If you have ever been intrigued by oil paints but felt intimidated by the technicalities of mixing mediums like linseed oil and turpentine, this introductory still life study is designed for you. This lesson utilizes a single, straightforward medium mixture throughout the process and highlights the similarities between oils and the acrylic techniques used in previous tutorials.

While traditional oil recipes can be complex, mastering them all is not essential to starting. The primary shift when transitioning from acrylics to oils is simply how you dilute your pigments.

Essential Materials

Brushes and Tools

• Coloured Ground Brush: A 1.5-inch decorator’s brush (such as a Purdy XL Monarch Elite).

• Flat Brush: A "Bright" shape synthetic or natural hair brush (e.g., Isabey Isacryl Size 6).

• Detail Brush: A small round nylon brush, approximately 5mm in diameter.

• Palette Knife: A diamond-shaped, cranked-handle knife (e.g., RGM size 45) for mixing.

Support and Setup

• Surface: A 7 x 5-inch cotton duck canvas board, pre-primed with white acrylic gesso.

• Palette: A wooden or disposable tear-off palette.

• Sketching: A 0.7mm brown acrylic marker (such as Montana Shock Brown).

• Cleanup: Kitchen rolls or paper towels.

The Oil Color Palette

• Titanium White (Alkyd version dries faster)

• Burnt Umber (Alkyd version suggested)

• Winsor Blue (Phthalo Blue, Green Shade)

• Burnt Sienna

• Cadmium Yellow Pale

• Pale Umber (Acrylic paint for the initial ground)

Understanding the Medium: Swapping Water for Oil

In oil painting, a "medium" is added to the paint to alter its flow, transparency, and drying time. For this project, we are using a classic combination of two ingredients:

1. Refined Linseed Oil: Derived from flax seeds, this oil adds gloss and transparency. It dries thoroughly over three to five days, making it excellent for initial layers.

2. Odourless Mineral Spirits (OMS): A safer alternative to turpentine, OMS "cuts" through the oil to thin the paint. Gamsol is a highly recommended brand for its safety and low vapor levels.

The Recipe

For this study, mix your medium in a ratio of 3 parts Odourless Mineral Spirits to 1 part Refined Linseed Oil.

Remember that "less is more" with oil mediums. You only need a small amount to make the paint fluid; using too much will cause the paint to slide around the canvas rather than adhere to it.

Step-by-Step Execution

Step 1: The Acrylic Ground and Sketch

We begin with acrylics to establish a fast-drying foundation. Apply a thin layer of Pale Umber acrylic thinned with a little water over the canvas. Once dry, use a brown acrylic marker to sketch the basic shapes of the coffee cup, saucer, and spoon.

Step 2: Blocking in the Background

Switching to oils, mix Burnt Umber and Burnt Sienna with a touch of medium. Scrub this dark warmth around the spoon handle. Add Titanium White to the mix to create a cooler, lighter tone for the tabletop area around the cup. This contrast helps define the positive form of the cup.

Step 3: Establishing Mid-tones and Texture

Darken the shadows around the handle with pure Burnt Umber. While the paint is wet, it will blend easily. Use a "scumbling" technique—scrubbing a dry brush with a mix of Titanium White and Burnt Umber—across the top third of the canvas to create a textured wall effect. Apply a thin wash of Burnt Sienna inside the cup for the coffee base.

Step 4: Introducing the Turquoise

Mix Titanium White with a small amount of Winsor Blue. To keep the color from being too "electric," add a tiny bit of Burnt Sienna to neutralize it into a sophisticated grey-turquoise. Block in the saucer and include a circular shape in the top right to suggest the scene continues beyond the frame.

Step 5: Increasing Saturation

Intensify the coffee color inside the cup with a stronger Burnt Sienna and White mix. Use the small round brush to apply a mix of Cadmium Yellow Pale and White along the edges of the cup and saucer. This acts as a bridge between the cool turquoise and warm oranges.

Step 6: Softening Edges and Highlights

Mix a cream tone using Titanium White and a hint of Cadmium Yellow. Use this to soften the yellow highlights and paint the center of the cup. If the bottom edge of the saucer feels too sharp, "break" the edge by blurring it into the background; this prevents the viewer's eye from sliding off the bottom of the canvas.

Step 7: Tonal Range and Final Highlights

Apply thick, "impasto" highlights of pure Titanium White to the brightest spots on the ceramic cup and the metal spoon. This establishes the full tonal range from the deepest Umbers to the brightest whites.

Step 8: Final Refinement

Refine the shadows around the handles and inside the spoon. Crisp up the rim of the cup with bright cream notes. Finally, add a few expressive dashes of Burnt Sienna to the saucer’s rim to tie the warm and cool tones together.

This simple study demonstrates that you don't need complex formulas to achieve a professional, painterly result. By managing your edges and keeping your medium simple, you can complete a vibrant oil study in approximately one hour.