I woke this morning thinking about painting oil on paper, and was wondering what I should do to do it well. I Googled and found some tips and answers.
On thought.com, Lisa Marder shares her experience and tips on using paper for oil painting. She recommended that the paper used for oil painting must be properly prepared or primed.
On thought.com, Lisa Marder shares her experience and tips on using paper for oil painting. She recommended that the paper used for oil painting must be properly prepared or primed.
"Oil paint is completely stable when painted on properly prepared paper. Any weakness of oil on paper would be due to the lack of rigidity in the sheet versus a board or canvas paper."
https://www.artistsnetwork.com/art-mediums/oil-painting/creating-oil-paintings-on-paper-arches-oil-paper/
Next question is, should I be priming my paper with a gesso and what type.
According to Winsor & Newton, "No matter what you may have heard, it is perfectly possible to use paper for sketching in oil. Professionals like it for its texture and drag. However it is worth investing in good quality, heavy water color paper that has been thinly primed with an acrylic gesso primer."On her blog, Lisa provided the confirmation that acrylic gesso primer can be used, or according to Winsor & Newton.
Well, I have a lot of acrylic gesso, maybe I should give it a try. There are papers and boards that have been lying around and not being used in my painting studio. I should prime them and then practice my oil painting, instead of using canvases.
You may read more about it here:
https://www.thoughtco.com/painting-on-paper-with-oils-2578730
For priming, it is recommended that 2-3 coats of gesso are applied to the paper before painting.
Recommended papers to be used are: Heavy weighted Arches watercolor papers, Printing papers and Arches oil papers.
Artistnetwork provides a great writeup on painting oil on paper, and there is a step by step process too. Here's the LINK.
- John Constable's painting - oil on paper.
Image Source: TATE
(From Tate Museum)
Constable stayed at Salisbury with his great friend, Archdeacon John Fisher, on several occasions, but only in 1820 or 1829 for any length of time. This sketch could date from either visit. It is one of a number he made either from Leadenhall, Fisher’s house in the Close, or from its gardens stretching down to the river Avon. Many of them, like this one, concentrate on the sky.
Here's another painting by John Constable. Oil on paper.
In a letter to Fisher, in 1821, Constable famously described the sky as the ‘key note’ in a landscape painting, the ‘standard of Scale’, and the chief ‘Organ of sentiment’. Gallery label, September 2004. The painting is not on display.
There's much to learn.
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