http://www.painters-online.co.uk artistApril 2021 47
PRACTICAL
of adding a thin layer of transparent
paint over a dry layer; optical mixing
occurs and the colours appear to have
more luminosity and depth, and also
reflect light. Waiting for the layers to
dry can be a little time-consuming but
the intensity of colour that is created
by this process can’t be achieved by
mixing colours on your palette. You
need to use a soft brush and my choice
in general is a Jackson’s Black Hog,
which has soft bristles and is perfect for
the job.
Linseed oil is too thick for glazing, so
opt for one of the many purpose-made
mediums that are available. Winsor &
Newton Blending & Glazing medium
will give you good transparency; Liquin
is another. I also like Gamblin Neo
Megilp oil painting medium, which
gives a satin gloss finish. You can apply
numerous separate layers to achieve
your desired colour and luminosity.
Work on just the specific areas that are
required – these can either be large or
quite small passages in your painting
that you feel would benefit from glazing.
In Lichfield Cathedral (above and right),
which was a plein-air oil sketch, you can
see the luminosity and subtle colour
changes that glazing can achieve.
Knife painting
This is a really expressive direct
application technique that is sure to
bring out the best of your creativity –
A selection of glazing mediumst q Lichfield Cathedral, plein-air oil sketch on board,
111/4 3 91/2in (30 3 24cm).
Here you can see the difference between the original,
unglazed sketch (left) and after glazing (below)