After years of various tutorials, videos and reading everywhere I've almost sure that most of the people that make communication in art doesn't really understand what they heard. Sometimes things are so logic if you understand the basics and most of the time informations are made more complicated and too way often wrong. Thanks for your video. I usually use the colors as they are directly from the tubes, instead to use mediums that makes paint dry faster or slower I choose to use pigments that dry very fast at the beginning of a painting without any modification, I just add a little bit of oil if the color is becoming too much stiff, wait until the layers are dry, then use less fast pigments mostly in thin layers to let the paint layers oxidize as much as possible, this is easier for my wallet and for my lungs.

Love the kibitzing about the beard…my husband has a moustache that he’s only shaved off once since we’ve been together (40 years now!😲Great information as always. I know dealing with all of us is like herding cats….I always try to teach my students just paint from the tube, if you must add oil, do it in a measured, controlled way, and if possible in the final layer or two. Keep it as simple as possible. The Renaissance didn’t use ‘mediums per se, we don’t need to either. Funny how often that works in life. Simple painting, simple foods, exercise, fresh air, honesty, kindness. Thank you

@RublevColours

Жыл бұрын

We can't agree more!

@tutu9058

Жыл бұрын

If you ignore fat over lean, then how about if you lay a faster dry color over a slower dry one?

These videos are invaluable. Thank you!

Thank you so much for this informative video! This has been such a confusing topic to research, but you guys explain it so well and provide excellent sources and information. Also want to say you guys make the best painting products around!

beautiful, the most informative video I watched, THANKS, will share this video into my followers, in Instagram, TikTok, KZread and Facebook. I use Rublev oil paints, pigments and mediums, including calcite, marble dust, barite and litophone.

@erxfav3197

Жыл бұрын

Do they all behave differently? In my experience I think they all behave the same from what I remember

You give great informations, thank you.

Understanding the chemistry of oil (and the fats involved) is key to this technique of fat over lean, and the fats involved. I have seen nearly all of the videos you are referring to about "confusing information" and have gleaned some truths... but its some really hard to find facts which allowed me to understand what these artist were talking about, but horribly failing to explain accurately. As you stated, many artist are ignorant or oblivious to the difference between "bodied oil" and oil with more fat content. Moreover, the content of more medium within the mixture into the paint pigment, (even a lean medium can become fatter if there is too much of it) which can affect the volume of oil content within the "wall" that is pigment. One big thing that is hard to know- or figure out for me at least, is what to do when the oil layer has gone solid, or locked up. Now the paint film is so impermeable that oil won't spread over it and beads up. What to do then? I usually use 0000 steel wool and pumice to sand the surface finely, and create tooth for the new oil to grab, oiling into this layer very thinly...

@RublevColours

11 ай бұрын

Bodied oil is not any more "fat" than refined oil, which is a mistake commonly made in other videos describing the fat-over-lean rule. What we have been saying is that there is no such thing as a "lean medium" since it is the oil content of the paint regardless of whether a lean or fat medium is used that determines whether a paint layer is fat or lean. For this reason, we opt for the much better method of pigment volume concentration (PVC). If a dried paint layer is glossy then it is best to lightly abrade it to remove the gloss. This usually does not require sanding, but only light abrasion.

I would be so interested in a video about solvent-free painting. I have been using your pigments for years on our furniture we build, and now I am taking up fine art with oils. I used solvent for years on furniture. Don't see any way around it. On the fine art I am not. No Gamsol no nothing. Love your products and your information. It's hard to paint without Gamsol. Takes an entirely different technique.

@RublevColours

6 ай бұрын

It does take a different approach to paint in oils without solvents, but it is not too difficult either. We have many success stories from artists we know painting solvent-free.

Thank you very much for your great lesson ❤❤❤❤

@RublevColours

9 ай бұрын

🙏Thank you.

I wanted to just double check this, for an upcoming painting I will do, in 3 layers (maybe 4): 1. Bottom layer: paint with solvent and about 10 or 20% stand oil (my Underpainting) 2. Next layer: paint straight from the tube 3. Final layers: paint with some linseed oil Will this be fine, keeping in line the Critical Pigment volume? Thank you (PS I am still trying to find an ideal Underpainting layer style, but I like your recommendation of solvent with just a small drop of stand oil)

@RublevColours

Жыл бұрын

This is fine.

Hi George, I wonder what you will do if you want to paint a faster dry colors over average dry colors, like if you use Naples yellow and Venetian red for flesh tone, it dries very fast as they are all earth color, then what you would do to place it on top of average to slower drying rate color like titanium white?

@RublevColours

Жыл бұрын

As long as the underlying paint film is "hard dry" you can apply even faster drying colors over slower drying ones. Dry hard is not the same as "touch dry".

You mentioned that anytime one uses solvent to add a bit of bodied oil. I am generally add a bit of Oleogel or Oleoresgel to each paint mixture during the early stages. Is it ok to add a small about of solvent straight to the paint since there is already oil added to the mixture? I would just be doing this in the early stages to create a more fluid paint consistency. My other question is, is it sound to add a few drops of alkyd medium to my stand oil and oms mixture to speed up drying time? I'm currently adding a few drops of Wallace Seymour alkyd medium into a mixture of your kettle bodied stand oil and rubesol and am satisfied with the drying time.

@RublevColours

7 ай бұрын

You can add solvent to oil paint without any additional mediums or oil, but remember, solvents reduce the viscosity of oil, making it more prone to sink into the layer below. This is why solvents tend to promote sinking in oil paintings. You can add alkyd oil painting mediums to hasten the drying time.

Hi George, would it be possible to add a drop of liquin in the paint to help speed up the drying time? I like to work in layers and in glazes and waiting for every layer to be hard dry sounds quite lengthy 😁

@RublevColours

10 ай бұрын

Yes, it does help to hasten drying.

Why is there no discussion of egg/oil emulsions ? Many of the old masters were painted over tempera type paints.

@RublevColours

9 ай бұрын

Some early Renaissance masters painted over tempera, which is not the same as painting with egg-oil emulsions.

Podrían subtitularlo en Español por favor

how do you do a la prima? if i don't want mud, i use the thick to thin with solvent and medium.

@RublevColours

7 ай бұрын

The term "mud" is usually applied to a mixture of colors that lose chroma and is not related to the concept of applying thin or thick paint or paint that has high or low pigment volume.

So you can paint thinly with paint straight out of the tube for each layer? No need to add a little more medium to increase the fat? I heard Lucían Freud painted without medium and just used paint straight from the tube even in many layers (I wondered if this was true as it wasn’t how I understood the fat over lean rule).

@RublevColours

7 ай бұрын

It is not absolutely necessary to add oil to each layer, if you are using oil paint out of the tube or with a little oil added.

I suspect the old masters used paint intuitively after so long of both making and using oils, not worrying about longevity beyond how to get paint films to stick and not crack within the first two years, and reasonably so, if a paint film does not crack, yellow horribly or delaminate in that time, odds are it is going to last for at the very least fifty or more years.

@RublevColours

11 ай бұрын

That the old masters understood about longevity is clear from treatises such as those by Velazquez's father-in law, Pacheco. In such treatises the often described how to prevent colors from fading, the proper mixes of colors and the types of oils and preparation of supports, grounds and varnishes to preserve their paintings.

@chrisgriffith1573

11 ай бұрын

@@RublevColours Sounds a video is in order!

If you ignore fat over lean, then how about if you lay a faster dry color over a slower dry one?

@RublevColours

Жыл бұрын

It is possible to lay a faster-drying paint layer over a slower-drying layer as long as the underlying layer is "dry hard." This may require more time than you may be willing to wait.

@connieconnie-yv6hg

Жыл бұрын

@@RublevColours Do you mean hard dry means hard pass finger Neil test? Then why do not you add oil to faster drying color to make it slower in order to lay on top of other slower drying color?

@RublevColours

Жыл бұрын

@@connieconnie-yv6hg The fingernail test is not a good test because it often leads to false positives. Dry hard is a different test described in our online course at paintingbestpractices.com/courses/fat-over-lean-better-interpretation/

@tutu9058

Жыл бұрын

@@RublevColours then what will be the problem if we add oil to faster dry color to slow it down when on top a average to slower dry color?

@RublevColours

Жыл бұрын

@@tutu9058 It is only a problem if the underlying paint is not dry hard.

I always thought of it as “slower (drying) over faster (drying).”

@RublevColours

Жыл бұрын

That is correct. That was an error in the video.