Pastel Experiment: Oil Stain Underpainting!

Hello again my creative friends!

The weather hasn’t been very nice here lately, and I’ve been feeling a bit cooped up. When I feel cooped up, I get a little restless and bored. And when I become restless and bored, I get the urge to shake things up, artistically speaking.  🙂

So….guess what has been flying around my studio recently? 

OIL PAINT!!!

Yes, indeed. I decided to do some experimenting with oil stain underpainting using oil paints, of course, as well as odorless mineral spirits. 

Now I have done many underpaintings using watercolor, pastels washed in with rubbing alcohol, and even acrylic inks, but I have never used oils in an underpainting.

Why? Well, I had a bias in my mind that oil paints were just generally stinky, messy, and difficult to work with.

HAPPILY, I WAS WRONG!!!

To that end, I gathered my supplies: primary colors of oil paint (yellow, blue, and red), an old bristle brush, Gamblin’s Gamsol (odorless mineral spirits), a jar, a cheap plastic palette, and a paper towel.

 

 

To make my experiment even more meaningful, I decided I also wanted to see how the oil stain would react with some of the more popular sanded pastel papers that I like to use.

So I hinge-mounted my chosen pastel papers to some foam core on my upright easel.

For this experiment I decided to try out the following papers:
Pastel Premier, Uart 400, and Fisher 400.

(Tip: Some papers like Sennelier’s Lacarte will absolutely NOT work well with any kind of wet underpainting, so do a test on a small scrap if you are unsure how a paper might respond!)

Top: Pastel Premier and Uart 400; Bottom: Fisher 400 and Pastel Premier

Then, using vine charcoal, I sketched some simple scenes onto the papers.

For the actual underpainting, I loosely applied a thin mixture of oil paint, thinning the paint liberally with the mineral spirits to the consistency of tea. Keeping the mixture thin is important.
If the mixture is too thick, it will decrease the “tooth” available on the paper and not allow it to grab the pastel when I apply it in the future.

THE RESULTS!

First of all, the paper made a HUGE DIFFERENCE in how the final underpainting looked.

Specifically, the Pastel Premier paper allowed all these really cool spider-webby effects to happen (see the upper left and bottom right in the photo above).

Here is a close-up of what I mean….Isn’t that cooooool???!!!

Close-up of spider webbing on Pastel Premier sanded paper

 

I was also pleasantly surprised at the effects I achieved with the Fisher 400 paper. I would describe the drips and webbing as finer and less dramatic than those on the Pastel Premier paper, but still neat! 

Here is a closer look:

Oil stain on Fisher 400

 

But the biggest surprise and disappointment….my beloved UART paper!

I actually became frustrated at how the paper accepted the oil staining…. I can only describe it as very “fuzzy”.
No wonderful drips or webbing like on the other two papers.

However, if I was looking for a very soft, diffuse-focused underpainting, oil stain on UART would be my go-to.
Take a look:

Oil stain on UART 400

 

Here is a side-by-side comparison of the Pastel Premier vs. UART.
The difference is dramatic!

Same oil stain mixture applied to Pastel Premier (left) and UART 400 (right)

 

The whole point of an doing an underpainting is to provide a head start on the actual painting. It gives the artist something to respond to that isn’t “precious” and also helps get past all that pristine paper.

With that in mind, in my next post I will share how I used one of the underpaintings above as a foundation for a pastel painting. 

Thanks for visiting and taking the time to read about my artistic adventures. I hope you enjoyed seeing my little experiment and would love to know what your favorite underpainting technique is.

Till next time!

~Rhonda

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