Three Months with Oil Paint

 

Trying oils had been on my mind for a couple of years. Many of my painter friends work in oils, and I’ve painted alongside them on numerous plein air outings. The depth and richness that oil paintings can achieve was a real attraction.

As luck would have it, three things happened last summer. First, a friend from my plein air group was transitioning to a different brand of oil paint and generously gave me many tubes of Gamblin Artist Oils, along with a good supply of painting panels. Next, the Tucson Drawing Studio offered a five-week beginner oil painting class in August and September. Finally, I registered for the annual September Strada Challenge with the goal of focusing entirely on oils.

After picking up a few additional supplies—including mediums, Rosemary & Co. brushes, and a palette—I was ready to begin.

It’s now been three months, and here are my biggest takeaways.

Skills in one medium carry over to another. As a watercolor artist, I already understood the value of planning ahead, doing value studies, and focusing on composition. Bringing those habits to oil painting has been a tremendous advantage.

A limited palette is incredibly liberating. It reminds me of a quote by advertising pioneer David Ogilvy: “Give me the freedom of a tight brief.”

At first glance, a limited palette seems restrictive. In practice, I’ve found just the opposite. Working with fewer colors creates harmony, balance, and a much deeper understanding of how pigments interact. I began with Cadmium Lemon, Cadmium Red Medium, Ultramarine Blue, and Titanium White. I’m now considering replacing the Cadmium Red with Alizarin Crimson—but that’s an experiment for another day.

Mediums are still my biggest challenge. There are so many choices, and understanding when and why to use each one has taken time. At first, I didn’t fully understand the concepts of fat over lean or how paint thickness changes throughout the painting process. The learning curve reminds me of watercolor, where the amount of water changes as the painting develops. In oils, I use Gamsol to thin my initial layers and Gamblin Solvent-Free Gel to loosen the paint when needed.

I’m so glad I stepped into the world of oil painting. It has opened up an entirely new way of thinking about painting, and I know it will continue to enrich my artistic journey.