the paint: They must be used with care and always in very small quantities: 1 to 2 drops for a walnut of paint which does not contain it, or in non-drying oils at a rate of 1 to 5%. Mix them directly on the palette with the color using a knife or in the cup that contains the oil.

There are varnishes to retouch and varnish finish. Some are provisional and others definitive, two functions for two different but complementary uses: The retouching varnish is used to return to the paint. It penetrates the pictorial layer, allowing the retouching and / or reduction, the removal of the embus, or the difference of luster (for example a matt zone in a bright zone) by “connecting” the painting. The finishing varnish is to be applied when the paint is dry to heart, after 6 months to 1 year, to protect the paint from external aggressions such as smoke…

In answer to all those who ask the question, here are my suggestions. They are personal, drawn from various experiences and certainly practiced by many painters. Other reflections come from the book of Xavier de Langlais, with whom I am completely in agreement on many subjects! On a frame / canvas, already prepared, ie with the primed white canvas: Do the drawing either graphite or charcoal (which I do not recommend). By painting on it, either it disappears or it “dirty” gray paint (which is not very annoying, but when we love the clean work, it’s embarrassing!) Unless gently pass a cloth to eliminate traces black particles.. either to the blood (which I do very often). Then wipe a cloth to remove it and remove the powder from the pencil. A reddish color will color a little paint on it, without consequence. either directly with a brush with oil paint very diluted with gasoline (a juice). no drawing in a row!

Either you can pass this juice first then make your drawing on it when it’s dry. Make the drawing as before, using the method of your choice, then … Prepare the different colors composing your subject. They will be placed on the canvas, also as a “juice”, light, watercolor, diluted with turpentine. These colors will be close to the final colors. If you have to put on later, a dark red, for example carmine, put a diluted magenta. If you have an orange, put a vermilion red or medium cadmium yellow, diluted. They will help you visually to realize the chromatic balance of your painting. When all the canvas is covered with this colorful juice, take your canvas, and place yourself in front of a mirror (that’s why there is always a mirror or ice cream, in a paint shop!) You then observe if the colors are well placed, if the harmony you like, if the drawing is good! correct if necessary.

The different types of brushes to start. Choose a brush with natural bristles or synthetic bristles for oil painting, so resistant to solvents: The brush with natural bristles is more expensive and more fragile, in addition to being derived from animal fur. The brush in synthetic hair is a little more nervous than that in natural hair, but when you start, we will have taken the hair in the right direction at the beginning of learning and we can do without natural hair. The size of the handle and the shape of the brush. Use a brush with short or long handle.

Different shapes depending on what you want to paint. For details: a brush with a short handle, to be close to the drawing, and soft-bristled to spread the paint, but not too much to mark the details without leaving a trace; For regular lines: a long and flexible hair, or a short hair for very small details; For solid colors: flat brushes and tongue brushes with hard bristles and a long handle for recoil; For the fades: a fan brush; For impasto: a knife to paint. Good to know: the width of the brush depends directly on the pattern and size of the canvas.