Mastering Fat Over Lean in Oil Painting: Essential Techniques for Artists

The fat over lean rule in oil painting is a principle that ensures the long-term stability of the paint layers. This rule states that each successive paint layer should contain more oil than the one beneath, creating a flexible upper layer that prevents cracking as the painting dries and ages. However, the “fatness” or “leanness” of a paint mixture is more accurately determined by the overall oil-to-pigment ratio relative to the critical pigment volume concentration (cPVC) than by the inherent properties of the medium itself.

How Fat Over Lean Relates to Critical Pigment Volume Concentration

The concepts of fat over lean and critical pigment volume concentration (cPVC) are closely linked because both principles address the balance of oil and pigment, which determines the paint’s structural integrity. While the fat-over-lean rule guides the layering of paint to ensure flexibility as layers dry, cPVC defines the optimal binder-to-pigment ratio within each layer. When paint is formulated near its cPVC, typical of most artists’ oil paint, it has just enough binder to hold the pigments together without excess oil, maintaining the right degree of flexibility and minimizing risks like cracking and yellowing. By understanding both concepts, artists can make informed decisions about paint mixtures and medium use, ensuring that each layer adheres to the fat-over-lean rule and maintains structural stability. Integrating these two principles enhances the painting’s longevity and visual quality, reinforcing a cohesive approach to oil painting techniques.

Understanding Pigment Volume Concentration (PVC) and Critical Pigment Volume Concentration (cPVC)

Pigment Volume Concentration (PVC) is the ratio of pigment to the total volume of solids in the paint. For example, a PVC of 30% means that 30% of the total solids in the paint are pigments, while 70% are binder solids (e.g., oil, resin).

Critical Pigment Volume Concentration (cPVC) is the point at which there is just enough binder to wet the pigments without leaving excess oil in the paint film. Paint near or at the cPVC is flexible, semi-glossy, and less prone to cracking or sinking in, as well as yellowing. It is at this balance point that paint achieves optimal structural stability.

Fat Over Lean: Paste Mediums vs. Oil Painting Mediums

To achieve proficiency in oil painting, artists must not only understand the fat-over-lean rule but also the characteristics of the mediums they use. Oil painting mediums can be broadly divided into two categories: paste mediums, which contain extender pigments, and oil painting mediums, which are primarily composed of oil and resin without extender pigments. Each type of medium interacts differently with the paint, influencing the oil-to-pigment ratio and the paint’s critical pigment volume concentration (cPVC). By understanding these distinctions, artists can choose the appropriate medium to achieve desired effects while adhering to the fat-over-lean principle. The following sections will explore how these mediums impact paint formulation and how their use affects the stability and flexibility of oil paintings.

Paste Oil Painting Mediums:

  • Paste mediums contain extender pigments (pigmentary solids), binder solids (oil and resin), and possibly solvents (non-volatiles).
  • Extender pigments in paste mediums do not significantly change the paint’s PVC, keeping it near or slightly below the cPVC.
  • Adding a significant amount of paste medium to artists’ oil paint does not necessarily increase the oil ratio or reduce the PVC to a degree that would classify the mixture as “fat.” The extender pigments maintain a relatively balanced oil-to-pigment ratio close to the cPVC.
  • As a result, even when substantial amounts of paste medium are added, the excess oil introduced into the paint mixture remains minimal, keeping the mixture relatively “lean.”

Oil Painting Mediums (without extender pigments):

  • These mediums contain only oil and resin (binder solids), possibly with solvents, but lack extender pigments.
  • Adding even a small amount of this type of medium significantly increases the oil content, raising the ratio of oil to pigment in the paint mixture and, hence, lowering the PVC of the paint mixture.
  • Without extender pigments, the binder-to-pigment ratio rises quickly, making the paint “fat.”

How cPVC Affects the Fat-Over-Lean Rule

The fat-over-lean rule requires successive layers of oil paint to contain more oil than the layers beneath, ensuring flexibility and reducing the risk of cracking. Critical Pigment Volume Concentration (cPVC) adds a crucial dimension to this rule by revealing how paint composition influences film properties beyond just oil content. The cPVC represents the threshold at which there is enough binder (oil) to fully saturate the pigments, creating a cohesive paint film. When the PVC exceeds the cPVC, voids form within the paint film, leading to brittleness and reduced gloss.

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  1. A question from one of our readers:

    George, just read your latest fat/lean article. Great stuff but I have one question: Would “Oleogel” be considered a “paste” type medium? Wondering since it’s a bit thixotropic.

    That’s a good question. Oleogel is not a paste medium. It is a gel medium. What distinguishes paste mediums from gel and liquid mediums is that they do not contain any pigments or extender pigments (fillers). Although Oleogel contains fumed silica, fumed silica is not an extender pigment, but rather an additive, since it does not provide sufficient solids to affect the pigment volume concentration (PVC).

  2. Hi George, does all paint out of tube are considered equal “fat” since they are all close it it’s cPVC? However, I confused that some paint contains much more oil, doesn’t these paint is fatter than others, thus had to use in upper layers?

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