Oil painting with glazes

Oil painting with glazes January, 2010

Glazing consists of applying one or multiple layers of diluted pigment to a dry under painting. When light travels through a transparent glazed surface, bounces off the color underneath and travels back through the glaze, it emits an incomparable luminescence. As a painting technique glazing has been used over centuries by many artists to render a unique luminous effect, sophisticated color nuances and transparencies not attainable by a direct mixture of colors.

There is considerable dispute as to which glazing formulas work best. Since glazing can alter the original color cast from a mere transparent subtle change of hue to a more drastic change depending upon the opacity, it is essential to experiment with several formulas. Additional variations might include changes from a matte to a glossy finish depending on the medium used. And, to make matters further more complicated, the pigments themselves vary in their inherent transparency or opacity.

In general any of the following ingredients can be used in your glazing recipe:

Dammar varnish, linseed oil, stand oil, fast drying alkyd medium, turpentine or mineral spirits. A formula that has worked well for me consists of mixing 2/3 of a painting medium such as Liquin with 1/3 of odorless mineral spirits to which I add at first a very small amount of pigment. The amount of pigment can easily be adjusted later. If I plan on keeping the glaze for a while in a small glass container I simply add more mineral spirits. Liquin is a fast drying medium and over some time the stored glaze will dry out unless one adds a bit more mineral spirits. The following pigments are particularly transparent and work well when used in glazes: Indian yellow, raw sienna, alizarin crimson, viridian, ultramarine blue and indigo. Glazes are best applied with soft brushes. If you choose to apply several coats of glazes you will need to let each one dry thoroughly before applying the next.

Contrary to some information I have read on the subject, I find glazes easy to use and remarkably forgiving as areas can be swiftly wiped off and reworked. So, venture into your painter’s kitchen, mix a few batches of glaze and try glazing on an old canvas. This versatile painting technique might just open new and exciting modes of expressions for you!

Yvette Stenzel