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Has anyone used glazing medium for making oil wash, and if you have, does it behave in the same way an oil wash made with mineral spirits does? I would like to be able to remove the excess wash but I really don't know if it will be as easy to remove. Thanks in advance.

You don't need it. Oils are already high flow, not sure what you're trying to achieve here,

winterdyne wrote:
You don't need it. Oils are already high flow, not sure what you're trying to achieve here,

Do you know what an oil wash is?

I was trying to find out if glazing medium works the same for preparing oil wash as mineral spirits does. perhaps I should have been more clear but it seems as though people don't actually read the entire post before replying or they just like replying to things they don't understand.

Perhaps this video will clarify things a bit for you. (not that anyone will actually watch it before replying) http://www.youtube.com/watch?v=_fdN_2YuSN4

I am not really aware if there is a glaze medium for oil paints but if you are referring to acrylic glaze medium then obviously they will not mix. I am using sansodor which is W&N product for thinning oil paints and it works really nice. It prolongs the drying time of the paint a little longer which is kind of annoying but otherwise it is great.

 Capamaru wrote:
I am not really aware if there is a glaze medium for oil paints but if you are referring to acrylic glaze medium then obviously they will not mix. I am using sansodor which is W&N product for thinning oil paints and it works really nice. It prolongs the drying time of the paint a little longer which is kind of annoying but otherwise it is great.

There are glaze mediums for oils. I think they are a mix of various oils and varnishes. They're advertised as making the paint more translucent for creating depth. I've never used any of them though, I'm not sure if they'd have the same effect on a miniature as they have on canvas.

Thank you for the replies guys, Ill probably just have to get the supplies and find out for myself. I was hoping a few people would know from experience but its obviously not very popular and there is probably a reason for that. Ill post some results when I get a chance to make some washes.

I think it's something that canvas painters would know about, miniature painters just seem to use white spirits and that's about all, where as there's actually several different ways of thinning oils.

http://www.winsornewton.com/resource-centre/hints-tips-and-techniques/oil-colour/mediums/

I love reading on the W&N website lol.

 JohnDoe1990 wrote:
Thank you for the replies guys, Ill probably just have to get the supplies and find out for myself. I was hoping a few people would know from experience but its obviously not very popular and there is probably a reason for that. Ill post some results when I get a chance to make some washes.

When you say "glaze" what is it you are trying to achieve? Glazes are typically successive semi transparent layers of paint that are applied to slowly change from one color to another. This is difficult to do with oils as each layer runs the risk of re-activating the layer beneath.

Now there is a product called Floquin, but that is more of a blending medium that I use when I am using oils, not so much a glazing medium. So I go back to my original question, what effect are you tying to achieve?

 Redfinger wrote:

 JohnDoe1990 wrote:
Thank you for the replies guys, Ill probably just have to get the supplies and find out for myself. I was hoping a few people would know from experience but its obviously not very popular and there is probably a reason for that. Ill post some results when I get a chance to make some washes.

When you say "glaze" what is it you are trying to achieve? Glazes are typically successive semi transparent layers of paint that are applied to slowly change from one color to another. This is difficult to do with oils as each layer runs the risk of re-activating the layer beneath.

Now there is a product called Floquin, but that is more of a blending medium that I use when I am using oils, not so much a glazing medium. So I go back to my original question, what effect are you tying to achieve?

On the W&N site, they said about oil glazing:

"It is a lengthy technique where the effects in oil are unmatched when compared to other media."

So I'll be interested to see what the results are like. I'm guessing it will be similar to using a clear paint like Tamiya Clear Red.

 JohnDoe1990 wrote:

winterdyne wrote:
You don't need it. Oils are already high flow, not sure what you're trying to achieve here,

Do you know what an oil wash is?

I was trying to find out if glazing medium works the same for preparing oil wash as mineral spirits does. perhaps I should have been more clear but it seems as though people don't actually read the entire post before replying or they just like replying to things they don't understand.

Perhaps this video will clarify things a bit for you. (not that anyone will actually watch it before replying) http://www.youtube.com/watch?v=_fdN_2YuSN4

I'm guessing as an award winning, professional commission painter, Winterdyne is familiar with oil washes, yes.

 azreal13 wrote:

 JohnDoe1990 wrote:

winterdyne wrote:
You don't need it. Oils are already high flow, not sure what you're trying to achieve here,

Do you know what an oil wash is?

I was trying to find out if glazing medium works the same for preparing oil wash as mineral spirits does. perhaps I should have been more clear but it seems as though people don't actually read the entire post before replying or they just like replying to things they don't understand.

Perhaps this video will clarify things a bit for you. (not that anyone will actually watch it before replying) http://www.youtube.com/watch?v=_fdN_2YuSN4

I'm guessing as an award winning, professional commission painter, Winterdyne is familiar with oil washes, yes.

You don't always check who's posting, lets not take this discussion off topic, I actually want to learn something about oils

I do this on scale models, it's more referred to as a filter in that realm of painting. But it's the same outcome I think, adding a richness and depth to your colors.

The way I do it is with W&N artists oils and white spirit until I get it somewhere between pure paint consistency and slightly runny. I don't think there's any hard and fast rules, you just have to experiment and find what works.

Then brush it right onto my acrylics. Works very good and you can really blend it nicely. Oils tend to dry fast if they're thinned down, but you'll still have some time to work with it, maybe up to a few hours or longer if you're applying thick filters.

The cool thing is you can brush on a lot of different colors, that might totally not match your general paint job and blend them together. It will really add tremendous depth and character to a flat surface, like on a tank.

I wouldn't use any other medium than mineral spirits as they could cause a glossiness or something else when I'm guessing you want a matte finish.

I was using W&N white spirit and AK interactive white spirit. I've since run out and now have a form of odorless distilled turpentine I'm going to try.

If you just want a pure oil wash, I just still use the mineral spirit and thin the hell out of the paint. A little bit of paint goes a long way and it's easy to overdo it. It also has lower viscosity than a water-based wash and will overflow into every crevice on your model if you're not careful.

I do glazes extensively with oil paints (really one of their primary advantages over acrylics) and I dont bother with mediums. Mineral spirits work perfectly fine. Thin your paints down as needed to get the correct level of transparency, and the nature of oils does the rest.

There are a lot of subtleties with oil glazes that can be done in minutes that take much, much more effort using acrylics. When it comes to things like skin tones, nothing else compares. They are also able to do the various OSL techniques with greater ease.

When you compare the oil glazes to acrylic "glazes", the oil glazes are much softer at the edges, to the point when done right that you cant see where one color stops and the next starts. Acrylics, unless airbrushed, almost always allow the transitions to be visible. The most layers used with acrylics, the harder it is to spot, but they still tend to be visible. On the other hand, oils can be thinned out to near nothingness without negative effects on the paint. Multiple colors can be blended together while wet allowing glazes in oils to shift across the spectrum.

You can use different cheats with acrylics to accomplish similiar techniques (and mediums with are almost essential for them) but it is one of the main reasons that oils remain popular across the both for traditional artists, model painters (look at some of the garage kit 120 mm figures) and mini painters who are not too worried about the chemical issues.

I went ahead and just got the basics for now. I will buy some glazing medium later to see what effects I can achieve.

Happy painting!