Explanation of Artist's Techniques

Over my many years of painting, my methods and techniques have evolved into a unique style. To traditional oil painting artists, some of my procedures might seem a little confusing.  If you have not taken a class with me or if you just need a refresher, this page provides a more detailed explanation of my techniques and methods. All products are available on our website and please email us if you have any additional questions.

Robert Warren's Luminous Orange 

The goal of every painting is to capture light. Unique to oil painting, I start off almost all my paintings on an orange canvas. I first started using my method about 10 years ago after closely studying the work of Peter Paul Rubens (1577-1640).  I determined Rubens' work had a certain luminous quality that many others from the same era did not. It seemed to come from within the painting rather than from the oil paint alone. I realized he started his paintings on a toned canvas. I started experimenting with different warm colors to act as my undertone. I first started with a wash of burnt sienna, which proved to be too dark, so logically, I needed to go lighter or specifically to the color orange. Even when experimenting with orange, both the color intensity and the value became very important factors. I was unable to find the exact color and value, so for quality control I started mixing my own. The specific color I came up is now known as Luminous Orange.  I consider this color to be the middle value of light. It serves as a wonderful middle value between highlights and shadows of any object. It offers "free" tints and shades of colors that can be subtle or rich. It also serves as a luminous reflected light in the shadows of many objects – from animals to landscapes to florals…basically anything that has light on it.  Following a very important principle of design, the orange undertone adds a unity of color throughout the whole painting. The painting does not have to look obviously orange, but the color can peak through in every facet of the painting. Keep this in mind when using the oil paint – don't attempt to cover the orange canvas entirely, you are trying to capture the essence of light. You should be able to hold your completed painting in front of a light or window and see the orange glowing through the colors. It is extremely important to apply Luminous Orange over a bright white canvas. Some companies offer gray or neutral canvases, but an orange base over a slightly gray canvas creates a very dull or dirty orange which has no luminous qualities. Match the sample of Luminous Orange or for optimum results, you may purchase Luminous Orange directly from my studio, The Art Loft. Apply a smooth coat of Luminous Orange base color to the canvas with a foam brush and allow to dry before transferring your pattern.

Value Study: Black Acrylic Step

Values create dimension, but color usually receives all of the attention. When painting with oils, placing dark and light pigments next to each other can be an accident waiting to happen. Most oil painters are familiar with the term "mud" which describes the outcome of trying to work with dark and light colors in close proximity. To end this problem, I have come up with a modern version of an old master technique that makes creating "mud" virtually impossible. With some research, I became familiar with the old master's technique known as "grisaille" - a term derived from the French word gris meaning gray. Utilizing modern materials, I have created a modified grisaille technique that uses black acrylic paint to create a value study.  Using a flat, black acrylic paint and synthetic brushes for this water based paint, I establish the dark and middle values and the exposed orange canvas becomes the areas of lightest values. Again, the benefit of this step is a complete understanding of the textures and contrasts of the subject before the actual oil paint is applied. From details to large areas, the values of the painting can be locked in place. Less oil paint is required when the values are already established and the artist has more control throughout the painting.

 Use heavy, almost black paint for the darkest values, a wiped out brush or less paint for middle or gray values and a very dry brush for the lightest shaded areas. I will refer to the wiped out brush throughout the projects as a "dry brush." This simply means that the brush is drier (has less paint in it) and therefore creates a gray tone. The more you wipe out your brush, the lighter the value becomes.  On a standard value scale from black to white, my focus will be on the darkest and middle values of the subject. Don't thin the paint with water for a thinned gray wash - use a dry brush technique for a more "dot matrix" appearance over the weave of the canvas by allowing some of the orange to show through. Adding water to your brush will only flood the area with a dull gray tone which defeats the purpose of the orange base color. The small dots of black over the orange are extremely beneficial in accepting the final glazes of oil color. I use this "dot matrix" or middle values as a guide. The first glaze of oil color is applied with just enough paint to give this dot or grainy appearance a smooth blended look. Different brush techniques are used to simulate many textures. For veteran oil painters, acrylic work might be intimidating, but relax and remember that any mistakes can easily be covered with oil colors. I usually don't wash my brushes until I am completely finished with the value study, but if you do wash them out, be sure to dry them thoroughly before adding more black acrylic paint. Once finished with the value study, make sure to wash out your brushes with soap and water.

Robert Warren's Professional Clear Medium

 After the value study has dried, apply Professional Clear Medium to the entire canvas. The clear medium helps utilize both the light undertone of Luminous Orange and the dark and middle values of the black acrylic value study. The result is a painting full of rich, beautiful oil colors with luminous lights and invaluable dark values. Every paint manufacturer has a clear glazing medium for oil paints that usually includes an oil with an alkyd drier added. Some speed up the drying while some slow down the drying process and some smell so strongly that they should only be used outdoors. Avoid any brands using linseed oil because it yellows. After experimenting with many brands, I created my own Professional Clear Medium. It is an extremely effective, non-yellowing, odorless medium that creates a lubricated surface ideal for glazing oil paints. It also helps slow down brush wear. When applied, it is workable for two days and is mostly dry by the third day depending on the humidity and temperatures.

Shake mixture well and squeeze approximately two teaspoons into a small container. Using a 1" basic bristle brush, apply Professional Clear Medium to canvas. Apply generously to avoid losing any graphite lines over canvas by using a single direction wet strokes. (Not a scrubbing stroke.) Graphite or pattern lines appear darker, but can accidentally be scrubbed away if too many strokes are used. Canvas should have a solid shine. Place one sheet of a quality brand paper towel on the canvas and stroke over the towel with the same brush to pick up excess medium. Don't rub over canvas with the paper towel in your hand since this is not as consistent. Reposition the paper towel until you have "brushed over" the entire canvas. This will result in an even satin sheen with no heavy, wet areas. Clean brush using odorless mineral spirits. If you need to stop in the middle of a painting and can't get back to it until it has dried, just reapply to the unfinished area or the entire canvas using the same method mentioned above or if it is a smaller touch up area, just dip your brush into the Professional Clear Medium and work it into your oil paints to obtain the same satin sheen when dry.

Prima Oil Paints

Any oil paints will work with my techniques. I encourage everyone to try what oil paint you may already have and experiment with amounts to match the accurate color and value of the swatches contained in all of my instructional material. My painting packets are formulated using Prima brand oil paints. Some older packets are formulated using DaVinci or Alexander Brand paints and may not use my  modified grisaille method. Color samples of the oil paint mixtures are included in every packet. You may use any brand of paint when painting from the packets, but make sure to match your colors and values accordingly.

I became familiar with Prima Oil paints after filming several series of television painting programs sponsored by Martin/F. Weber, a well known manufacturer of art materials. Prima Oils are an inexpensive line which I use approximately 18 out of their 24 colors. They have an excellent colorfast rating which is my number one requirement since I also use them for portraits. Their colors are consistent for the mixing formulas that I use for all my painting projects to teach and the projects in this book. The only other brand of paint I use is the Permalba White, also made by Martin/F. Weber.  I prefer the firmness and consistency of this paint and I also prefer the larger tube size since white is often added to many color mixtures. Paint should be measured by slicing from a full round bead of paint as it comes from the tube.

Pertaining to Teaching: All instructional material pertaining to Robert Warren paintings (photos, instructions, patterns, video, books) is copyrighted by Robert Warren. Teaching this and all projects is prohibited without written permission from Robert Warren. Permission for each individual project must be received to teach each individual project. Unauthorized duplication of any Robert Warren material is a violation of applicable laws. You are welcome to repaint packet projects as many times as you wish, but as mentioned, they may only be used for personal use for fun or profit. For further details on obtaining permission, please call 614-833-1033 or email TheArtLoft@aol.com

Information on Showing your Art: Entering art shows is encouraged as long as you follow the guidelines of the specific art show. Entering this project as original artwork goes against most art show guidelines. Labeling the back of your canvas with the information " Original design by Robert Warren, painted by (your name)" should suffice for many art shows. Robert Warren's paintings are widely known, therefore, identifying that your project is from a Robert Warren design will add integrity and credibility to your artwork as well as give proper recognition to the original artist. There are many critics ready to challenge the authenticity of artwork, so have your canvas prepared with the proper information mentioned above. This applies to all displayed artwork of all artists. The information on the back of the canvas will become a part of valued history for future generations.

If you have any questions, please call the Art Loft at 614-833-1033, email us at TheArtLoft@aol.com