It was a great surprise to find that I had been awarded first place for my painting of ‘Quarr Abbey Ruins’ in the ‘Light, Space and Time’s’ Landscape Painting of the year competition for 2019, especially as I had previously won it in 2016. There were 572 entries from 22 different Countries.
I have just been notified that I have been awarded 4th place in the annual ‘Light, Space and Time’s’ International Seascape painting competition for my painting of ‘The Needles from Headon Warren’; There were 561 entries from 22 Countries. I was also awarded a Certificate of Special Merit for my Painting of ‘Stag Rock, Freshwater Bay’ which I was commissioned to paint for an article in this years October issue of ‘Leisure Painter’ magazine. Both are available as Limited edition prints in my web-shop.👨🎨
I am a featured, Winsor and Newton artist and a Professional Associate with the SAA, I also write articles for ‘Leisure Painter’. I lead sketching and painting holidays for HF Holidays in their UK houses and in Europe and also run painting holidays at the wonderful Manoir de Gurson in the heart of the Dordogne region of France near St. Emilion. When I am not leading holidays or writing I run workshops and tutor art groups on the Isle of Wight. I have written a book titled ‘Landscape Painting In ‘Artisan’ Water-Mixable Oils’ which is available from my web-shop – www.murrayince.com much more of my work can be viewed in my on-line galleries. If you have any queries regarding ‘Artisan’ Oils or any other topics you can e-mail me on email@example.com
My Palette of Landscape Colours
There are 40 colours available in the ‘Artisan Water-mixable Oil range, personally I don’t use all of the colours in the range for my landscape and seascape paintings but do have a wider range of colours in the studio for when I’m painting floral, still life and portrait subjects. Above is the range of colours on my normal, working palette. On the palette are the colours with approximately 50% Titanium White added, the tubes appear in the same order as on the palette.
‘Winkle Street’ ‘Artisan’ oils on 20” x 16” stretched cotton canvas
Mediums and Techniques
The ‘Artisan’ range of water-mixable mediums is comprehensive allowing for all of the painting techniques associated with traditional oil painting. Artisan oils are made using modified (to accept water molecules) Linseed or Safflower oils, these are available in 75 ml bottles so that the artist can use the ‘fat on lean’ process of painting meaning slightly more oil in each additional layer of paint and for the technique known as ‘glazing’ over painting with thin, oily layers of paint, much like a watercolour wash. In addition to Linseed and Safflower oil Winsor and Newton produce a comprehensive range of water-mixable painting mediums.
Artisan oil paint can be thinned using nothing more than water however water tends to evaporate quite rapidly and so the thinned paint thickens quite quickly on the palette, ‘Artisan’ thinner evaporates at a much slower rate thus extending the fluid workability time of the thinned paint. Water can also be combined with the thinner, using water alone tends to change the appearance of the colour mixed whereas the ‘Artisan’ thinner maintains the appearance of the colour.
Painting medium is stand oil based and as such dries slowly and remains flexible, it is great for aiding the painting of fine detail and “oiling out”, oiling out is the application of oil to an area where the paint has lost its oil to a layer underneath or ”sunk”. I use a soft lint free cloth and apply the medium in a small, circular motion.
Stand oil is basically a Linseed oil that has been heat treated to lower the oxygen level in the oil which means in effect that it dries more slowly making it ideal for the glazing technique and is also glossier and more transparent.
Fast Drying Medium
The use of the fast drying medium in our colour mixes speeds up the drying time by as much as 50%, this allows additional layers to be worked more speedily whilst thinning the colour, increasing the glossiness and transparency. When painting layers you can use it instead of linseed oil, combine it with water and/or thinner maintaining the ‘fat over lean’ principle.
By thoroughly mixing impasto medium into the paint you can maintain tube consistency whilst speeding up drying by as much as 50% and create a heavier texture than with just the paint. For thick impasto build the texture gradually allowing to dry between layers.