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Transparent Oil Colour Tutorial - Layer One

© Susan A. Wenz-Denise

The process of painting in transparent oil colour, with much layering and glazing, is a long one that requires much patience and time, but the result is unlike that of any other form of art. An overview of the process is explained in a previously published Suite 101 Oil Painting article entitled The Process of Transparent Colour. In order to fully understand the process and the product, however, it is helpful to focus more in depth on each of the layering steps through tutorials. As such, starting with this article and continuing for the next few weeks, I will provide a step-by-step tutorial including illustrations in order to help guide oil painters who are new to this somewhat intimidating style of traditional oil painting.

A Primed Surface
As explained in the previous introductory article, before painting in transparent oil colour, it is extremely important to prepare a perfectly smooth, un-textured primed surface on which to paint. The surface should be completely non-porous by applying a sufficient layer of gesso or other primer. There should also be no texture or inconsistencies in the surface that would cause pooling or an uneven glazing. To learn more about how to prime a surface, click here.

Since the purpose of the painting I will be working on for this particular series of articles is mostly educational, I have chosen an economical surface; a pre-gessoed art board. A heavy sheet of art vellum with a well-applied coating of gesso is also a perfect alternative for those who are experimenting through this tutorial. It is durable enough to support a long-lasting masterpiece, yet dispensable enough that money is not wasted on expensive canvas and stretcher strips. Whatever surface you decided to use, make sure that it is well prepared and completely dry before going on to the first step of the painting process.

The Subject
You should have your subject matter ready at this point, whether it be a still-life, portrait, or whatever. Still-lives are great subjects for learning and experimentation. Therefore, I have set up a still life of simple objects with textures well suited for glaze oil painting. SEE FIGURE A.

The Color
The purpose for the under-painting layer is to establish the placement of the subject with only a slight foundation of oil colour. To that extent, you should choose only one color to be the underlying neutral color of the piece. Often it is best to choose a color that you suspect will be a mid-tone that will appear often throughout the painting, and will also set the mood. In this example, I have chosen ultramarine blue since blue is inherent in most of the objects in the subject, and I would also like to set a rather cool mood to the piece. SEE FIGURE B.