032 – Part 3 – Pamela Caughey – ACRYLIC Clear GESSO COLD WAX and Oil PAINTING 🌺👩🏻‍🎨

032 – Part 3 – Pamela Caughey – ACRYLIC Clear GESSO COLD WAX and Oil PAINTING 🌺👩🏻‍🎨

(tool scraping) – So I’m gonna be mixing up a lot of grays that are lighter in value
than what I have here. Not highly saturated, like what is, what was the original layer. Right now, I’ve got kind of
a midtone, make it lighter. I’m not gonna try and hit
the highest value yet. I still wanna play around. Here’s what I’ve got on my pallette. You can see that it’s kind of
a very pale green, gray green. (tool scraping) I mentioned I wanna introduce
some geometric lines into this so I’m using this painter’s
edge tool to start to do that. And it’s not perfect, but
that’s okay, it’s a stage. It’s not, you know, the paint
still can seep underneath it. But right now, I’m just trying to introduce some very large shapes. So I’m still not gonna worry about what I’m covering up too much. But I do want some of these more geometric, hard edges in here. So just gonna… These painters, I just
cut in differing lengths. Here’s a really long one. I was using a shorter one before. And… (“Fur Elise” by Ludwig van Beethoven) I’m gonna walk up close to the surface and try and capture some of the nuances that are in these new positive
shapes that are very opaque. As I mentioned, you really
can’t see through them. That’s the definition of opacity. I tried to go for, you know,
when I introduced a new gray, these are all grays, by
the way, these new shapes, which just means that they’re
not so highly saturated like the colors that are underneath them. So instead of a really bright red or bright yellow, bright purple, I’ve taken those colors and really dulled them down into a gray. And notice the subtle shifts
in color, as well as value. I wanted to definitely introduce, say, these subtle shifts in color, but then I didn’t want
them to be isolated. So you can see, like here, I’ve
got this pretty light value. It looks, I know, to you very white, but it’s kind of a cool white. Well if I’m gonna do that, then
I’m gonna go over and kinda, like what I like to
say is cross-pollinate. Maybe I’ll add a little
bit of that white here. And I’m gonna spread it around. I’ve got a wet brush,
I can move it around. I might add some of
that nice lighter value to the upper left-hand corner. So that even though I’m working kind of, in this case, it’s a large work, and even though I was kind of
working from left to right, I’m not really just
working from left to right. I’m trying to be aware that I’m working on the whole
painting at a time, at one time. I wanna see the painting as a whole. So in order to get a feel for
these shapes that I added, I needed to step back. That probably wasn’t always evident in the video that you see,
but what am I going for? I’m trying to, you know, I love shape and I’m trying to vary the
size, the length, the width, the type of edge, whether it’s
rectilinear or curvilinear. And, you know, again,
this is just a layer. It’s not meant to be anything final. So there is no pressure, and I love that. That’s why it’s so much fun
in this stage to just play. I definitely consider this
to be a stage of play. You can see that I did, you know, purposefully leave some of
that background crazy color. At this point, I will say that, you know, there is more of that crazy
color than I’ll need in the end. But again, there is a reason
for starting that way. Even if I don’t, even if
a lot of that color’s gone by the end, what remains
just couldn’t be there in the final painting if
I didn’t start that way. And, you know, you as
the artist can choose how much of that you want to keep. But if you don’t start that way, if you don’t start bold and, you know, with all these crazy, crazy colors, then you’re not gonna have an awful lot to work with later on. And the way I put them on,
you know, they are pretty dark in relationship to what I just did. So they do create kind of
a pop in value, obviously, but right now there’s just
way too much going on. This is not an easy painting to look at, in a way, any more than it was before. Well, okay, there’s a little bit, a little bit easier on
the eye, to look at it. But still, what’s happened now is, I’ve got a very opaque layer. And I’ve got it, the colors are all related to the colors underneath. So that’s one thing I’ve got going for me. But now, I’m gonna be
sanding, gouging, scraping, probably doing more drawing,
and I’m gonna continue to play, and just add to the surface
quality, the surface history, as I build this painting. In order to sand the
surface of this painting, as you can imagine, there’s gonna be a lot of particles flying around. And so just a little note about safety. I have a pair of goggles that I would definitely want to protect my eyes. I have sensitive eyes and over time, all that dust that’s flying around, you know, it’s just something that, I think my eyes are less
irritated by the end of the day if I know I’m gonna be sanding a lot. So I would definitely wear these. And then I’ve got a full-blown respirator. With these 3M, as you can
see, the 3M logo on here. And this grade of filter is actually for very fine particles like solvents. And I’m not worried
about solvents right now, but I am, I’m still concerned
about inhaling particles. I could probably wear a
smaller mask, but you know, just so that you’re kind of aware that you might wanna protect your lungs from all these little particles. That’s a good thing. And then, as far as like,
what am I gonna scrape with, of course, I have this awl. I have a couple different
points that work. And this is a orbital sander. What I like about this one, it’s a Makita, and it has this little bag
on it that collects dust. But as a, just a word of caution, you can definitely empty this
and you know that it works, but you’ll notice that even
when it’s collecting this dust, these paint particles,
there’s still a lot of dust that isn’t caught by this little bag. So you can’t just completely
say, well, yeah, I’m okay because I have this little bag here. No, you kinda still have
to protect yourself. So just wanted to let you know that it’s so much fun to paint, it’s great, but your materials, especially
things like titanium white and all the cadmiums,
which are heavy metals, just, even though they’re in a dried form, if they get into your
system, that’s not good. So protect your health. (sandpaper scraping) (tool buzzing) So here in this container,
just a plastic container, I still, in working acrylic,
I have mixed up a glaze made of colors that are
already in the painting. And I’ve added a little bit
of that airbrush liquid to it. It’s called… This Golden airbrush medium. It’s, you shouldn’t be adding water to thin out your acrylics, by the way. Because it has to do with the molecules not being able to bond to each other. So anyways, when you use the acrylic, sorry, the airbrush medium, that’s a good thing, it’s a good bond. So I’m just gonna spread this
around the entire painting. It’s gonna look pretty
bad, it’s gonna be drippy. But then I’m gonna take a lot of it off. And the whole purpose of this is to go into all those little crevices that I’ve just gouged into the surface, making them more pronounced. But then I take most of it off and then I’m gonna let that dry. Then I’ll put that clear
Liquitex gesso over the top. (tool scraping) Now we’ll take a closer look. After the warm glaze has been put on, scrubbed on, really, and then scrubbed off with steel wool dipped in clean water and then dried off the surface. Just wanna show you up close how it’s gone into these
crevices, into the gouges, both the thin gouges
and the thicker gouges, and, you know, that was
kinda part of the point. The other point was to
harmonize the surface. Because at the beginning of today, those opaque shapes felt very foreign to the rest of the painting. And by glazing, now
they feel more unified. And it’s kind of a step
in the right direction, no matter what stage you’re at. For those of you who love
layering in paintings, this is kind of my way of being
able to get layers in there is just kinda superimposing one idea over another and another and another and then glazing and
distressing the surface and mark making kind of on every level. Kinda treating each layer in the same way. Because in the end, you know, if every square inch of this painting has experienced the same life and history, then, in the end, I hope
that those activities, the touch of my hand lends itself to the overall aesthetic of this painting. So that’s where it is now. And I think I’m going to now coat it with the clear gesso made by Liquitex. That’s kinda my favorite brand. I’m not sure if other companies make it, but for now, that’s what I use. This is a good time to show you how I would now start
working on this painting with cold wax and oil. So why would I do that? Again, the surface quality
of an acrylic painting is, given that it is a sort of
a plastic kind of paint, it has its attributes,
it has its pros and cons. And there are a lot of
good things about it. And certainly, I’ve
done a lot of paintings that were completely acrylic. And I enjoy that. But I also enjoy the, some of the wonderful attributes of
the cold wax and oil, especially over an acrylic
under painting like this. So I’ve been able to
make a lot of progress, in other words, I started out with completely white gesso panels and now I’ve got something on the board that dried fast, it’s acrylic, I’ve got some layering going
on, some push and pull, I’ve got a value pattern
sort of established, or at least begun to be established
with shapes that I like. If I had done this all
with cold wax and oil, yes, I could have done that as well, but this gave me a little
bit of a jump start. And because you can
work with both mediums, as long as you let this acrylic dry and then do the next stage,
which I’m going to demonstrate, then why not do it? And it’s just, it’s really fun. Some of the advantages of the
cold wax and oil now is that I’ve got that wonderful cold wax, which is, it’s a little bit transparent, you put it on very thinly, and you can get some wonderful glazes, you have more time to work with it, you have more time to manipulate things. It’s not, now it’s not drying
as fast as the acrylic. And maybe that’s a good thing. So you can continue to
build your layers of depth. And, through a masking process, which I do a lot with newsprint, I can still get some
nice, well-defined shapes. And it’s just an extension. I look at it kind of as
the very same process, but I’m using a different medium now. So the product that I’m gonna use is Liquitex clear gesso
over this entire panel, which has just been sanded. Here is the product that I’m gonna use. It’s Liquitex clear gesso. And like it says, it’s gonna dry clear. This particular product, it says that it’s more fluid than thick, it’s more transparent than opaque, it’s more matte than gloss, and it’s used more as a
preparation application rather than a finish. So you wouldn’t wanna use
this as a finishing coat. It’s meant to be, again, that membrane between your acrylic
and your oil painting, your cold wax and oil painting. So my idea is to treat the
painting with this now, let it dry, and then
it’ll be a good surface for me to continue on
with the oil and cold wax. I’ve mixed it up in this container, I’ve just put it in here. And I’m gonna use a
sponge tool to apply it in a smooth and even way. Expect it to be drippy. Start at the top and see how it goes on. I’ll be able to tell that
this is on there, too, that I’ve had full coverage when it’s dry because it feels gritty. And if I were to run my
hand over the surface and find an area that didn’t feel gritty, I would then add more of this clear gesso because the idea is to
cover the entire surface, not just part of it, I
wanna treat the whole thing. It’ll look a little milky at first, like any acrylic medium,
but then it’ll dry clear. And, of course, it doesn’t
take long for it to dry so today I’ll be able
to start working on it in cold wax and oil. Trying to work in a systematic
way from left to right so I don’t miss anything. Taking advantage of this whiteness so that I can see where I’ve been. It’s also a little bit glossy
when you first put it on. That’s gonna disappear. It will be a matte surface. I like the sponge brush
because it doesn’t leave a lot of, you know, brush marks. Not that that would be a
bad thing, necessarily. Texture’s fine. But it also just applies it really fast and not too neatly, I’m
dripping everywhere.


  • Rita Gjefle says:

    I’m a bit confused. 1. What did you mix with the gray acrylic paint?
    2. I “thought” you couldn’t apply acrylic paints over cold wax unless you first applied clear gesso?
    (Please know I’m not questioning your techniques-just trying to learn – I have hardly any experience with cold wax painting!)

  • Evelyne David says:

    Fabulous !!! Learning so much from you. Will you be showing a bit of cold wax application on this painting
    on your next video ? Wish i could attend one of your classes. Waiting impatiently for final video. TFS. Evy

  • victoria sheldon says:

    Each time you add another layer I’m worried because I loved what went beforehand! Now I’m in love with these giant ghost shapes and feel like it’s finished again. I’m sure it will be beautiful with whatever you do but how do you handle hiding all these beautiful early moments/imagesetters? It great you’ll have the video but wow, this takes courage and my frugal nature screams, a lot of paint! You are an outstanding teacher

  • Becky Webb says:

    Looking forward to seeing the changes you made with the cold wax. I liked the unification that the application of the glaze gave the varied grays.

  • Peggy McDevitt says:

    Thank you so much for sharing you work. I work much like you do, in many layers and sanding but I have never used cold was medium. Thanks to you Ill give it a try.

  • Rita Gjefle says:

    Thanks. I will backup and watch #30 and #31. I appreciate your clarification and patience.

  • Paulette Landers says:

    I recently subscribed to your channel, but I don't get notified of your new episode. Am I on your list? Thank you, love your work.

  • Gina fynearts says:

    Dear Pamela … i am enjoying your videos immensely and I really got a lot of out of this one. Your generosity is so much appreciated. Looking forward to the next stage. thank you. >>> Gina

  • Judith Brock says:

    Love it so far

  • Carol Suter says:

    You have a wonderful and rich process and product.  Thank you so much for sharing your wisdom and experience.

  • Diana Connolly says:

    Does it make a difference if your sander is square vs orbital?

  • Diana Connolly says:

    Okay. Hurry with that final video. 😍

  • Shilo D says:

    THANK YOU SO MUCH!! I learn more with every video & cannot wait for the next. You make it look much easier than it is. I love cold wax and oil & hope with practice to become as fearless as you seem! thanks for sharing your process

  • Lydia Baca says:

    Lots of information and freedom in your process. Thank you for teaching and sharing.

  • Jolanta Soares says:

    Perfect!!  Thank you Pam for sharing so many details of your painting process and technique!

  • Deborah Eyde says:

    Thanks Pam! That was a fantastic tutorial on your process and has given me some new techniques to try. Looking forward to seeing the finished piece!

  • crissea grovenor says:

    Bravo.. I love watching the birthing and process and love each layer. So wonderful to be able to see so much I keep thinking the video will stop and I want to see more, but it continues. Looking forward to the application of wax and oil. What was the instrument or painting tool you used in the beginning for some geometric shapes. I shall watch this again but look forward to the next one.

  • Queens Little Corner says:

    I cannot wait to see the finished pieces. One thing I just have to say….My eye is SO drawn to the "F". Is there some significance there?

  • jay tetzlaff says:

    I've been waiting to see what the cold wax and oil have brought into the picture,but nothing that I've seen so far,unfortunately.

  • Terri Beck-Engel says:

    I always learn so much from your videos Pam and feel inspired for my own growth as an artist. Using acrylic in the beginning of a large painting makes so much sense plus saves on oil paint-

  • Barbara Clark says:


  • J Mac says:

    Hey Pam! I LOVE your videos! You are amazing! The fact that you share your process is priceless to me. I’ve been experimenting with cw&oil for about a year…I love it! I have one question right now – how to display cw&oil on paper? I’ve put it under glass, expensive, and mounted to different kinds of boards…but do we need to glaze the piece with something to keep it safe from the elements or just let it be… what are your thoughts? Can’t wait to see your next video…and thank you for everything you do! Janet

  • Paulette Landers says:

    When your CWM layer is finished, how long do you wait to apply the clear CWM as a finishing layer? Then, do you buff the clear CWM immediately, or do you let it dry before buffing? Thank you so much, you are such a great teacher.

  • Jim Ellsberry says:

    Hi Pamela… thanks for a great series! Here you talk about using "Clear Gesso"… my q is whether clear ACRYLIC MEDIUM works the same (Liquitex Matt Medium for instance) for sealing? Thanks again!!

  • H Max says:

    i wish some young artist had the money to buy as much paint as you use.

  • Agnica Jankovic says:


  • Don Moon says:

    excellent respirator… ski goggles?

  • Don Moon says:

    i love grinding and sanding!

  • Brigitte Balbinot says:

    Great video Pamela, just wondering what kind of acrylic you’re using, do they come in the squeeze bottles or do you custom make them? They seem to be of a great consistency. Thanks 😊

  • M.Pilar Romeo says:

    Hello Pam I am a fifty-five Spanish follower of yours. I confess that I really delighted with your style and technique as well, that is why I put hands at work. First I painted a canvas using acrilyc and afterwards with cold wax, it is now 4 days ago. I forgot to smear clear gesso onto the canvas. Could it be possible that the cold wax does not dry due to that fact? In addition if I try mark making with a 2 pencil I remove the paint, that is , it does not rest any mark of graphite on the canvas. Thank you very much for your videos. I wish I could attend to any of your workshops but I am really far from youI!

  • Roam and Go says:


  • Jackie gray says:

    Hi Pamela, fabulous video, you are so generous and your artwork is outstanding and inspiring.. One question.. is the clear gesso diluted? Thanks.

  • Jorge Vivas says:

    Maravilhoso seu processo criativo !

  • ShawN shawN says:

    Nice that you walk the viewer through the technique. Very bold to cover your colors with gesso. I've seen this before, but always have such a challenge to try this out as I've wanted to in the past. I think I've only done this once since sometimes you can lose a perfect early version of a painting with a later, convoluted version of the same painting. Thanks for sharing!

  • Deborah Meaux says:

    Pamela do you have a system as to how you hang your panels on your walls?

  • Jill Robbins says:

    You are a fantastic instructor! Thank you for being so thorough and detailed with explaining your process and your thought behind your decisions.

  • Art & Success - Pamela Caughey Art says:

    https://www.ARTandSUCCESS.com/p/powerful-design-and-personal-color-in-cold-wax-oils Create Your BEST ART! ❤️🎉🍿🎈🥂🍾🐝

  • Karen Kahle says:

    re-watching this not for the first time! i really like the dirty glaze technique to knock down the brightness and unify and use it often.

  • Linda Shilling-Burhans says:

    You are phenomenal! So grateful for your generous teaching. As a self-taught painter, I'm going to stay close. Please continue for our sakes.

  • Barbara Clark says:

    what paint is the luminescent yellow that you have in this what brand

  • Sherri Coffield says:

    I LOVE this video. It’s so informative and will help me with a similar unfinished work of my own. Thank you soooooo much!

  • bhagy n says:

    Beautiful! Beautiful! Thank you so much for the video.. loved it .. keep inspiring us! Just wanted to know what brand of colors do you use? Is it heavy body? Do you dilute your colors before you paint?

  • SV GITANA says:


  • Farah Anki says:


  • ali gallo says:

    stunning……looking forward to seeing the finished painting!

  • Andrea Harutunian says:

    Fabulous~ lighter shapes look like people!

  • caren katzenberger says:

    Can’t wait to see final results

  • Meijien Miller says:

    Pam, Is it a necessary layer of painting clear gesso after acrylic paint dried before cold wax and oil painting? So enjoy watching this whole painting process.

  • Simona Hjaltalin says:

    Beautiful! <3

  • ruth marshall says:

    How much airbrush medium to paint do you mix ?

  • Rita Thivierge says:


  • lynda holloway says:

    I left an earlier message about sound, well something cliched on <youtube> for me and could not get sound for over an hour. Now I am back with full sound. Sorry .

  • Joanna van den eijnden says:

    Hi pamela, just a little question do you paint the sides of the painting?

  • Sheila Klein says:

    A fabulous piece of art.Thank you.

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