Techniques I’ve learned

{"ops":[{"insert":"Oil Painting Techniques I’ve Learned (and Keep Coming Back To)"},{"attributes":{"header":2},"insert":"\n"},{"insert":"Oil painting has always felt a little magical to me. The richness of the colors, the way paint moves across the canvas, and the fact that you don’t have to rush because it dries slowly—all of it makes oil painting both challenging and incredibly rewarding. Over time, I’ve experimented with different techniques, made plenty of mistakes, and slowly discovered what actually works for me. Here are some oil painting techniques I keep coming back to and why they matter.\nFat Over Lean (Trust Me on This One)"},{"attributes":{"header":3},"insert":"\n"},{"insert":"This rule sounded confusing when I first heard it, but it’s actually pretty simple: start thin, end thick. Early layers should be mixed with more solvent, and later layers should contain more oil. I learned the hard way that ignoring this can cause cracking later on. Once I understood it, my paintings not only looked better but also held up over time.\nUnderpainting: Setting the Mood"},{"attributes":{"header":3},"insert":"\n"},{"insert":"I love starting with an underpainting because it helps me loosen up and focus on values instead of color. Working in a single tone at first takes the pressure off and gives the painting a strong foundation. It also helps me see where the light and dark areas should live before committing to color.\nGlazing for Depth and Glow"},{"attributes":{"header":3},"insert":"\n"},{"insert":"Glazing is one of those techniques that requires patience—but it’s worth it. Applying thin, transparent layers over dry paint adds a glow that’s hard to achieve any other way. I especially like using glazes for shadows and subtle color shifts. Watching a painting slowly come to life layer by layer is incredibly satisfying.\nImpasto When I Want Energy"},{"attributes":{"header":3},"insert":"\n"},{"insert":"Some days, I just want texture. That’s when impasto comes in. Thick paint applied with confident brushstrokes (or a palette knife) adds movement and emotion. I don’t overthink it—I let the paint do its thing. These areas often become my favorite parts of the painting.\nAlla Prima: Painting in the Moment"},{"attributes":{"header":3},"insert":"\n"},{"insert":"Alla prima, or wet-on-wet painting, is perfect when I want to work quickly and intuitively. Everything happens in one session, which makes it feel spontaneous and honest. It’s messy, unpredictable, and a great reminder not to overwork the canvas.\nScumbling for Soft Effects"},{"attributes":{"header":3},"insert":"\n"},{"insert":"Scumbling is one of my go-to techniques for creating softness—especially in skies or background areas. Lightly brushing a pale, opaque color over a darker layer creates texture without overwhelming the painting. It’s subtle, but it makes a big difference.\nBlending (But Not Too Much)"},{"attributes":{"header":3},"insert":"\n"},{"insert":"Oil paints blend beautifully, and it’s easy to get carried away. I’ve learned that sometimes less blending actually makes a painting more interesting. I focus on blending where it matters—like skin tones or smooth transitions—and let other areas stay loose.\nUsing a Palette Knife"},{"attributes":{"header":3},"insert":"\n"},{"insert":"Whenever I feel stuck, I grab a palette knife. It forces me to simplify shapes and stop fussing over details. Plus, the sharp edges and textures add a fresh contrast to brushwork.\nFinal Thoughts"},{"attributes":{"header":3},"insert":"\n"},{"insert":"Oil painting is a slow learning process, and that’s part of what I love about it. Every painting teaches me something new. If you’re exploring oils, my advice is simple: experiment freely, be patient with yourself, and don’t be afraid of “ruining” a painting. Sometimes those moments lead to the best discoveries.\n"}]}