One of the fundamental principles to keep in mind when painting in oils is the "Fat over lean" approach, that basically means the top layer of paint should dry at a slower rate than the lower layer. This can be achieved by either adding extra oil to paints used in the upper layers, which slows down the process of drying or simply by starting painting from dark to light. Some manufacturers add dryers to the paint preparation to make them dry pretty much at the same rate, however, these chemicals can compromise the quality of the paint in the long term. 

Here is some info about various commonly used pigments and their drying times. Mixing a slow drying pigment with a fast-drying pigment might alter the drying time depending on their proportions. One should always try to start with fast drying and relatively transparent pigments moving on to slow drying and more opaque paints. In the table below I am also giving the pigment number eg: PW1  meaning Pigment white 1

Reading the label at the back of the tube is important as most of this information is given there. The table below is a guideline and there might be some differences between manufacturers as they might be using different pigments under the same colour name and also due to using different oils in the tube. Avoid buying paints that are in safflower oil. Linseed or walnut oil is the best. One also has to remember that oil paints do not dry by evaporation as watercolour and acrylics do. So the thickness of the paint affects the curing, with thick paint taking longer to dry. Ambient temperature might also affect, in hot weather drying happens much faster, however, never attempt to dry your paintings using heat. Do not forget that oil paint dries by reacting with oxygen in air and not by evaporation. If the paint is touch dry it does not mean that it is completely cured. So it is important to apply thin layers of paint at first moving on to thicker and more oily paint as you progress. 

Fast drying   (1 - 2 days)
Lead whites       PW1      Transparent 
Raw and Burnt Umber  PBr6      semi-transparent   (Very fast drying)
Raw and Burnt Sienna  PBr7      semi-transparent
Phthalo Blue    PB15.3    Transparent
Phthalo Green  PG7         Transparent   (Very Fast)
Viridian    PG18  semi-opaque (very fast)
Cobalt Blue  PB28     semi-opaque    (Very fast)

Average drying time (2 - 5 days)
Yellow ochre  PY43 and Yellow oxide (sometimes sold as yellow ochre) PY42    semi transparent
Cerulean Blue  PB35     semi-opaque
Ultramarine blue  PB29   Transparent
Cobalt teal  PG50  Semi-transparent
Quinacridone magenta  PR122   Transparent
Cadmium red light  PR108   Opaque
Ivory black (Bone black) PBk9   Opaque

Slow drying (5 - 7 days)
Alizarin Crimson  PR83   Transparent
Titanium white  PW6    Opaque
Cadmium Yellow  PY35  Opaque to semi-transparent

A full oil painting demonstration, showing how to paint a typical Blue Mountains landscape, focusing on establishing the light effect on cliff walls. 

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and A painting is much more than a picture depicting a particular subject matter. For that matter there is nothing special about painting a particular scenery that was painted by so many people over and over again. Each painting should be telling a story, a story that the artist would like to present in a pleasing and artistic way. It does not mean that the subject matter needs to be always nice or pleasing. Caravaggio and many others painted quite gory and macabre subjects, but still they are beautiful works of art admired in museums hundreds of years after being painted. 

So what does composition means? Composition has to do with the placement of shapes in a way that are pleasing to the eye and brain. The concept of composition knows its origins from the time of the Greeks and has a mathematical foundation related to the musical scale and tones. These concepts were further developed during the Renaissance, where it was discovered that the same harmonic ratios that creates sounds and vibrations that are pleasing to the ears have a similar effect on our eyes. Hence the same concepts were applied as the underlying framework of a painting composition. 

This concept can be applied to any kind of painting, whether its a landscape, still life or even figurative. For my latest painting "First light on Cradle Mountain, Tasmania" I used the armature of the rectangle to position some important features within the painting including the direction of light (shown in first picture above). The third picture shows the basic sketch of a still life I was working on recently. On it I drew the same basic lines and its interesting to see that objects were instinctively placed in the right places without any prior construction of lines. It will become second nature and automatically one starts creating appealing compositions instinctively following these guidlines of composition without even trying to do so.  It is a good exercise to find some pictures of masterpieces done by historic or even contemporary artists, print them out and draw on them the lines that make up this armature. Its is amazing what you can learn from such an exercise.

The painting process is executed in steps, during each step one will be isolating and focusing on only one aspect of it. The first step is drawing, focusing on the arrangement of shapes making up a picture. One will need to start from the bigger shapes moving on to smaller shapes including the shapes that make up light and shadow. The next step after drawing is to focus on value, or light and dark. Value is the most important aspect of the three dimensions of colour, if your intention is to create the illusion of form on a flat surface. It is more important than colour itself. However it is the most difficult simply because our brains are not that developed to see it and hence we need to focus on an extensive amount of deliberate practice to train your eyes and brain to see value transitions that sometimes are too subtle for the untrained eye to see. Value is also what gives depth in a painting especially when it comes to landscape painting. This can be complicated by highlights on different objects located at different positions in space within a painting, so initially one needs to focus more on shadow rather than on highlights. These effects are more controlled within a still life, for the simple reason that there is a stationary light source and only a small space to focus on. Once a person understands the concept of how light bends and turns on a few basic shapes then it will be easier for that person to paint complex objects made up of different combinations of these shapes. Understanding these basic concepts is important and useful to paint anything that you want including things from your own imagination, or simply wanting to change lighting conditions in a scenery. In order to check your values in a painting there are different things that you can do. One is to look at the painting from a distance. The wrong value at the wrongs spot can be easily spotted by moving back. Alternatively you can look at the painting through a mirror. Something which really works well for me is to take a photo of the painting and convert it to black and white (as shown in second image above). The painting has to look OK in black and white, if not then one will need to evaluate what's wrong and which values are not in the right place. 

In this video I demonstrate how to paint the ocean and waves in oils. This painting was painted in two stages and here I show the second stage where I developed the detail of form and light.
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I was wondering what I was going to paint this morning and so I decided to do a small still life. As always the first difficulty is what I am going to choose as my models. So I had a look around me and I decided to create something from what I had in front of me. Its like a chef that creates a recipe from what is available at that time. I just wanted some neutral colours, something colourful and an object at either side of the value scale. So I took my mocha coffee pot, excellent as a neutral grey with very dark handle but can create some interesting reflection on its shiny surface. I had a small diary, green in colour and so I had to find a complementary cloth and finally I took a coffee mug, the other end of the value scale. I placed these objects in front of a window and started painting. The palette I used consisted of titanium white, cadmium yellow, pyrrole rubine, ultramarine blue and burnt umber. I started by blocking in the background first and then moving to the objects from dark to light.
Starting from the darks, I started from the coffee pot. I find reflective surfaces a very easy to paint as they are usually grey and its the value contrasts that create the reflective illusion.  Then I moved on to the green book that is a mid-value colour. Finally I had to the coffee mug and that was the challenge. Pretty much the whole mug was shiny and one can barely see variation in tone. Using natural light as a light source especially on an overcast day, will soften the shadows and hence everything looks like flat. However, the problem is that one cannot paint this mug as flat white so I started looking at it more in details and started mixing a number of very light greys using the colours that I used for the objects around it. There were very light tints of green, red and browns while the part in the light was a whitish grey since the sky was overcast. I also tried to keep the values somewhere in between mid-value and white.  It was the hardest part of the whole painting challenge as one does not have too much space to play with values when you are approaching the lightest tones.
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Landscape painting is one of the genres most popular with both art collectors and artists/students. Looking back at history of arts we observe that actually landscape painting was introduced and started being a subject matter very recently. Before that, paintings mostly depicted the human figure in various ways including as part of mythological or religious/biblical stories. Leonardo da Vinci was one of the first to introduce the landscape as a background for his famous painting of the Mona Lisa. From there onwards artists also started to go out and use sketching/drawing as a way to record what they observe and then translate those sketches into a studio painting. Later on as paint tubes were developed life became a little bit easier and artists such as Monet and other impressionists started painting more outdoors. 

If still life painting is fundamentally important for those who want to learn how to draw and paint realism, without doubt that outdoor painting is same as important to learn to paint the landscape. It is very difficult for a person who never observed with his/her own eyes sceneries away from city life, to conceive the vast space and effects of the light and weather on the landscape. These skills one cannot get them from using photography only as reference material. Photography is a good tool but only when its used in combination with other sources including your observation of reality. The hardest issue when painting outdoors is the constant change in light intensity, direction and colour. This issue will force you to paint faster and to make fast decisions about colour mixes. 

On a recent trip to Kangaroo Valley , while staying at a very interesting property at Barrengarry (Bedford and Bunker) I took the opportunity to paint a number of sketches of the farm land and surrounding scenery at different times in the afternoon. As my setup I used a pochade box with a glass palette, 12 x 9 inch Ampersand boards to which I attached a piece of linen double primed with a non-absorbent acrylic primer (Michael Harding). The palette of colours used was ultramarine blue, phthalo blue, Venetian red, Pyrrole rubine (PR264), yellow ochre, cadmium lemon, viridian and flake white replacement. Cold pressed linseed oil was used as medium when needed. One of the most important issues when painting outdoors has to do with your position in relation to the sun. The worst that can happen to you will find a place in the shade and within an hour you end up with the sun on your canvas in such a way that you cannot see anything. I usually also wear a hat with a wide brim or a cap to prevent constriction of my eyes due to the bright light which will not allow you to see and judge values well. Before I start painting I always spend a significant amount of time observing in which direction the sun is going to move across the sky as well as the landscape around me in order to decide my subject matter and make some decisions about the composition of the painting. To help you with the issue of the sun, there are a number of very useful tools that can calculate for you the position of the sun and shadows even at different days and times such as Sun Calc. 

During these two sittings I finished two paintings (shown in the images above) one early afternoon and the other an hour before sunset. I always try to finish the entire painting within a maximum of one and a half hours. I also took a number of photos especially at sunset when the light will be changing literally every minute and so its very difficult to capture the light in paint. Another tool I use is my memory. I try to sit and observe in order to memorise what I am seeing as well as the whole experience and atmosphere which consists of not only the visual sense but also the sensations from other senses. Using this combination of tools I am now working on a bigger studio painting of this location.
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Today I am going to give a brief overview of the painting process of this painting. I found the subject matter interesting in a number of ways. The human figure looks like he is a meditative and reflective state while at the same time there seems to be a friendly and peaceful relationship with the monkey. It also reminded me of when I was young and I had this obsession that I wanted a small monkey as a pet, however this never happened. It also reminded me of our connection as humans with mother nature and especially with the other creatures with whom we share our life on this planet. It is also a reminder that we are part of the natural world from which we all are coming. 

From the artistic perspective I loved the combination of colours and contrasts. The background is fairly neautral leaning towards a low chroma orange which contrasts with the relatively high chroma complementary bluish tones of the turban. Other complementary contrasts are red/green and yellow/purple.

As a surface I prepared a stretched fine linen, primed with three layers of acrylic primer. The initial tonal sketch was done using raw umber which was allowed to dry for a day and then painted over with a second layer of transparent red oxide red. Both of these paints dry very quickly.

After allowing the painting to dry for couple of days I proceeded to the next layer of paint, where I started introducing more colour and opaque paint. A 50% cold pressed linseed oil was used as medium and added to the paint. After identifying the colour groups, an mid-range colour was initially mixed and adjusted to create a tonal variation of that colour suitable to use for shadows and light. The darker but warm underpaint helped me to establish and control the tone as well as for the darker areas in the shadows.

The last stage was focused to continue modifying the tones in each section of the painting, usually darkening the shadows and lightening where needed. During this stage both scumbling (for opaque paint) and glazing (using transparent paint) are used to continue adjusting the tones while creating more form.

The painting is currently in its final stages where I might do some minor and final adjustments before signing it.