Check out this video where Richard and Darin of R&F Handmade Paints talk about things that affect the drying rates of R&F Pigment Sticks. Probably one of the most frequently asked questions we get about Pigment Sticks is, how long they take to dry compared to oil paint out of a tube. Don’t forget that R&F Pigment Sticks are ON SALE at 15% OFF during our MOVING SALE.
Tag: oil color
Cold Wax Painting with Gamblin Cold Wax Medium
It’s a rare occurrence for one specific painting medium to have a whole genre of painting associated with it, but Cold Wax Medium is one such medium. Cold Wax Painting is not defined by subject matter nor the degree of realism or abstraction, Cold Wax Painting is unified by artists’ shared interest in experimentation, texture and the physicality of paint layers.
What is Cold Wax Painting?
Cold Wax Painting is any type of painting that heavily utilizes Cold Wax Medium into oil colors. In its own way, Cold Wax Painting blurs the line between oil painting and encaustic painting.
What is Cold Wax Medium?
Gamblin Cold Wax Medium is a mixture of natural beeswax (wax pastilles), Gamsol and a small amount of alkyd resin. The term “cold” in Cold Wax Medium and Cold Wax Painting refers to the fact that heat is not required for working with this wax medium – as it dries by solvent evaporation (Gamsol), rather than the cooling of the wax, as in encaustic painting. As the Gamsol evaporates out of the medium, the soft wax hardens to the density of a beeswax candle.
Unlike other Gamblin painting mediums, which increase the flow and gloss of oil colors to varying degrees, Cold Wax Medium makes oil colors thicker and more matte.
Cold Wax Painting Techniques
Cold Wax Medium is a dense paste, it is excellent in creating a variety of textures within a painting. It has a “short” characteristic and gives a clean break off of the brush or knife, retaining the sharp peaks of impasto. These working properties allow for expressive brushmarks and the ability to carve into paint layers with palette knives. Cold Wax Medium also gives oil colors a beautiful translucent quality, similar to the seductive surfaces of encaustic paintings.
Cold Wax Painting utilizes experimental approaches, including the use of brayers, stencils, and textural elements such as bubble wrap or wire screens. The possibilities are endless!
From the artists who wrote the book on Cold Wax Medium, Jerry McLaughlin & Rebecca Crowell demonstrates some of their Cold Wax Painting techniques in the video below.
Cold Wax Medium is compatible with oil colors, alkyd/oil colors, alkyd-based painting mediums, and Gamsol. Fast-drying mediums such as Galkyd and Galkyd Gel will increase the tack when mixed with Cold Wax Medium. Neo Megilp, Gamblin’s silky, soft gel medium, gives the wax a smoother feel and will round the peaks of impasto. These alkyd mediums will increase the gloss level of Cold Wax (just as adding Cold Wax lowers the gloss level of these mediums). Adding Gamsol to Cold Wax Medium will make it more fluid without adding gloss.
Cold Wax Artists
We’ve been fortunate to work with some wonderful artists who explore Cold Wax Painting techniques in their work. Whether these artists are working in representational or abstract modes of painting, they all utilize Cold Wax Medium for its unique working properties its effects on the resulting paint layers.
Since I first began using Cold Wax Medium 15 years ago, abstraction for me has become increasingly an expressive interaction with the materials. In mixing Cold Wax with oils, the body and the way paint can be layered, the enhanced drying time, and the transparency that it affords all lead to textures and visual depth that are the result of the process. Using Cold Wax helped me to move beyond conscious rendering of abstract ideas into a way of working that felt much deeper and more intuitive. Balancing the spontaneous aspects of my process with thoughtful editing and intention, the work has evolved into a true personal voice. —Rebecca Crowell
My painting process is centered on creating highly textured pieces by building many layers of oils colors, pigments, cold wax, and other amendments including cement, sand, soil, grit, and ash. —Jerry McLaughlin
I have been using Cold Wax and oil since the 80’s. I love how it extends the oil paint, the textural possibilities, and the way is sets up quickly to create layers. —Lisa Pressman
I fell in love with the rich luminosity of oil and cold wax in 2012 and have been using it ever since. I love how cold wax medium mixed with oil paint creates interesting surfaces and texture, allowing me to scrape, push, pull, and reveal previous layers. Sometimes it feels like I’m going on an archeological dig the way I am able to excavate and scratch into the layers, yet continually add more layers in an intricate dance to conceal and reveal. —Dayna Collins
Getting Started with Plein Air Painting
Happy Plein Air-pril! Have you always wanted to try busting out of your art studio and painting en plein air? Or has it just been a while since you’ve been out painting? Either way, you’re in luck! Thanks to Royal Talens, artist Justin Vining walks you through the basics of getting started with plein air painting. Let’s get started!
Less is More – Design a simple/lean setup. This will enable you to go to farther, cooler places and make it easier to just get out and go on a whim!
Start out with a Limited/Split Primary Palette – A warm & cool red, yellow, blue, titanium white, and perhaps a burnt umber or burnt sienna. You don’t need to carry a black- true black is rarely found in nature.
Brushes – I prefer hog bristle long filberts & long flats. Start out your painting with a big brush and save your small brushes for the very end.
Painting Surface – I like using panels outside as they are more compact, and durable with no risk of puncture. Carrying a canvas through tricky outdoor terrain can become risky.
Start Thin (Grisaille Layer) – Your first layer is almost like not painting at all- scrub in a “dirty” dry value that begins to describe the composition and form.
Think in the Most Basic Shapes – Squint really hard at almost any scene and you can quickly break it down into 2 or 3 big shapes of value. Use these shapes to start your painting.
Mixing Colors – I will generally premix 3-5 of my major colors and then start mixing the variations off those main ones. Put some color on the end of your palette knife and hold it up to what you are trying to match it to. Squint real hard to check value and color accuracy.
Headlamp (hiking out in dark)
Summer – bug spray, suntan lotion
Spring/Fall – waterproof boots/poncho
Nocturne – 2 piano lights in case natural street lamp light is not an option
Winter – ultra warm gloves & boots are the key here, its easy to keep the core warm, its a lot harder to keep your feet and hands dry and warm
Below are the colors that make up Justin’s Rembrandt Oils palette. We also recommend using Van Gogh Oil Colors by Royal Talens, an oil paint that offers Royal Talens quality at an economical price. The same high quality pigments that are used in Rembrandt Oils are used here, only in lower concentration.
411 Burnt Sienna
409 Burnt Umber
406 Ultramarine Deep
342 Brown Madder Deep
377 Perm Red Medium
227 Yellow Ochre
208 Cad Yellow Light
118 Titanium White
We hope this helps you get started with plein air painting and that you try painting the urban landscapes around Raw Materials. Now, go paint!
Justin Vining is an Indianapolis-based artist, specializing and landscapes and cityscapes. Justin studied Art Education at Purdue University and taught elementary art for three years. Following his tenure as a teacher, Justin attended Valparaiso Law school, where he rekindled his love for creating between classes and clerking. Shortly after graduating and passing the bar in 2010, Justin decided to pursue art full time and hasn’t looked back since. See his work here.