Transparent Oil Colour Tutorial - Layer Four

The previous three articles explained in detail, using a still-life example, the process behind the first three layers of a transparent oil colour painting. Click here to read about Layer One, click here to read about Layer Two, or click here to read about Layer Three. Using the same still-life, this article will guide you through Layer Four, or the final layer of the painting.

Layer Four is all about texture and detail, in as much as it may even extend into many more layers, depending upon the complexity of the piece. Various different mediums, colours, and even different size brushes are used throughout the creation of this layer in order to achieve the desired effects in each object of the composition. For example, in the still-life I have been working on during this tutorial series, the amount of detail and translucent texture demands that I work by separating the surface area into three different sections, and to extend the fourth layer into at least two or three steps.

In order to create the illusion of translucent glass in the lampshade object, there needs to be a contrast between the light and shadow behind the glass and the glass itself. The way that I began to attempt to arrive at that contrast is by first making the distinction of the opaque darks and shadows behind the glass by applying colour mixed with an opaque medium called "Opal Medium". Since most of the surface area of the section is now wet, I will to wait until after the opaque areas dry before continuing on to paint over it the more glossy areas of the exterior of the lampshade. FIGURE A shows the section after applying the opaque layer of darks under the glass. As such, you will notice that both the lampshade and the shadows are very dark, without much contrast and almost creating spatial confusion. Once I begin to add the overlay, the contrast will increase, the texture will become effective, and the illusion of glass with take form.

After completing the first step in the lampshade section, I went on to another section of the painting that was dry and ready for an application of colour - the cats. Once again, I began by first defining the opaque areas that form the shadows behind the objects. With plenty of dry surface area left, I was able to begin applying glossy colour to form the shiny ceramic glazed texture of the cats and add a little more detail. For the glossy colour I used a small round brush loaded with paint mixed with plenty of walnut oil. For the detailed faces, I used a liner brush also with colour mixed with walnut oil. The effect is a reflective glass or ceramic quality to the objects. SEE FIGURE B.

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