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  • Question asked 2019-05-15 14:04:02 ... Most recent comment 2019-05-17 10:47:12
    Handling and Transportation
    Question

    ​Dear Mitra,

    i was comissioned an oil painting that I will have to take with me from Europe to South America. This means at least two changes of airplane and a 13 hr long flight in between. The painting will be 90x100 cm. As it will be newly made and flexible when we fly, i assume there will be no problems with rolling it, as far as done correctly. I wonder if there is a save way of bringing a painting in an aeroplane, a way of packing it where it can be sent safely it with the checked baggage. Advice and tips will be much apreciated. 

    Thank you!

    Camila


  • Question asked 2019-05-08 17:19:48 ... Most recent comment 2019-05-15 18:23:16
    Egg Tempera
    Question

    Hello! and thank you for this wonderful forum!

    Many ET painters find themselves painting smaller and smaller works but I am the opposite. My paintings tend to get larger and larger. I just completed an 8'x4' ET and it "only" took 2 years! Ordinarily I would polish my painting with a soft cloth: silk, flannel or T-shirt material has been recommended and I have not found much difference between them. Due to the large size, and some physical limitations, I am experimenting with power tools. I've tried a "polishing bonnet" attached to my corded electric drill but am interested in purchasing a dedicated buffer. A Dual Action Random Orbital Polisher  (DA) seems to be the safest option, in terms of not harming the surface,  but I don't want to invest in it unless I feel it will be more effective or safer than my drill buffer or hand polishing. The "bonnets" I am using now are what came with the conversion kit- one is lamb's wool and the other an unknown synthetic. If I get the DA there seem to be endless options in polishing pads. Of course they are meant for automotive polishing. I love traditional methods/ materials but am not one to scoff at high tech improvements. Perhaps the old saw about ET developing a gentle egg shell gloss will be proven a myth once more effective polishers are employed and a higher gloss will be achieved (not that I necessariy want that.) Obviously if I see any paint on my bonnet I'll know the machine is too aggressive or the paint surface inadequately polymerized. So far I have tried it on the edges of my monster ET panel and no paint has come up, nor have I achieved any more shine than with elbow grease. Hoping you might have some experience with this. Perhaps conservators use electric buffers with a variety of pads? If not my path would be clear: buy the DA and try different pads on castaway paintings or trial paintings and see what the effect is. Thanks much for your great work!

    Lora Arbrador

  • Question asked 2019-05-14 10:10:46 ... Most recent comment 2019-05-15 15:36:07
    Grounds / Priming Egg Tempera Drawing Materials
    Question

    ​Hello MITRA,

    I've been playing with egg tempera as a ground for metalpoint.  If layered thinnly and allowed to cure egg tempera is, like casein, a good ground (due to its PVC); yet I rarely see tempera mentioned as a metalpoint ground.  Any thoughts?

    Also, is egg tempera as vulnerble to hydrolysis as oil paints?  

    Thanks,

    Koo Schadler

  • Question asked 2019-05-14 10:42:38 ... Most recent comment 2019-05-15 15:20:25
    Egg Tempera
    Question

    My experience has been that a well-tempered egg tempera paint (good handling properties, consistent shine, etc.) has a CPVC of about equal parts yolk to pigment.  I've always puzzled at the greater variability, at times, of pigment to binder ratios in oil versus in tempera, which has much less variability in that regard - almost all colors temper well at equal parts yolk and pigment, with just a few minor variations (some lean, thirsty earth colors, like burnt umber and sienna, need a wee bit more yolk; fatter viridian needs a tiny bit less).  One would think that whatever variabilities in pigment to binder ratio exist in oil would transfer to tempera - but they seemingly don't. 

    And while I've heard the terms "fat" and "lean" used to describe a pigment's need for more or less binder, what acutally determines if a color is fat or lean (and, back to my original question, why does that need seem to vary from one medium to another)?


    Thanks,

    Koo Schadler

  • Question asked 2019-05-11 21:28:28 ... Most recent comment 2019-05-13 10:47:19
    Oil Paint
    Question

    Before using a marble stone as a studio palette ( 16 x 22 inches), I wanted to check with you for any special preparatory treatments that may be required for the marble surface prior to oil painting.

    I believe the marble top is older (resale store bargain purchase)  and possibly one made from a combination of marble powder and stones.

    Your suggestions and ideas are always helpful.

    Patrick

  • Question asked 2019-05-08 15:13:08 ... Most recent comment 2019-05-10 20:24:06
    Oil Paint Solvents and Thinners
    Question

    Hi all,

    If I do a layer of a painting with WMO oil paints mixed with water as a solvent, and then I paint over the top with traditional oil paints (because of more pigment choices, etc..) will this cause an issue? Would the water remain trapped in the WMO paint layer, or will it evaporate through the traditional oil paint layer?

    I have read that it takes a lot longer for all the water to actually evaporate out when using acrylics, so is the same the case for oil paints?

    Are you aware of any issues with paintings done in a mix of WMO and normal oils in this manner?

    Thank you,
    Richard

  • Question asked 2019-05-05 15:19:41 ... Most recent comment 2019-05-09 19:13:48
    Drying Oils Scientific Analysis Solvents and Thinners Varnishes Art Conservation Topics
    Question

    Dear experts! I have several questions about traditional sandarac and copal drying oil-resin varnishes.

    1. In various articles I encounter mentions of good preservation of such varnishes after hundreds of years, for example, in case of paintings by Carlo Crivelli or Orazio Gentileschi. Are those cases just coincidental exceptions or drying oil-hard resin varnishes age better than their cousins made with oil and colophony, larch balsam or mastic?

    2. Is it absolutely necessary to heat sandarac or copal resins in oil to make a good varnish? Or maybe I could use an intermediate solvent to avoid extensive thermal treatment?

    3. Could I use modern zirconium-calcium octoate drier additions instead of traditional lead linoleate? How much worse are such driers than lead-based ones in the long term?

    4. How important is to use fresh Cypress or Juniper sap instead of dried and oxidised resin which is always sold in art supplies stores? In Da Vinci’s recipe use of fresh sap in spring is recommended.

    5. Could I enhance ageing performance of such varnishes by adding Tinuvin 292 and 1130? Or maybe using other modern additives?

    6. I’ve heard that new methods of old varnish removal gain popularity, such as laser ablation. Could I rely on such technologies for future conservation efforts of my paintings or I should care about varnish solubility and use Regalrez 1094 with Tinuvin 292 because they remain soluble despite their not so good appearance, scratch resistance and necessity to wait one year before varnishing?

    Thank you.

  • Question asked 2019-05-07 12:28:08 ... Most recent comment 2019-05-09 12:38:12
    Oil Paint
    Question

    Hi, 

    I'm having problems with underbound imprimatura since I upgraded to artist quality oils. I guess part of the "problem" is the higher pigmentation of my new oils. I can't seem to achieve a bound yet semi transparent layer of paint. I'm diluting burnt umber with mineral spirits. I've recently had the same problem with an opaque venetian red ground I layed out on another canvas. In that case I oiled out the entire canvas. I tried to do the same with the raw umber imprimatura, but in rubbing the oil I ended with a brown surface and my underlaying drawing completly lost.

    Am I using to much solvent? How can I achieve a semi transparent imprimatura that is bound enough?

    Thank you for your valuable advice!

    Camila

  • Question asked 2019-05-07 15:00:49 ... Most recent comment 2019-05-08 07:38:45
    Pencil Varnishes Other Art Conservation Topics
    Question

    I am doing large scale drawings/rubbings using prismacolor sticks in some and graphite in others. These are too large to frame -- some will never be covered (and will be rolled to ship and stored with glassine over top), others will be covered with a sheet of Plexi (offset from the surface)

    I will break this into a two part question:

    1) Prismacolor: I am concerned about lightfastness and wondered if there is a suitable spray or brushable varnish that can provide UV protection for the Prismacolor. I am only using the Level 1 and 2 lightfast colors. (If there is a better quality color pencil in stick form--please let me know. I have not been able to find much information)

    2) Graphite: final fixative that will protect if the drawing is rolled or brushed against since there may not be any plexiglass?

    Thanks very much.

  • Question asked 2019-05-03 15:17:17 ... Most recent comment 2019-05-07 12:34:10
    Animal Glue
    Question

    ​Hi, I just read somewhere that rabbit skin glue only smells when it has gone bad... Is this true? I had never heard it before, assumed the smell was normal. Now I worry that the glue I just sized some canvases with is bad.

  • Question asked 2019-05-01 04:45:56 ... Most recent comment 2019-05-03 14:02:17
    Art Conservation Topics Egg Tempera Scientific Analysis Oil Paint
    Question

    Dear experts! I am an amateur painter interested in other’s works. When I look at portraits by Botticelli, I do not understand what do I see. My guess is that nowadays his paintings are very different from what was intended. So, I have several questions. For example, let’s consider his Portrait of a Young Man (Washington). 

    1. What do I see at the edges of paint flakes divided by craquelure? I think that when the ground layer cracked, separate flakes slightly curved and their edges raised. Next, paint near edges of flakes was abraded during handling and cleaning of the painting, upper layers of paint were stripped. So at the edges near minuscule cracks I see lower paint layers. Is this correct?

    2. How transitions between light and dark parts of the face were applied, particularly at the nose and cheek? I see darker spots of paint without clearly defined edges. They appear to be spatially oriented as if they are parts of longer brush strokes. What causes this interrupted appearance? Are they a result of paint abrasion? Or his panel was grounded with some texture and we see an effect similar to watercolour granulation on rough paper?

    3. Opening the image in GIMP and using a CIELch colour picker reveals complex variations of hues, particularly at skin areas. How such variability was achieved? In my understanding of egg tempera technique, a painter mixes pigments in raw state, grinds them on a stone with binder and puts resulting paints in dishes. Without mixing on a palette since tempera dries fast. I have several guesses, but what is correct? Perhaps, many pigment mixtures were composed in raw state? Or he composed just a few pigment mixtures and applied them in several very thin layers of varying density? Or he used tempera grassa which dries slower and mixed it on a palette like oil paints? Or the painting was heavily overpainted during many conservation efforts and we see a result of using slightly different pigment mixtures by restorers? This is certainly the case near some major cracks and scratches, but to what extent other areas are overpainted? 

    4. Is there a darker layer of paint under light areas of the skin? Or lighter parts were painted straight on a white ground with some sketch made with dark coloured lines? I guess I see darker underlayer in a lower left corner of his neck near the fur collar.

    5. What happened with some hairs of the left eyebrow (model’s right eyebrow)? I see crisp lines of dark coloured paint but a couple of lines are very dim. Were they abraded? Or they are parts of preliminary drawing covered by subsequent paint layers?

    6. The overall skin color is very yellow, about 1/3 more yellow than a real skin color of a Caucasian man could potentially be - I am judging by CIELab colour coordinates and limits given in an article by A. Chardon «Skin colour typology and suntanning pathways». I wonder is this a result of binder or varnish yellowing? Or an artistic choice to make it look more saturated?

    7. The color of his fancy hat is puzzling. Too orange for an ordinary cinnabar. I guess its color is an effect of particle size - somewhere I’ve heard that very finely ground cinnabar turns almost to carrot-orange. Or is it a result of fine glaze applied atop of cinnabar? Or another pigment was used too, like realgar or orpiment? 

    I would be grateful if you’ll share your opinions and point me towards research papers to read. Thank you.

  • Question asked 2019-04-26 20:41:17 ... Most recent comment 2019-05-02 10:21:09
    Egg Tempera Health and Safety
    Question

    Hello everyone. I have a question concerning  health issues as I am going to begin doing egg tempera.  Seeing that we handle pigments I think it is preferable to wear a protection mask so as not to breathe or inhale the toxicity of the pigment. Could you give me some advice on that I can anticipate? Thank you.

  • Question asked 2019-05-01 09:37:26 ... Most recent comment 2019-05-01 12:33:35
    Animal Glue Egg Tempera Rigid Supports Grounds / Priming
    Question

    Another panel question!

     I recently purchased a 5'x5' sheet of ¾" Baltic birch plywood and cut into 30"x30" pieces for use as panels.

    For two of these pieces:

    I applied a coat of RSG size, muslin adhered with RSG, and 8 layers of traditional gesso on BOTH SIDES of the panel. Save my application of cloth to both sides of the panel, my method generally followed instructions for gessoing detailed in Daniel V Thompson and Koo Schadler books. About 3 days of drying and the panels have warped a small amount in one direction. If I set a rigid rule from edge to edge of the panel, I can see about 1.5-2mm space between the center of the panel and the rule. Hanging the panel on the wall, the warp is barely noticeable, but I wonder, is this evidence of even greater instability of my panels in the near future? Or, if I'm willing to accept the current warp, could I paint them (with egg tempera), shellac the back, with any confidence?

    I've had extremely bad luck workign on plywood and also custom made panels in terms of warping at the gesso stage at this scale of 30"+

    Still learning a lot from this forum, thank you,

    eli

  • Question asked 2019-04-23 13:27:58 ... Most recent comment 2019-04-27 19:46:22
    Rigid Supports
    Question

    ​I would like to adhere a 30 x 44" sheet of  paper to a 1/4" sheet of aluminum 31" x 45" so that I can achieve a 1/2" aluminum border around the paper that will have  a machine-routed, 'mirror-finished' polished edge, similar to a glass beveled edge. I was told by Talas Conservation Materials that Bevo 371 drymount film would be the best canidate for a hot press, given its low temperature adherance rating at 150 degrees farenheit, and therefore not warping the sheet metal in the heat press. I am not certain how to prepare the main body of aluminum underneath the paper ...questioning if the metal will oxidize the paper sometime down the road or if it will remain relatively stable in typical gallery/museum envirnoments? I have found nothing negative attibutable to oxidation of aluminum as a rigid mounting surface that might affect the paper. So I am actually seeking best advice on mounting the paper to raw aluminum sheet given the use of the Bevo 371 film by itself. The aluminum is typically what I would purchase from an industrial supplier of  1/4" sheet aluminum. Can you help?

    --Doug

  • Question asked 2018-01-31 18:43:27 ... Most recent comment 2019-04-25 08:30:27
    Oil Paint
    Question

    Is the practice of using only oil - without any solvent - sound? Presuming I don't use an excessive amount of oil (meaning, one that would create a layer of its own, separate from the paint), would the produced paintings be technically sound, from a conservation standpoint?

    Assuming that this is the case, is there any sound way to speed up the drying time without toxic chemicals (siccatives etc.)?

  • Question asked 2019-04-23 04:32:22 ... Most recent comment 2019-04-24 17:05:26
    Alkyd Animal Glue Flexible Supports Grounds / Priming Oil Paint
    Question

    ​Dear MITRA team,

    I've read through a lot of the existing threads but I do still have some question on the sizing/priming of flexible supports. 

    Regarding rabbit skin glue, I understand that most artists have decided against it's use by now. But I would still like to know if conservationists unanimously advice against the use of RSG on flexible supports (like they have done with, for instance, the use of Zinc Oxide) or if it is more a matter of preference and which risks one might be willing to take with the material. I'm also not so clear on how do disadvantages of using RSG compare those of using PVA glue or acrylic size. I do understand the problems with cracking, but I'm still interested in using RSG for stiffness. I have to say, another reasons for me considering it is somewhat romantic. I like the idea of using a material that has been used and regarded as the best option for centuries. I'm aware of the faultiness of this logic though. So, please help! 

    My second question would be is it would be ok to use an alkyd based ground (I'm thinking titanium white, marble dust or similar, alkyd binder and maybe some oil) on top of the RSG or PVA, and under oil painting. I would do this mainly for time convenience (drying time). I wonder if succesive coats of oil would adhere well to the alkyd ground, that results quite glossy. 

    Finally, I would like to know how many coats of glue and how many of ground you would recomend for best results on flexible support. 

    Thank you so much for your great work! 

    Camila

  • Question asked 2019-04-21 15:07:33 ... Most recent comment 2019-04-22 23:13:52
    Animal Glue Rigid Supports Sizes and Adhesives Art Conservation Topics Egg Tempera
    Question

    ​One more panel and traditional gesso question:
    I was recently given a sample of honeycomb aluminum faced with fiberglass. I applied 4 coats of traditional gesso and after a week of dry time did a cross-hatch adhesion test. The adhesion seemed good. Anyone have experience with these materials? I don't know how fiberglass registers wil best practices but it seems like a potential solution for egg tempera paintings at a larger scale. Thanks in advance! - eli

  • Question asked 2019-04-21 12:03:40 ... Most recent comment 2019-04-22 17:46:37
    Animal Glue Acrylic Art Conservation Topics Egg Tempera Grounds / Priming Rigid Supports Sizes and Adhesives
    Question

    I'm looking for more panel advice, in this case to adhere Muslin or Linen to Aluminum Coposite Material. In my case Honeycomb aluminum for use with traditional gesso and egg tempera. I've heard BEVA works well but I hope to use at a scale of 30"x30" to 50"x50" and I don't have a heat press. Any thoughts? Or PVA could work: I've used Gamblin PVA to size linen in the past but that seems too watery for adhereing cloth to the ACM. Is there a good PVA Gel or glue? Finally, I've used Acrylic gel medium to glue paper to wood panels, could Acrylic gel adhere cloth to ACM? Thank you! - Eli

  • Question asked 2019-04-19 16:42:13 ... Most recent comment 2019-04-21 00:47:28
    Flexible Supports
    Question

    ​Hello, 

    I am researching ways to sew together individual pieces of linen (like a patchwork quilt) to be stretched over a rectangular stretcher. Eventually, I would like to do this at a very large scale, but for the moment I am just making studies. I am currently working with Claessens oil primed linen #13, which I have on hand. I wrote to Claessens to inquire about the weight of the thread they use in weaving this particular product, and they said it was nm 40. I have ordered a linen thread that is two-ply and advertised as 40 (though I wonder if there might be a difference because I am purchasing it in the US and we don't use metric?). My thinking is that matching the thread weight/strength as best I can will help keep the seams from slowly destroying the linen squares under tension over time. A friend suggested that using a sewing machine will help keep the seams even, and thus will spread the tension more evenly across the matrix than a hand-stitched textile surface would.  

    I wonder if anyone on this forum has suggestions for me (aside from the obvious "don't do this," lol!) Do you think linen is a good choice? The person I corresponded with from Claessens suggested that a synthetic fiber might be best. Linen has historical resonance that I appreciate, and it is strong, but I'd be willing to work with polyester if that seems more adapted to my purpose. I work in oil paint and use a simple gamsol/linseed oil medium. Do you think the Claessens pre-primed oil primed linen is a reasonable choice here, or do any of you think I would be better off with a different sort of priming under my paint layer? (Ideally I would like to paint on it and then cut it up and sew it together, not sew it and prime the resulting matrix as one surface). It seemed to me that a commercially made product would be likely to be more consistent than something I primed myself. If there is anyone out there who knows about large-scale textile display (quilts and rugs and the like) are there technologies I should consider for supporting this textile painting-quilt hybrid from the back? Any references you could give me would be much appreciated! 

    Thank you!

    Krista Schoening

    Painter

  • Question asked 2019-04-17 02:52:27 ... Most recent comment 2019-04-21 00:38:57
    Other
    Question

    I make mixed media work with a lot of paper elements, mostly drawing papers which I paint watercolor. However, I also use newsprint which I glue onto areas of acrylic paint and rub some of it away, and then paint that in watercolor. It bothers me knowing that newsprint yellows over time, and although changes to my work and the watercolor paint I later paint this paper has not had any color shift, ​I would like to chose a better alternative. I need a paper that is thin, short fibered, that can absorbed water-based paint. Nothing caught my attention at the art supply store, except for layout bond.

    Generally I seal these areas using a product called Polycrylic.

  • Question asked 2019-04-19 18:28:43 ... Most recent comment 2019-04-19 19:38:09
    Drying Oils Flexible Supports Oil Paint
    Question

    ​Regarding an oil painting on stretched canvas, I have heard a suggestion that one can use an iron on a low heat on the reverse side to flatten dents or folds.
    Elsewhere, it was said that heat will damage oil paint.
    I'm pretty sure that I have read that applying heat is an acceptible technique from a qualified source, but can't remember where.

    Csn you please give you views on this.
    (Assume that the paint layer is thin, flat and smooth.)

  • Question asked 2019-04-19 15:48:06 ... Most recent comment 2019-04-19 19:32:31
    Oil Paint
    Question

    How much tension should be placed on the canvas when stretched over wood bars and is it necessary to secure the stretcher bars together prior to stretching the canvas?

     

    My reason for asking is prompted by my method of stretching the canvas. I use a Fredrix style 22 cotton canvas that is unprimed at 7 oz. and primed at 11.5 oz. , plus an additional four coats of quality Gesso is applied to the stretched canvas.

    Tightness of the canvas allows for a "hollow" sound when thumbing the face side and there is some slight tension pull shown at most staples.

    Will the canvas tension impact the oils after several years?

    Is it advisable to secure the corners of the stretching bars or let the canvas maintain a good corner square? I have personally seen both methods used and am concerned if there is an advantage over one method.

    Patrick McGuire

  • Question asked 2019-04-16 15:06:51 ... Most recent comment 2019-04-19 15:48:58
    Oil Paint
    Question

    Several authors have recommended using a combination of Zinc White and Titanium White for use in landscape paintings especially for imagery of clouds; ratios of varying amounts including one part Titanium to 3 parts Zinc White. Book sources ranged from 1974 up to the present and written by established painters.

    I have personally used one product that offers a premade mixture of the two whites. However, I would greatly like to learn of using various ratios of Zinc White combined with Titanium White to achieve sky and tinting effects in landscape paintings along with the potential risk of Zinc White having a possible long term change.

    Your ideas and suggestions are appreciated.

     

    Patrick McGuire

    Tucson, AZ

  • Question asked 2019-04-17 11:10:17 ... Most recent comment 2019-04-17 11:55:14
    Grounds / Priming Sizes and Adhesives Rigid Supports Oil Paint
    Question

    ​I would like to adhere 3 ml - 5ml copper sheets to a panel surface to paint. What is the best practice for adhering copper this thick to panel? Is a different thickness recommended? Also, what is the best practice for preparing the copper to receive oil paint?  

  • Question asked 2019-04-16 19:06:16 ... Most recent comment 2019-04-17 11:46:13
    Acrylic Gouache Ink Watercolor
    Question

    From a conservation point of view, would it be a problem to layer acrylics, gouache, watercolors, inks, etc. over each other? For example, would a layer sandwich of:

    1. Watercolor
    2. Acrylic
    3. Gouache
    4. Acrylic

    (or some other combination) be a problem? I'd imagine that, once dry, the acrylic layers would keep everything below set.

  • Question asked 2019-04-16 22:45:10 ... Most recent comment 2019-04-17 10:14:17
    Animal Glue Egg Tempera Grounds / Priming Sizes and Adhesives Rigid Supports
    Question

    Does traditional RSG gesso adhere well to anything besides wood? I'm struggling to find a good solution for egg tempera painting at somewhat larger than traditional scales, about 30" square. I've had very mixed results in terms of warping panels when applying traditional gesso to high grade plywood of various thicknesses (both cradled and not) at a scale of about 30" square. I adhere a layer of cotton muslin to the face of plywood panels, also with RSG, to avoid checking, and also gesso both sides of the panels. My new fantasy is that if there really are adhesion issues with RSG gesso to materials like aluminum, fiberglass, etc what if linen or other fabric was glued to one of these materials?  The fabric could enjoy an industrial bond or a BEVA bond to the ACM or whatever kind of stable support and then the traditional gesso could enjoy a bond to the openness of the fabric… thoughts? (I've found one fine art manufacturer who suggests the surface of their ACM panels will take hide glue just fine, even without the interlayer of fabric, but they don't sell panels at a scale large enough for my purposes.) Thank you for thinking about this with me!​

  • Question asked 2019-03-15 13:06:25 ... Most recent comment 2019-04-17 02:58:48
    Egg Tempera Rigid Supports Grounds / Priming
    Question

    I have two questions regarding my particular case of preparing cradled plywood panels for egg tempera painting

    1. Will traditional RSG and/or RSG gesso adhere to a panel that has been sprayed or brushed with Shellac?

    2. Is it reasonable to seal a plywood panel with Shellac to keep moisture out and then use that panel with traditional RSG and/or gesso? From my research and experience it is common to simply size wooden panels with RSG first, and then continue to apply RSG gesso. However given the hygroscopic nature of both the wood and RSG, wouldn't sealing with Shellac first at least help reduce movement and other problems caused by moisture? The panel manufacturers I have been talking to in New York certainly encourage sealing panels with Shellac but the majority of their customers are working with acrylic and oils, not traditional gesso and egg tempera. What do you think?

    Thank you, I love this forum btw!

    Eli

    Eli Bornowsky

  • Question asked 2019-01-29 18:43:38 ... Most recent comment 2019-04-17 02:43:56
    Acrylic
    Question

    The only recommendation I have ever found for what to use as an isolation coat is a mixture of water and Golden soft gel gloss. Are there other products that make a good isolation coat, with or without mixing with water? I am interested in a brushed, not sprayed, application.

  • Question asked 2019-04-14 09:08:29 ... Most recent comment 2019-04-16 18:53:12
    Other
    Question

    ​I have many colors of Lefranc & Bourgeois Flashe vinyl paint, and am not using them quickly. I've noticed that they tend to harden in the jar, though I'm careful to keep the jar threads and lids clean and screwed on tight. I don't want to add water and potentially create mold, and am wondering if anyone knows a good vehicle to thin this paint and keep it usable longer.

  • Question asked 2019-04-16 11:07:04 ... Most recent comment 2019-04-16 14:23:04
    Oil Paint
    Question

    An observation was made on two types of finished oil paintings: stretched canvas and canvas panel on paper hardboard, that reveal some type of impact heat may have on the thin layer of walnut oil rubbed over the final painting before varnishing.

    After the first week of drying time, a nice oily shine appeared on the canvas. At the end of the third week under much higher temperatures (85 to 100 degrees F ), the surface now showed a visible dry and flat appearance as if no walnut oil was applied.

    Each painting used a quality canvas, received four (4) additional coats of gesso and quality oil paints were used.

    Did heat change the appearance of the walnut oil and it remains on the surface, but not in a shinny wet appearance?

    Did the heat evaporate the walnut oil product?

    Did the higher temperatures allow for the oil to be absorbed into the painting, requiring additional coats of walnut oil prior to the application of varnish?

    Your thought would be most appreciated!

    Patrick McGuire

    Tucson, AZ

  • Question asked 2019-04-13 17:03:52 ... Most recent comment 2019-04-15 11:04:41
    Oil Paint Paint Mediums
    Question

    ​Hello,

    I want to start exploring impasto techniques and more sculptural techniques with oil paint, and I'm trying to learn the best ways to do that without my painting falling apart. I like to paint on wooden panels so I was wondering if I could use a product like Golden's molding paste to build up a texture, and then paint over it? What steps would I need to take to do this properly? My current plan would be to size the panel with GAC 100 x2 layers, then 2 layers of acrylic gesso, then the molding paste on top. Does the type of molding paste I choose matter?

    I also bought an impasto medium from W&N to try out, but thick oil paint layers can take a while to dry which is why I wanted to explore other options. I don't want a case where my paint never dries properly.

  • Question asked 2019-04-12 15:27:11 ... Most recent comment 2019-04-13 07:22:00
    Question

    ​What are the risks of intermixing brands of acrylic paint; for example, a jar of Liquitex white tinted with a color from Golden or Dick Blick?


    Thanks,


    Koo Schadler

  • Question asked 2019-04-10 10:18:39 ... Most recent comment 2019-04-10 11:54:08
    Acrylic Art Conservation Topics Rigid Supports
    Question

    ​Hi,

    I usually paint small and use either dibond or plywood panels. I am about to start a larger piece (in acrylics): 60x100cm and I wonder which support should be better. Dibond is lighter but isn't it more fragile and ready to bend? Heavy outdoor plywood is obviously very heavy but looks stronger to me. What do you think? Thank you.

    Best regards,

    Thomas Ehretsmann (France)

  • Question asked 2019-04-08 15:36:08 ... Most recent comment 2019-04-08 18:24:48
    Question

    ​I am writing about imprimatura and have 2 questions.

    Can an imprimatura tone a ground ANDan underdrawing or should it read ground OR underdrawing?

    I know that an imprimatura can be a translucent glaze of paint, can it also be a colored size or colored varnish?

  • Question asked 2019-04-03 15:16:04 ... Most recent comment 2019-04-04 12:54:12
    Gilding
    Question

    ​What is the best practice for gilding on paper? 

  • Question asked 2019-04-01 15:34:25 ... Most recent comment 2019-04-01 23:01:09
    Acrylic Drying Oils Varnishes Oil Paint
    Question

    ​Hi,

    I have recently come across a waterbased varnish (Acrylic resin 80%; stabilisers - according to the manufacturer's website) that is recommended as a product for varnishing oil or acrylic paintings. I have never seen a waterbased acrylic dispersion varnish recommended for use on oil paintings before.

    I am curious as to your viewpoints on this. Specifically regarding adhesion and ease of removal.

    Many thanks.

  • Question asked 2019-03-25 22:39:44 ... Most recent comment 2019-03-31 21:14:25
    Varnishes Oil Paint
    Question

    ​Hello all,

    I have been experimenting with Gamvar matte varnish to even out the alternatly dull and shiny areas in my oil paintings, which have large flields of flat color over a smooth surface. The brushstrokes from the varnish application are showing up when the varnish dries and it's distracting to the work. I understand that matte Gamvar is the trickiest to apply and am experimenting with different techniques. In the meantime, I asked a Gamlin product specialist on the phone about spray-applying the matte Gamvar, which they said required a proper respirator and ventilation, but is a common practice for conservators. Has anyone attempted this and can you offer tips before I give it a try? Would this require an air compressor, or can I use a Preval sprayer? Finally, is there a company or conservator anyone can reccomend in NYC that I might be able to hire to do this for me? I reached out to some prominent NYC art materials and finishing companies but so far am coming up dry. Thank you in advance!

    -Aliza

  • Question asked 2019-03-29 11:52:21 ... Most recent comment 2019-03-31 19:41:30
    Drawing Materials Varnishes
    Question

    I want to explore the idea of applying fixative or varnish to a metalpoint drawing.  My reasons are:

    1.  I combine metalpoint with fairly developed egg tempera painting on panel (see attached as an example: metalpoint lettering & egg tempera rabbit on Golden black gesso); the work, to me, appears too "removed" from the viewer when framed under glass - so I'm looking for a way to frame without glass that will nevertheless give some protection to the surface; i.e. a light spray coating of B-72, followed by a wax medium.

    2. In my metalpoint experiments (described in an earlier MITRA post) some metals and grounds, when exposed to a lot of sulfur, faded or completely vanished.  I understand the lesson: trying too rapidly to speed up tarnishing can be detrimental to a drawing. However, it also points to the potential vulnerability of metalpoint lines; the insecurity of their attachment to a support.  I realize there are many centuries-old metalpoint drawings in good shape, so I don't mean to say it's not a durable medium; only that it also has the potential to not hold up well. Additionally, I've heard two artists comment that drawings on "Plike" paper tend to "fade" or lose their metalmarks, but many metalpoint artists love working on Plike.  Would a fixative be a good idea for those people who opt for the convenience of a pre-made, less-than-ideal metalpoint paper?  

    I understand that a fixative (depending on how sealing or heavily applied) may slow or completely stop the tarnishing effect, but what if an artist doesn't mind or actually wants to deter tarnishing?   Would a light coating of fixative still allow for tarnishing?  

    In short, if fixatives are suitable for other forms of drawing, are they suitable for metalpoint as well?  

    Tho' I'm interested in subjective preferences, I primarily want to hear the objective, technical pros and cons.

    Thanks,

    Koo  

  • Question asked 2019-03-29 17:49:06 ... Most recent comment 2019-03-30 17:58:20
    Varnishes Oil Paint Grounds / Priming
    Question

    ​​Is there any technical reason why it would NOT be a good idea to leave parts of a white acrylic dispersion (gesso) or clear matte acrylic dispersion (matte medium) ground exposed in the final painting, which would ultimately be varnished? This would be oil painting. I'm also wondering if a varnish, i.e. Galkyd, would look different over the oil paint areas vs the exposed gesso areas. Thank you for any thoughts.

  • Question asked 2019-03-24 17:53:34 ... Most recent comment 2019-03-25 16:40:35
    Flexible Supports Oil Paint Art Conservation Topics
    Question

    ​Apart from possible aesthetic considerations, a polyester canvas would seem a more ideal flexible support than linen or cotton, at least in longevity.  Less reactive to humidity, embrittlement and bacterial attack, it would appear almost perfect.  

    Except, what about heat?  What damage would occur should some future person try to iron it down to another support?   Would the polyester reach a temperature likely to cause damage in a way that say, linen wouldn't be in a similar procedure?  When using a polyester canvas should we make sure that we find some form of pre heat shrunk material?  Is this even available, or is it something already standard in polyester artist canvases?

  • Question asked 2019-03-25 11:33:22 ... Most recent comment 2019-03-25 13:31:03
    Acrylic
    Question

    ​Hello! I've an acryllic painting on a piece of  1 inch standard plywood (smooth on top) that is beginning to check. The wood was sanded, then a primer was put on top, and then the acryllic paint was applied. The painting was begun in December 2018. Is there a way to prevent or stop the checking with the painting already done?

  • Question asked 2019-03-24 17:21:16 ... Most recent comment 2019-03-24 19:53:39
    Flexible Supports
    Question

    ​Are either considered to be more ideal in stretching canvas?

    I've used both and find the tacks to be a little more adjustable.  That is to say I can more easily remove and reposition them.  Though one wonders about the impact shock from hitting them in.  On the other hand the staples also seem to go in with quite a "bang".   Not much of a concern with a yet to be primed surface, but what about restretching old paintings?  Could old paint be loosened from the canvas?

  • Question asked 2019-03-24 14:35:27 ... Most recent comment 2019-03-24 19:07:43
    Oil Paint Paint Making Mural Painting
    Question

    ​Hello Mitra,

    I am going to make some large format paintings for certain commissions.  Since the paintings are extremely large i find tube paints inadequate because they are too "short".  Although i know tube paints are grounded to perfection they dont leave "long " and flowing brushstrokes that will allow me to work faster and in the style i want.  

    Since these paintings are going to be alla prima, I want a fast flowing paint that its vehicle is adequate for what i want and also not going to self destruct because of poor formula for the vehicle.  

    Is there a wax and linseed oil formula that can be recommeded?  I say wax because i heard that  wax would give me a "long" paint.  

    If wax isnt adequated what does Mitra recommend? 

    Thank you,

    Hector 





  • Question asked 2019-03-21 13:40:15 ... Most recent comment 2019-03-21 18:35:14
    Question

    I am working on some definitions; the definiton I am working on right now is glair.

    My first step is reference books and then I go to primary sources whenever possible. My resources, older reference books, state that glair is used for bookbinding, gilding, and painting watercolors on parchment. I talked with one bookbinder and he gave me his recipe for preparing glair and said it was used most for tooling and gilding simultaneously. He said that he used a “bone folder” (non-metal) for folding vinegar and skim milk into frothy egg whites that had set. However when I tried to verify with other book binders no one had heard of it. Is my first source reliable? Is the term bone folder in common use?

    I also contacted artists working on parchment. Only one had heard of glair and she didn’t know if it was still in use. She later said that one of her colleagues uses glair with dry pigments when painting and gilding on parchment but she didn’t know if he made his own glair or bought the commercial variety. Does anyone know the pros and cons of handmade glair vs. commercial glair?

    Thank you in advance for your help.

    Susan

  • Question asked 2019-03-20 15:19:08 ... Most recent comment 2019-03-20 17:25:32
    Art Conservation Topics
    Question

    ​I have a painting when my apartment whas broken into they spray painted a Texas longhorn emblem on it, I believe the painting is acrylic can the spray paint be removed and not destory the painting?

  • Question asked 2019-03-19 15:28:02 ... Most recent comment 2019-03-20 12:09:16
    Chalk Egg Tempera Grounds / Priming
    Question

    Over the years ​I've tried various chalks (calcium carbonate) and gypsum (calcium sulphate) to make gesso. I've come to prefer a fine marble dust, for hard to define reasons: it's a bright white, has the right "feel" of hardness to me, and admittedly I probably like the idea of working with ground marble.

    Within the two general categories of chalk and gypsum there are many different products available, differentiated by source, type of grinding, processing, natural coloration, etc.  Is it correct to say that these properties don't affect the quality of the gesso, rather they merely reflect individual artist preference (such as my own mentioned above)? Are these differences actually perceptible (aside from the obvious visual one of coloration)?  

    Finally, is there any reason to make a egg tempera ground (final layer, not initial) using a medium or coarse grind chalk or gypsum, or would that increase porosity/absorbency too much?


    Thanks,


    Koo Schadler

  • Question asked 2019-03-18 10:00:33 ... Most recent comment 2019-03-19 09:21:21
    Varnishes Studio Tools and Tips Health and Safety
    Question

    ​Hello MITRA,

    How long it takes for turpentine to evaporate from a freshly applied layer of dammar varnish over an oil painting with dimensions 80X60 cm?

    I plan to invest in local exhaust ventilation (LEV), so it would filtrate varnish vapor. In this process I would varnish painting inside a LEV hood. I don't konw how long to keep it inside.

    Kind regards,

    Damir P.

  • Question asked 2019-03-12 15:01:32 ... Most recent comment 2019-03-15 15:43:16
    Rigid Supports Oil Paint Industrial and Non-Traditional Products Alkyd
    Question

    I'm considering using either PMMA or a composite panel for an oil painting (using alkyd medium). I expect the size to be around 100 by 70 cm, possibly a bit smaller. In order to keep the weight of the panels manageable, I don't plan on using PMMA thicker than 4 mm (the composite panel will be 3 mm). I understand that this should be cradled somehow on the back? Or would a solid frame with back supports suffice?

    On that note, is there a general rule for how large a panel can be, given its thickness, before it needs some sort of cradling?

  • Question asked 2019-03-14 00:55:45 ... Most recent comment 2019-03-15 01:24:15
    Drying Oils Oil Paint Pigments Technical Art History
    Question

    ​I'm wondering if the mechanism for oil paint becoming more transparent over time is well understood?

    More specifically, if I paint a layer of paint over another layer, will they both become more transparent at the same rate, or will the top layer become transparent more quickly?

    I know some pigments will fade more quickly than others, but for simplicity, let's make the pigments in both layers identical.

  • Question asked 2019-03-13 19:43:15 ... Most recent comment 2019-03-13 22:21:37
    Pigments Oil Paint
    Question

    ​Hi! I love Williamsburg Oils’ color they call Alizarin Orange but I’m confused about why its lightfastness rating is Fair, when the pigments it consists of are rated as Excellent by Gottsegen. It consists of PR 177 Anthraquinone and PY 83 Diarylide Yellow HR-70. Bound in alkali refined linseed. Both PR 177 and PY 83 are rated as having “excellent” lightfastness in oil by Mark David Gottsegen in his book. Who is correct?

    I typically use this color by itself in thin glazes but sometimes in tints with titanium white or mixed with other transparent warms like quinacridones.

  • Question asked 2019-03-10 10:16:02 ... Most recent comment 2019-03-10 21:18:12
    Chalk Flexible Supports Pastel
    Question

    I have tested some kraft paper (the brown one used for packing) and construction paper and concluded that the surface works really well for drawing, even better than some art papers. I tested them and it appears both have good pH, but I know that they will probably still deteriorate with time.

    I read in the Flexible Supports advice that paper can be attached to a rigid support to preserve it for longer, and wanted to make sure  whether this applies to all papers, including ones not strictly intended for artist use?

    My plan of securing them would be: attach the paper to an HDF or hardboard cut to a slightly bigger size using a heavy acrylic gel (or acrylic gel medium) spread on the board surface, remembering to press the paper so that there are no air bubbles/creases formed. I know that the paper will likely still discolor, but I don't mind that. Considering the durability of acrylic, I would expect the drawing to last indefinitely in the right conditions, since even though the paper would become brittle, the strength of the acrylic medium would hold it together. Can anyone knowledgeable about this subject comment? Should I be worried about pigment discoloration, if I plan to use lightfast pigments like charcoal, sanguine and white pastel?

  • Question asked 2019-03-08 12:53:00 ... Most recent comment 2019-03-08 14:46:10
    Animal Glue Art Conservation Topics
    Question

    I am looking for an archival glue for adhering wood to paper that dries fast. I am using small pieces of wood to make an armature for paper for a diorama. I had been using an archival hot glue but it seems too brittle and will not hold the individual pieces to the wooden box they are going in to.  

  • Question asked 2019-03-05 19:00:19 ... Most recent comment 2019-03-06 15:54:53
    Paint Additives
    Question

    ​ I'm trying to evaluate the degree of risk associated with inluding one frequently used colour bound in safflower oil (a white paint for example) in a palette where the rest of the colours are bound in linseed oil and the paintings are on rigid panels.  


    Your document on mediums states that paints bound in safflower oil yield a "slightly weaker film" than those bound in linseed oil.   I can see how this would be an issue when painting on stretched fabric where the paint needs to withstand flexing but is this less of an issue when painting on a rigid surface?    


    Secondly, colours are rarely used without being mixed with other colours. If only one of the paints on the palette contains safflower oil does that also reduce risk?  


  • Question asked 2019-02-25 12:14:22 ... Most recent comment 2019-02-25 21:50:34
    Rigid Supports
    Question

    ​My Mt. Athos friend has another question. 

    The icon workshop seals all sides of their wood panels with Lascaux Varnish (which I believe is B-72); 3 layers on front, 2 on back and sides.  They do this as the last step.  Is there a preference as to when sides and back get sealed (i.e. when the panel is first made, or when the painting is finished)?  And does B-72 protect against  humidity as well as an oil based paint?  

    Thanks,

    Koo

  • Question asked 2019-02-22 13:02:50 ... Most recent comment 2019-02-22 17:38:38
    Oil Paint
    Question

    ​Hi There, I'm a painter and am looking to incorporate spray paint into my paintings. I usually paint in acrylic first then oil and would like to be able to paint with an oil based spray paint in the upper layers of the canvas. Do you know what the longevity or archival nature of using a oil based spray paint or enamel might be? what changes or adhesion issues might i run into using a product like rustoleum? is it a big no-no? should I try using high quality oil paints via an airbrush instead? Thanks!

  • Question asked 2019-02-20 02:18:13 ... Most recent comment 2019-02-22 03:42:35
    Oil Paint Paint Mediums Alkyd Drying Oils
    Question

    Dear MITRA moderators,

    Due to my painting style, I need a medium that will enable me to blend my initial wet-in-wet oil layers the next day. Like many, back in the day I used the old painting medium mix of 1/3 each dammar varnish, linseed or stand oil, and artist's rectified turpentine. Needless to say, once I learned of the longevity pitfalls with dammar varnish, it has been in my rear view mirror. I also switched from turps to odorless mineral spirits. I do miss the "buttery feel" of how the paint moved when I used the old 1/3's mix.


    I started using walnut oil several years ago when I was told that it yellowed less than linseed products. When I learned that alkyd oil mediums are recommended for the greatest longevity, I tried one, but it dried way too fast for my technique, getting quite gummy both in the brush and on the panel before the end of my painting session. I then tried the walnut alkyd, which I greatly prefer over the other alkyd medium brand due to the slower drying time, but it also gets too gummy and isn't reliably blendable the next day. (I do mix a touch of OMS with the walnut alkyd, which works better than the straight product for me.)


    Additionally, with both the walnut oil medium and the walnut alkyd medium, I find each layer to be a weak paint film when dry to the touch or even "bone dry". I have read similar comments about walnut oil's weak paint film on other MITRA posts, though the manufacturer has assured me that it will get stronger with age. However, my periodically slightly vigorous application or removal technique when painting indirectly with subsequent layers has meant that sometimes I inadvertently bite into the previous layer, so I'm also looking to strengthen my painting medium. 


    Chemically, I know that walnut oil and stand oil should be compatible, but would it overly complicate the structure to put a few drops of stand oil in with my walnut alkyd medium – or at least the last couple of fatter paint layers? Are the benefits of alkyd oil painting mediums so great that it would outweigh any such complication, or would it be better to return to a slower-drying oil medium mixture – but without the dammar varnish? 


    I want to make painting fun again like it used to be! For me, this means paint that flows and moves, doesn't dry too quickly, and makes a strong paint film so that I don't have to worry about removing the previous layer when cleaning up the edge of a newly applied stroke. It also means that I can rest easy knowing that I have done my best to create works with the greatest chance for longevity.


    I appreciate any information or advice you can impart. Thanks very much!

  • Question asked 2019-02-20 11:53:31 ... Most recent comment 2019-02-21 13:38:18
    Rigid Supports
    Question

    ​Has anyone used Inner Glow panels?  Does the wood check or split or has it been properly seasoned?  thanks so much.

  • Question asked 2019-01-24 06:06:43 ... Most recent comment 2019-02-20 22:39:27
    Paint Making Watercolor Pigments
    Question

    ​Dear MITRA Moderators, 

    I want to create a three-layered paper piece based on the element of Earth. I'm doing a four-piece suite, one for each element, and am involving each element directly (for fire, I burned the edges of the paper), etc.

    I'm using a 300 lb paper for the first layer, and would like to use natural pigments including clay soil. I'll adhere a second layer (140lb paper) to the first with a brayer, using a product recommended to me by the art supply representative (Daniel Smith Transparent Watercolor Ground). I'd like to use natural pigments here, including clay soil and a homemade walnut stain. For the final paper layer, I'll adhere a thinner paper (I think it's 90 lb) and use watercolor pencils. I plan to distress the first and second paper layers respectively to expose the pigment underneath.

    Does this sound like a sound approach? Can you use regular clay from a yard or creek? Is homemade walnut stain ok to use, or would it be too acidic, etc? 

    Many thanks! I'm really excited about this project!

  • Question asked 2019-02-11 15:39:36 ... Most recent comment 2019-02-16 11:41:10
    Sizes and Adhesives Grounds / Priming Rigid Supports Flexible Supports
    Question

    ​Hello dear people from MITRA.

    I wanted to ask some questions regarding mounting on wood panels.

    1. Do you think that 9mm birch plywood is ok to use as a base for mounting  canvases, papers?  If not, what kind of wood do you think is better to use as a base for mounting?  

    2. Before mounting a canvas/paper to wood, do you think that wood should be sized with something? And if you do, with what kind of sizer? 

    3.When mounting a linen canvas/paper what kind of glue should i use? I have heard people using Golden Soft Gel as a glue for mounting canvases/papers , or some kind of PVA glue...? 

    4. Do you think that this practice of mounting canvas/paper on wood panel is archival? 

    Thank you


    Marko Karadjinovic

  • Question asked 2019-02-13 12:53:41 ... Most recent comment 2019-02-13 15:27:43
    Pastel
    Question

    ​If there an archival way to affix pastels?

  • Question asked 2019-01-30 12:33:30 ... Most recent comment 2019-02-11 15:25:44
    Oil Paint Pigments
    Question

    ​As I reach the end of my titanium white supply, I am revisiting the decision to again mix a 50-50 lead-titanium white for painting.

    Titanium white gives a greater opacity over time, but my understanding is that it creates a "softer" paint film.

    Lead carbonate white has less opacity, but creates a stronger, harder paint film.

    I mix them to hedge my bets with some of the good properties of both.


    As I now paint almost exclusively on 10 mm, honey combed, aluminum panels, which will not bend , expand, or stretch like stretched linen, how important is it to have a "strong" paint film?

    As I am now using a 25-75 walnut alkyd-OMS medium, is there enough strength and flexibility provided by the alkyd to eliminate the lead carbonate?


    I tryi to keep things simple and the paintings "permanent" and when there is an opportunity to do so, I question my methods and materials.


    Thanks for your help,


    Richard


    PS   Not sure that I can do anything more to provide permanence in my paintings.   Painting on panels is a biggie.

  • Question asked 2019-02-10 05:29:14 ... Most recent comment 2019-02-10 15:12:52
    Grounds / Priming
    Question

    ​I am looking into using a gesso consisting of French marble dust, limestone powder, titanium dioxide pigment and plant-based binders (Methyl Cellulose).  Or one with just the limestone and methyl cellulose. (I am unsure of the ratios because the powders come premixed)

    I have a few questions:

    Are there any conserns to consider about any of the ingredients, soaking up, cracking, archival etc.?

    Does anyone have experience using a type of alternative gesso like these?

    The gesso will be used as a ground and primer for streched linen canvases, applying 2-3 coasts. 

    Reason for this type of ground: looking for a nontoxic enviro friendly option. An alternatve to acrylic, PVA or rabbit hide options.  

    thank you in advance for your time

  • Question asked 2019-02-06 17:36:32 ... Most recent comment 2019-02-10 11:14:43
    Art Conservation Topics Egg Tempera
    Question

    Hello Mitra,

    Among the questions the Mt. Athos iconographer sent me, what follows is the most vexing.  It is also very complicated.  His email explanation was very long, so I have extracted the main points below.  

    The Problem

    The workshop has a large icon production, each monk using same materials and procedure.  About 3 years ago some icons appeared "faded" (not sure if icons are literally losing pigment particles or pigments losing their color).  See images, attached.  On left, icon in good shape; right, icon with diminished color.   He says they appear worse in person.

    Mt. Athos Icons, 1.pngMt. Athos Icons, 2.pngMt. Athos Icons,3.png

    - The color change takes place within 3-6 months after completion. 

    - Does not occur on all icons

    - Occurs on both unvarnished and varnished icons.   

    - Occurs mostly on large icons.

    Materials & Methods of Workshop

    - Use Cedar Wood Panels

    - Traditional Gesso with 100-300 bloom strength glue

    - Use pigments that are, in his words, "dried out, old, cheap"

    - Use premade (by the monks) mixes of 6 to 8 pigments for flesh and other areas

    - 1 part egg to 1 part vinegar medium

    - Hard, tap water to thin paint

    - Would often thin tempered paint with water considerably

    - Finished with Lauscaux Acrylic Varnish

    - Very humid environment

    Changes

    In an effort to solve the problem, they made the following changes:

    - Replaced all pigments with new colors from good companies

    - Simplified premixes of color to just 2 pigments (i.e. flesh = Iron Oxide Yellow from Schminck, Eisen Oxide Orange from Kremer)

    - No vinegar in medium

    - Replaced tap with distilled water

    - Not thinning tempered paint with water anymore

    Once they made the above changes, the problem decreased 80% but is not entirely gone.  

    My Comments

    I have a few comments on their practices:

    - Use a 450 bloom strength, 100% collagen glue in gesso.

    - If working with pigment pastes, be attentive to the potential for mold (i.e. if pastes are partly drying out & sitting for a while)

    - Pigment age isn't an issue (they don't become "old") unless they are (a) in a hydrated/semi-moist state (can cause mold), or (b) a fugitive color, which can be affected by UV light (work with ASTM Rated III colors).

    - A "cheap" pigment isn't necessarily bad, many earth colors are very inexpensive.  However important to buy from a reputable supplier of artists pigments that can give specifics (origin, lightfast rating, toxicity, etc). 

    - Complex premixes of color are fine.  However greater complexity  in a system = greater chance of problems, harder to diagnose source of problem.  Nonetheless, doesn't mean a complex system can't be successful. 

    - Mineral pigments are most stable.  

    - Vinegar can act as a preservative but it's acidity may affect some colors.  Better to nix vinegar and just start with fresh egg (as they are now doing).

    - Once paints tempered properly (correct ratio of yolk to pigment) can thin tempered paint with more water to affect working properties.   In fact, would be unnecessarily very limiting to work only with paint of all the same density.  

    However, if you significantly thin tempered paint with water, at some point the binder (egg yolk) is so dispersed, that it becomes necessary to add a drop or more yolk medium to paint. There isn't a precise formula for when more yolk is needed in very water-thinned paint, more of a feeling; i.e. when paint feels like watercolor instead of a bodied, egg-based paint, add bit more yolk to the paint. 

    Explanation for Changed Colors

    While I think the icon workshop could (or already has) improve some of their practices, none seem to explain the change in appearance of the icons.  I don't even understand what's happening to the color!  Given that some varnished icons faded as well, I don't think they could be literally losing pigment (as a varnish wouldn't permit that); it seems more likely pigments are losing color.

    The two things that strike me as potentially problematic are (a) the high humidity in their region, and (b) the cedar panels.  I was struck by the response to an earlier question I posed which mentioned VOCs emitting from cedar can affect metallic colors - might the VOCs be turning some pigments transparent?  If so, why some icons but not all - different wood & atmospheric conditions? 

    So I'm puzzled by his dilemma and welcome any ideas.  I also welcome response to my comments to the workshop to improve their practices.  

    Thanks,

    Koo Schadler

  • Question asked 2019-02-02 13:17:56 ... Most recent comment 2019-02-06 17:37:35
    Rigid Supports
    Question

    My Mt. Athos correspondent says the monks work on cedar panels. I suspect they work on cedar because the wood is insect and rot resistent, but are there consequences to the resins in such a wood?  Cedar takes staining very readily; does this mean it's especially porous and thus more vulnerable to absorbing RH?  Any more thoughts on the pros and cons of cedar as a painting support, specifically cedar coated with traditional gesso?


    Thanks,

    Koo Schadler

  • Question asked 2019-02-06 08:55:15 ... Most recent comment 2019-02-06 14:48:52
    Paint Mediums Solvents and Thinners Oil Paint
    Question

    ​One of my colleagues used to use Laropal K80 for making his own painting medium. This product, however, is replaced by Laropal A81 for some time. But using this new A81, the ratio laropal/white spirit seems off, it turns into a tough sticky substance. Does anybody here, know what the ratio should be, or how to avoid the gunk?


    Thanks

  • Question asked 2019-02-02 12:27:08 ... Most recent comment 2019-02-03 07:57:52
    Animal Glue Grounds / Priming
    Question

    Hello,

    I recently received an email from a monk living on Mt. Athos; he works in the Iconograpy department.  He has many question, including trying to address a recurring problem with their icons.  I'm in the process of editing his query to a manageable size.  Here is the first of several questions from him that I'd like to pose to MITRA:

    Is the most important thing in a gesso glue that it is genuine collagen and good quality, or that it has a high bloom strength?  We are currently using Lucas brand, bloom 100-110 and 180-200.  I understand that the recommendation for gesso is 450 bloom. So can RSG be good quality but also a lower bloom? 

    Thanks for helping me to help the Mt. Athos monks.

    Koo Schadler

  • Question asked 2019-01-30 22:50:10 ... Most recent comment 2019-01-30 23:22:22
    Oil Paint
    Question

    ​Maimeri makes a product called Eco Oil Medium. Looking up the SDS, it is 100% Dipropylene glycol (DPG), readily available from hobby cosmetic suppliers. It seems to have a good safety profile.  It sounds like it would replace the use of a drying oil as a medium, with lower viscosity (described by one user as watery). I might find the Eco Medium preferable if it doesn't cause yellowing or longer drying times, as oil mediums can.  Is anything known about adding dipropylene glycol to oil paint?  Should it be considered experimental?

  • Question asked 2019-01-28 06:48:52 ... Most recent comment 2019-01-29 17:03:16
    Question

    I read in another post that "Alkyds dry quick to the touch, compared to oils, because of the long polyester polymeric chain component to them." ... but   

    "After this first drying step, they dry much like traditional oil paints, which is by auto-oxidation and cross-linking.  So, they dry to the touch faster, and can get ‘stiffer’ faster, compared to oil paints, because of the polymer component, but they eventually dry in a similar fashion to oil paints."

     The key advantage of alkyds then seems to be that they quickly provide a touch dry layer that can be painted over. However, am I correct in assuming that paintings done using alkyd paints and mediums still come under the recommneded 6 to 12 month drying time before varnsihing. 

  • Question asked 2019-01-24 08:10:00 ... Most recent comment 2019-01-25 07:31:19
    Grounds / Priming
    Question

    ​can I use oil primer over an old acrylic painting to then paint a new work in oils

  • Question asked 2018-11-07 14:46:31 ... Most recent comment 2019-01-25 00:30:05
    Acrylic Rigid Supports Art Conservation Topics
    Question

    ​Hi,

    I am working on a painting (acrylic) on heavy plywood (about 2cm thick). It is 48x48cm. I would like to frame it when it's finished. But I am worried about using screws. Is there a way to frame that painting without making holes in the back? Also, the whole picture should remain visible so I can't press its edges on the front against the frame... 

    Thanks a lot for your help.

    Best wishes.

    Thomas

  • Question asked 2018-08-12 05:50:43 ... Most recent comment 2019-01-24 04:44:57
    Environment Flexible Supports Storage Rigid Supports Oil Paint
    Question

    ​Dear MITRA moderators and community,

    First of all, thank you so much for your time and expertise. I really appreciate this valuable resource that you are providing.


    My question is about relative humidity, and its potential impact on artwork, particularly on oil paintings. I have read your very informative pdf about artwork storage and whatever else I could find here or elsewhere about the issue, but did not see specific information as to what specifically constitutes "wide swings" or fast changes in RH.  Would this be something really quite drastic, such as leaping from 35% to 85% in 30 minutes, or does the phrase refer to more numerically subtle conditions, such as 55% to 65% within 24 hours?


    Since late May or early June, I've been experiencing humidity issues in my rented studio space that I definitely did not have last summer. I have a combined thermometer/hygrometer there as well as in my home studio. At the start of this, I was experiencing high humidity levels in the rented space of 70-75%, and even discovered some brown drips down one of my interior walls!  

    My landlord has been very responsive, and after fixing an air duct leak that had caused the brown condensation drips, he purchased a small dehumidifier for me to use. I know to avoid "wide swings" or fast changes in humidity, so hopefully I stepped it down slowly enough at first. While I was initially pleased that the dehumidifier unit has manual settings and three fan speeds to facilitate a slow change, unfortunately it just can't maintain a steady humidity -- I am usually still getting 10 or more percentage point swing each day. The daily temperature has remainded constant -- 70-72F.

    The supportive landlord is now making several changes and improvements to the property, including sealing my two exterior brick walls from the outside, as well as underneath my concrete floor from the basement, which will all hopefully contribute to a more managed interior climate.  In the meantime, is a daily swing of 10% considered a "wide, fast spread"?  My target is to get it down to 50% RH, but after a spike, I am setting it for 60 then 55 in an attempt to walk it slowly back down again.

    I wonder if bringing the oil paintings back to my admittedly overcrowded home studio would be a better temporary storage solution until the landlord gets this under better control. I do have client and curator studio visits in the rental space, so moving the oils isn't the ideal solution for other reasons, but the longevity of my work is of greater importance to me. The paintings that are hung on the two exterior brick walls (unavoidable since it's not a cavernous space) have blueboard backings. The only deformations I have found are on some studies done on small, flat panels that have no cradling. (I have already spoken with the Ampersand representative on how to handle that issue.) I have both oils on stretched linen and oils on cradled Gessobord panel in the space, both finished and framed, as well as in progress. I also have works on paper (framed and unframed) and framed photography in the space.

    I appreciate any further specifics you can provide on what exactly a "wide, fast" humidity spread would be in 70-72F, and whether it would be better to safely pack up the paintings and bring them home for now.


    Thanks again!

  • Question asked 2019-01-17 15:25:23 ... Most recent comment 2019-01-19 18:37:32
    Matting, Framing, and Glazing Rigid Supports Oil Paint Art Conservation Topics
    Question

    ​I've been trying to come up with a better way to frame oil paintings on (solid, uncradled) wood panels. My current thought is: 

    1. Construct the frame to allow for the appropriate amount of room for expansion within the rabbet. Fill the voids on the sides of the panel with a polyethylene foam (e.g. EthaFoam, Volara, Cellu-Cushion). 

    2. Cut a large piece of polyethylene foam to fit behind the panel, filling the rabbet flush to the back of the frame.

    3. Screw a piece of 1/8" plywood to the back of the frame to hold everything in place. 

    Basically the panel would be surrounded, sides and back, with foam that would hold it firmly in place and keep it centered in the frame, while also not restraining the panel, so that it can move in response to changes in humidity. 

    Is this a sound approach? Is a polyethylene foam material like EthaFoam a good material for this application? 

    Thanks!

    -Ben

  • Question asked 2019-01-18 19:13:47 ... Most recent comment 2019-01-18 19:35:41
    Gilding
    Question

    ​I applied an oil gilding, which is now perfectly dry.

    I've changed my mind, as I feel that some areas should be burnished to a high gloss. Can I apply red bole over this and water gold it on top of the matt gold of the oil gilding?


    Thank you 

  • Question asked 2018-11-01 12:15:10 ... Most recent comment 2019-01-18 12:30:54
    Drawing Materials
    Question

    Hello All

    I'm doing some metalpoint experiments and would welcome ideas and feedback.  

    Test Panel 1

    To test the value of marks made by 6 different metals on 18 different grounds (2 of which are paper: Plike and TerraStone).  Metal hardness will vary (pewter, gold, silver, copper, brass, nickel). 

    The goal is to see (a) which grounds produce the darkest marks, and (b) how the marks age (I've heard from various metalpoint artists that marks tarnish/age differently depending on ground).

    Test Panel 2

    Apply different metal points to a single ground to show variety of metal marks possible.   Metals to include: lead, lead-tin, pewter, zinc, pure silver, sterling silver, argentium silver, gold (22K, 18K, 14K), aluminum, copper, yellow brass, red brass, bronze, nickel, platinum, bismuth.  (I have all but zinc, bronze, bismuth - still working on those...).   For applicable metals I'll try both dead soft and half hard.

    Any ideas for other metals to try?

    Test Panel 3

    Test methods to speed up tarnishing using liver of sulpher, onions/garlic.

    Any other tarnishing tricks?

    Test Panel 4

    Add abrasive fillers to ground to see how fillers affect mark making. I'll use either generic house paint or student grade acrylic becasue I'm presuming I can add 10-20% fillers to them and they'll still bind well - yes?

    Among the materials I'm considering are....

        Titanium white

        Zinc white 

        large micron size pigments (lapis, natural earths, etc..)

        marble dust

        gypsum

        silica

        ground glass

        bone ash

        talc

    I realize some of theses substance (talc, gypsum) might be too soft  to affect marks, but I'd like to see.  Are there other wild and crazy substances I should try, just for the heck of it?  

    All comments are welcome.  Thanks, 

    Koo

        

  • Question asked 2019-01-10 14:14:15 ... Most recent comment 2019-01-17 14:02:10
    Industrial and Non-Traditional Products
    Question

    ​After reviewing MITRA's rigid supports, I could not find any mention of ABS. A very accomplished and highly regarded oil painter (portraits/figurative) has recently begun using ABS for painting panels. The panel is lightly sanded and painted on directly with the oils. The painting surface is very smooth but has tooth after light sanding. How is ABS as a painting panel, if the thickness is similar to ACM thickness? Question- 1. ok to paint on directly with oils or casein or acrylic paint as one professional artist does? 2. ok if primer is used 1st? which primers? 3. ok to adhere canvas to? Here is a link that describes ABS very well. https://3dinsider.com/what-is-abs/ I had no idea that ABS is what Legos are made of!  "ABS is exceptionally resistant to chemical degradation, either by alkaline or acidic agents."

  • Question asked 2019-01-13 17:20:53 ... Most recent comment 2019-01-17 12:16:32
    Grounds / Priming Egg Tempera
    Question

    ​I just completed a metalpoint drawing on Golden Black Gesso.  I applied egg tempera (fairly densely painted, in multiple layers) on a portion of the drawing.  It's been my experience that egg tempera behaves best and ahderes longest on grounds with a lot of porosity, so that mechancial adhesion can take place; and for this reason I don't generally work on synthetic polymer grounds unless they have a lot of added solids and extra absorbency.  The egg tempera behaved pretty well a top the black gesso (a bit more sensitive to lifting, but not too much), so I'm wondering about the composition of the ground. Is Golden's black gesso high in solids, and/or considered more absorbent than regular acrylic gesso?  Has Golden (or anyone else) done testing of egg tempera on black gesso, to see how well it adheres in the long term?


    Thanks,


    Koo Schadler 

  • Question asked 2019-01-11 07:48:39 ... Most recent comment 2019-01-13 20:17:27
    Storage Environment Studio Tools and Tips Scientific Analysis
    Question

    ​Hello!

    I have been thinking of asking this question for a long time, and have been reading about average and recommended humidity levels, but since my studio is in my apartment where i live, and we have radiators in every apartment in the building i find it very difficult to set humidity that is recommended...

    During the spring, summer and even some parts of autumn the humidity is usualy about 40-55 % . I have read that these are actually solid, ok humidity levels.

    But during the cold autumn days and during the whole winter, the city starts turning on the heating and the radiators begin working. 

    Temperature is usually set in whole building, so in every apartment is pretty much the same temperature, around 25°C . 

    Then the humidity levels drop  up to 12-22 % . 

    I was really worried when i saw that the humidity drops up to 12%. 

    I wanted to ask, do you think that low humidity like this represents a big danger to paintings( oil, acrylic, egg tempera) and watercolors, gouache paintings, also drawings....?  

    If it does, how can i fix this problem..? 

    Or are these strict rules meant for very old artworks that need extra museum care..? 

    I try to do best for my artworks, and to take care of them as much as i can, but whenever i start worrying that much, i cant help but to think how many old artworks survived in old houses, old studios, in some military storages during wars, and back  in ancient times when i believe artists didn't knew much, or maybe anything about humidity levels...? 

    Your answers are much appreciated!

    Thank you!

    Marko Karadjinovic

  • Question asked 2019-01-09 15:08:44 ... Most recent comment 2019-01-12 15:22:36
    Industrial and Non-Traditional Products
    Question

    ​The papers in question are made of calcium carbonate with a binder that makes it into a beautiful vellum smooth absorbent surface. I have used this paper with casein paint and casein as underpainting with subsequent alkyd/oil paint layers. I first adhere the unprimed mineral paper to sanded ACM panel using acrylic gel medium or lineco. Since paper is just calcium carbonate with a binder, wonder about the longevity of this paper? papers by Mitz or Yasutomo companies. Acid free. Mineral paper also handles well for acryl gouache.

  • Question asked 2019-01-10 08:22:53 ... Most recent comment 2019-01-12 08:22:33
    Pigments Mural Painting
    Question

    ​Does anyone know of a website or book that offers a complete list of pigments suitable for fresco?  The lists I find online are oriented towards historic fresco colors, or mention just a few modern colors.  I'm looking for a more comprehensive list.   


    Thanks,


    Koo Schadler

  • Question asked 2019-01-10 16:20:52 ... Most recent comment 2019-01-11 04:25:07
    Art Conservation Topics Oil Paint Pigments Scientific Analysis
    Question

    ​Hi all,

    I was wondering if you had come across any issues with using Lamp Black (PBK6) in an allla-prima situation (no underpainting), when not mixed with other pigments or thinned with solvents? 

    I paint on ACM panels over a toothy clear gesso (silicia) which is much less absorbant than white gessos. I don't use zinc in my paints or in a primer/gesso.

    I use walnut oil to thin out my paint and I normally use Mars Black (PBk11) for my darkest blacks. I would like to try using Lamp Black instead as it should be a bit darker and have a longer drying time which I prefer.

    However I have read that it doesn't form very strong paint films and I am concerned that it would form a weak paint film when used on its own and may lead to cracking in the future?

    Has any studies found issues with Lamp Black in oil paintings when used in pure black areas?

    Thank you,
    Richard

  • Question asked 2019-01-07 08:10:21 ... Most recent comment 2019-01-10 19:16:59
    Acrylic Paint Mediums Paint Additives
    Question

    ​Hello and happy new year to all!

    I have question about Acrylic mediums.

    I am painting with Liquitex Heavy Body and W&N Professional Acrylic colors. 

    I did a painting using Liquitex Gloss Medium/Varnish (Which people from Liquitex told me that it is best to use it as a medium) . 

    At the end, i wasnt happy with the results and i basically took other medium, LeFranc & Burgeois Acrylic Fluid Matte Medium (Since i liked the results more with it) and repainted the whole painting to something completely different.

    In this process i wanted so badly to make something that i will be happy with, that i didn't pay attention to what was on my pallette. So i accindetally mixed small amounts of previus medium (Liquitex Gloss medium/varnish) that was in some of acrylics, with this LeFranc Fluid Matte Medium. 

    I have heard that if i did something wrond it would be shown in few hours with acrylics? 

    I think that this is the painting that i will be happy with, so before i continue, i wanted to ask what do you think? 

    Did i make a big mistake in accidentally mixing small amounts of Liquitex Gloss Medium/Varnish with LeFranc Burgeois Fluid Matte Medium, because colors that were on pallette had small ammounts of both mediums in them...? 

    And is it a bad practice to switch from one medium to another on a single acrylic painting...? 

    Your answers would mean a lot!

    Kind regards.


    Marko Karadjinovic

  • Question asked 2018-12-27 21:19:28 ... Most recent comment 2019-01-10 18:22:41
    Rigid Supports Grounds / Priming
    Question

    ​I am currently working on birch plywood cradled panels that I have first sized on both sides with 2 coats of GAC 100, then applied thin layers of traditional glue gesso for painting in casein and oil. In a couple of the paintings I have seen a few areas of short parallel cracks coming through, and am considering adding a layer of thin fabric to the preparation process. Before I get in too deep with preparing a bunch of these panels, I'll appreciate some advice on 1.) the best material or materials to seal front and back of panel, and is the GAC 100 OK for this; 2.) best adhesive(s) for attaching fabric (I've used acrylic gloss medium for this in the past, but have had hide glue suggested to me as better).

    OR -is there a way to avoid the fabric step altogether, and simply prepare the wood surface well enough to accept the gesso? It seems like I've read various opinions on this and am now pretty confused! Thank you for your help.

  • Question asked 2019-01-09 11:54:24 ... Most recent comment 2019-01-09 16:43:11
    Question

    ​There seems to be a growing belief among painters and art teachers as to the 'miraculous' qualities of varnsihes based on Regalrez 1094. The most common belief seems to be that the full strength commercial varnsih can be safely applied when a painting is touch dry. Contrary to that, one vendror recommends the fingernail test which, in my testing takes anywhere from 2 to 4 minths to give the green light, depending on the number of layers of paint (overall thickness).  Another vendor recommends sticking to the tried and true 6 to 12 months.  To complicate this there is also some advice to thin a Regalrez varnsih with a solvent and use it as a retouch varnsih on touch dry paint.  Can you comment on this? Is a Regalrez varnsih differnt enough that the rues for varnsihing change? What are the risks of varnsihing too soon with a Regalrez varnsih?


  • Question asked 2018-12-21 17:24:39 ... Most recent comment 2019-01-01 12:07:54
    Drying Oils Oil Paint Solvents and Thinners
    Question

    ​I see recomendations for water miscible oil paint for ease of clean up and not using solvents.
    Can you please comment on them from the viewpoint of longevity?

    Ron Francis

  • Question asked 2018-11-28 12:33:33 ... Most recent comment 2018-12-31 16:02:26
    Oil Paint Solvents and Thinners
    Question

    ​Anyone know what these spots could be that are showing up on my oil painitng? I normally stain the canvas, but this time I opted to paint right on the white gesso. I did just clean my paint brushes, so worried maybe they werent all the way dry? I am using Geneva Oil paints and I used some Neo Megilp to cover the sky area. I can blend these out but then they show back up the next day. Any advice on how to remedy this is much appreciated! One picture is a close up of the problem area, the other is the whole painting, thought I find these mostly on the left side I have spoted a few in the lighter areas to the right. Screen Shot 2018-11-28 at 12.30.41 PM.png

    Screen Shot 2018-11-28 at 12.30.56 PM.png

  • Question asked 2018-12-26 17:34:07 ... Most recent comment 2018-12-26 19:42:57
    Oil Paint
    Question

    ​Attached are 2 photos. The first is my painting showing buckling. At first, it wasn't this bad. The canvas is Raphael zinc free on a professional art panel from NY Central art supply. The bucking started almost immediately after I finished the painting. The second is the product I used to fix the edges. Ultimately, it didn't work. The buckling has gotten worse even beyond the parts I fixed. Why could this have happened and how can I fix it so the integrity of the painting is restored? C9765112-BB82-43E4-BBF3-DEE492953D7F.jpeg B187BCB1-8686-4F96-BA7D-A0A049E40062.jpeg

  • Question asked 2018-12-25 16:26:08 ... Most recent comment 2018-12-25 18:31:20
    Question

    ​My cousin did a pair of acrylic paintings for my mother for Christmas, and wrapped the canvases with wrapping paper, with no intermediary layer (yeah, I know... yikes). Unsurprisingly, the paper stuck to the paint, particularly near the edges. I know acrylic films have a glass transition temperature that is pretty close to room temperature, and therefor there's always a chance that wrapping material will stick, even if the paint is well-cured. 

    I've sent my cousin a link to where she can purchase glassine paper, but in the meantime, I'd like to take a shot at salvaging these paintings, if it's possible. This isn't the sort of thing that my mother or cousin would hire a professional to do--if they get ruined, then so be it. My cousin says she will repaint them, if necessary. 

    So, conservators: if you were going to try to remove paper that is stuck to the surface of an (unvarnished, and also unsealed) acrylic painting, how would you go about doing it? Swab with some sort of solvent? Water? Something else?

    Thanks! And Happy Holidays!  :)

  • Question asked 2016-11-07 22:12:01 ... Most recent comment 2018-12-21 21:51:34
    Technical Art History Art Conservation Topics
    Question
    I am wondering about the reliability of the information in Ralph Mayer's book the Painters Handbook? If not reliable and even if it is I would appreciate any and all recommendations.
  • Question asked 2018-12-12 08:24:59 ... Most recent comment 2018-12-16 18:20:22
    Drawing Materials Oil Paint Pencil
    Question

    ​I have seen people suggest using a kneadable eraser to lighten their drawings before painting over the top in oil paint, in a similar way to dusting off excess charcoal.
    I would be concerned that the eraser could leave some residue.
    Can I have your thoughts on this?

    Ron Francis

  • Question asked 2018-12-16 08:21:42 ... Most recent comment 2018-12-16 12:55:46
    Acrylic Alkyd Art Conservation Topics Handling and Transportation Paint Mediums Oil Paint Pigments Scientific Analysis Storage
    Question

    ​How important is a climate controlled vehicle for transporting oil and acrylic paintings? 

  • Question asked 2018-12-15 16:34:01 ... Most recent comment 2018-12-15 20:28:42
    Drawing Materials
    Question

    ​Hi all,

    I have large 30 X 22 inch sheets of new Canford Cardstock 300 gsm acid + lignen free paper that has areas of waviness / buckling throughout the paper.  These papers are new and have no drawings on them.  I am looking for a solution to flatten the paper back out if this is possible?  There are no creases, just curvy waves.  Any help would be greatly appreciated.  

    Thanks.

  • Question asked 2018-12-08 05:32:27 ... Most recent comment 2018-12-08 14:50:33
    Flexible Supports Gouache Drawing Materials Pencil Watercolor
    Question

    ​Hello!

    As well as a lot of artists know, there are those moments of inspiration when we grab something that we have and express what needs to be expressed, not really thinking about technique, compatibillity of materials and so on...

    Basically we do what me must, and worry afterwords. :) 

    One of those moments for me was recently, when i did graphite drawing on Fabriano Unica Paper (which is 250 gr paper made of 50 % cotton and ideal for printmaking, graphite,charcoal) and painted over that with Gouache. 

    Is it a problem to use water media over graphite and on paper that is not best suited for it, but rather for dry techniques, but it is 250 gr paper and is Acid Free ofcourse? 


    Thank you!

    Marko Karadjinovic

  • Question asked 2018-11-19 19:27:52 ... Most recent comment 2018-12-08 13:39:54
    Oil Paint Other
    Question

    ​I am finding that after a period of about 1 year or more, surfaces where I have applied very thick areas of white oil paint have brown oil spots, as if the oil in the paint is seeping to the top. This may be due to the low quality of paint I’m using: Winton - or perhaps the kind of white: Titanium. In these cases I have not mixed any mediums into the paint. What is the cause, and can it be repaired? Can I simply paint over the surface with a higher quality white, and will that last?

  • Question asked 2018-12-03 16:43:49 ... Most recent comment 2018-12-03 16:30:00
    Egg Tempera
    Question

    ​Hello

    Can you advise if I am able to frame egg tempera paintings done on gesso panels behind glass within 2-3 weeks of finishing?  Ideally, I would like the works to cure for a few months before framing but due to time constraints, I may have to frame earlier.  I have read the post on glazing ET works previously mentioned on this forum, so am aware of the need for separators etc - but wanted to check whether there would be any unacceptable issues with efflorescence/mould if framing is done this early - & whether the egg is particularly fragile at this stage.  Many thanks.  Zarina

  • Question asked 2018-12-01 15:09:46 ... Most recent comment 2018-12-01 21:24:38
    Oil Paint Gilding
    Question

    ​Hello,

    I want to try using gold/silver leaf with oil painting (the composite kind, not the real kind), and I was wondering how I should do it? I've used it with acrylic before and just gilded over top of the paint, but my understanding is that you shouldn't gild over oil paint because it takes an extremely long time to try. 

    Would it be best to guild the panel first after priming, and then seal it (with what?) and then paint over it?

    I was going to try this approach:

    1. Size panel with GAC 100

    2. Prime panel with acrylic gesso or oil ground and let dry for a few weeks if oil, for 1 week if acrylic

    3. Draw out composition with watercolour pencil and then gild the panel where I want the gilding with Speedballs liquid size

    4. Seal it with speedballs liquid sealer

    5. Let dry for a day

    6. Begin painting

  • Question asked 2018-11-23 13:28:45 ... Most recent comment 2018-11-26 16:12:11
    Gouache Watercolor Ink Pencil Varnishes Matting, Framing, and Glazing
    Question

    ​Hello!

    I would like to ask multiple questions, since it is about mixing gouache with other techniques.

    1. Since many say that gouache is basically opaque watercolor (with more gum arabic binder?), is there any proper way to use it with watercolor? For example, is it ok to paint first layers with watercolor and then to finish the painting with gouache? When switching from watercolor to gouache on the same painting, is there any right way to do it, or i just simply paint with gouache over watercolor? 

    And is it possible to switch process, to glaze with watercolor over opaque gouache? 


    2. When doing underpainting with Ink, and then painting over that with gouache, which type of Ink is best suited for mixing ink wash technique with gouache technique? And how much can Ink be diluted with destiled water? 

    examples of this technique: 

    https://www.proantic.com/en/display.php?mode=obj&id=324587


    https://theartstack.com/artist/mihaly-zichy/angel-s-secret-21-65-x


    3. When doing a drawing with black chalk or graphite, and then doing wash with brown or black ink, and then painting with gouache on top of that, is there a right procedure to do it, or i just simply switch from one technique to another as mentioned above?  And, what type of fixative is best suited for preserving a chalk or graphite drawing beneath ink, and gouache? 

    examples of this techniqe: 

    http://www.getty.edu/art/collection/objects/493/giuseppe-cades-tullia-about-to-ride-over-the-body-of-her-father-in-her-chariot-italian-about-1770-1775/


    http://www.getty.edu/art/collection/objects/112/hendrick-van-steenwijck-the-younger-the-crypt-of-a-church-with-two-men-sleeping-flemish-possibly-1625/


    4. When switching the process and doing watercolor underpainting, gouache painting, and then adding chalk, graphite in the final stage of painting, is there some sort of varnish or fixative that is best suited, so that graphite/chalk would not be smeared over the painting? 

    example of this technique (Graphite (Chalk?) was used in shadows and lines, in the final stage of the painting )): 


    http://www.getty.edu/art/collection/objects/263497/georgius-jacobus-johannes-van-os-bouquet-of-flowers-in-a-vase-dutch-about-1802-1850s/


    5. Can gouache be mixed with acrylic painting?

    6. How should gouache, or mixed media (ink,gouache,graphite) be framed?   


    Thank you in advance!

    Kind regards.


    Marko Karadjinovic

  • Question asked 2018-11-25 09:24:23 ... Most recent comment 2018-11-26 12:39:49
    Oil Paint Alkyd Grounds / Priming Health and Safety Rigid Supports Sizes and Adhesives Art Conservation Topics
    Question

     

    I am re-reading my post of February 19, 2018, https://www.artcons.udel.edu/mitra/forums/question?QID=408, and all the responses below it. As you know, I am hoping to work without toxins throughout my processes. I am seeking to know: can I create a stable painting without them? After laying out my specific questions for you to consider, I will describe my proposed modified approach, based on the answers you have given thus far.

    Specific Questions:

    Although lead white would add strength to the canvas, will the combination of my various processes create a more than adequate archival stability for my paintings over the centuries?

    Specifically,

    Can the rigid support (cradled panel) and the alkyd nature of my titanium white compensate for lead white usage in the ground and throughout my painting?

    Can a traditional wet imprimatura compensate for the greater absorption of Golden Acrylic Gesso Ground? (I hope so - it seems to do a perfect job of it – performing for the artist during the process just as well as chalk gesso does – with perfect absorption level for the richer glaze layer and excellent surface flow for the subsequent lean paint).

    Proposed Process:

    1.  Size a 16 oz. tightly woven raw canvas one side on the topside while fabric is flat on table. I prefer Gamblin PVA, for reasons already stated in a previous reply.  Snap the fabric when wet to work out any wrinkles. Let dry a day.
    2. Evenly stretch canvas over a birch cradled panel, with the weft direction being vertical for maximum long-term support. Use non-rusting strong thumbtacks for easy potential conservation adjustments if ever required.
    3. Rewet the stretched canvas after stretching with PVA if there are still any wrinkles to facilitate the pullout of the fabric. Let sit a day.
    4. Hand rub and sand five coats of Golden Acrylic Gesso Ground, slightly diluted for smooth application.
    5. Allow to cure over several days.
    6. With Gamblin Solvent Free Fluid, dilute Gamblin FastMatte Alkyd Safflower Oil Foundation paint (mostly Burnt Sienna) no more than 25%. Rub on a high paint spread imprimatura-priming glaze with a cloth.
    7. Into the wet glaze, drop an undiluted foundational layer (grisaille) using Gamblin FastMatte Titanium White and Burnt Sienna and Ultramarine Blue (mixed to the same colour as Burnt Umber). Let dry several days.
    8. With virtually undiluted Gamblin FastMatte paints, add another foundational layer (Velatura). Let dry several days.
    9. Add several layers, several days apart, each starting with a glaze or scumble of the same paints diluted with no more than 25% Gamblin Solvent Free Fluid, with high paint spread. Then modify the glaze with additions of slightly diluted paint, or in white areas, undiluted paint.      

    Palette: 

    Gamblin FastMatte Alkyd Safflower Oil Paints:

    • Titanium White
    • Burnt Sienna (in foundations)
    • Quinacridone Red
    • Hansa Yellow (in foundations)
    • Ultramarine Blue
    • Phthalo Blue
    • Red Transparent Earth (in glazing applications) 

    Rembrandt Oil Paints

    • Transparent Yellow (in glazing applications)

    I am looking forward to your answers. Thanks so much for all you do and for your clarifications here.

    Kathy Marlene Bailey

  • Question asked 2018-11-22 11:12:23 ... Most recent comment 2018-11-23 15:21:54
    Varnishes
    Question

    ​Hi,
    I have to varnish a big oil painting (200x370 cm), and I do not have a lot of experience with varnishing oilpaintings, to be honest. So I have some questions that I hope you guys can help me with.

    -It will take quite some time to get the whole surface varnished, right? What varnish would give me enough time to work? (I'll ask two students to help me).
    At the same time, the work is hanging in a canteen, so fumes should be not overwhelming for too long :-/.

    -And how much varnish do I need for such a surface? The paint itself is rather smooth, but I doubt if 1 liter would be enough.

    -And third, and last: we have to do this with the work standing, so not laying flat. How do I avoid dripping?

    Thanks in advance,

    Matthijs



  • Question asked 2018-11-21 16:26:35 ... Most recent comment 2018-11-21 16:54:54
    Varnishes
    Question

    ​New to Mitra.  So I am not sure how to use the search option.

    How do I remove old damar varnish?  I tried using Turpentine, but it isn't removing the damar.  

  • Question asked 2018-11-12 21:44:45 ... Most recent comment 2018-11-20 15:24:48
    Drawing Materials
    Question

    I would like to protect large charcoal drawings well enough to frame without glass (in a recessed frame). Not ideal, but the glass is an expensive and unwanted barrier. Perhaps Lascaux fix, multiple coats, then another acrylic sealer on top? Wax on top? Other artists must have solved this problem for large scale drawings?​ I have read everything under the category to date.

  • Question asked 2018-11-14 09:05:36 ... Most recent comment 2018-11-14 08:31:00
    Solvents and Thinners Oil Paint
    Question

    Greetings​

    I'd like to ask about possible differencies between various odorless/low odor solvents. I use Winsor&Newton Sansodor for cleaning brushes, sometimes to make mediums or dilute paint. I have some amount left but soon I will have to buy more. The price for 1 liter can in the shop from which I usually buy the stuff is cca. 32 Euro. That is not really cheap. Recently, I looked at Kremer pigmente and also asked them about their alternative and I was told, that it is Shellsol T. 1 l can is for 5,36 Euro. That is striking difference. So I've been wondering what is the difference between them - or between odorless solvents in general. I looked into MSDS sheets of four odorless solvents:

    W&N Sansodor (http://www.winsornewton.com/assets/HealthandSafetyDataSheets/OIL%20COLOUR/Solvents/2011/Sansodor/04412869.pdf)

    distillates (petroleum), hydrotreated light, CAS-No.: 64742-80-9, EC No.: 927-632-8

    Schmincke Diluent N (https://www.schmincke.de/fileadmin/sicherheitsdatenblaetter/2015/en/50026000EN.pdf)

    Substance 1: hydrocarbons, C4-, butadien-free: 50 - 100 %, CAS: 93685-81-5, REACH: 01-2119490725-xxx

    Substance 2: hydrocarbons, C10-C12, isoalkanes, <2% aromatics: 10 - 25 %, CAS: 64741-65-7, REACH: 01-2119471991-xxxx

    Gamblin Gamsol (https://www.gamblincolors.com/wp-content/uploads/2016/03/SDS-Gamsol.pdf)

    Naphtha (petroleum), hydrotreated heavy CAS: 64742-48-9

    Kremer Shellsol T (https://www.kremer-pigmente.com/media/pdf/70460_SDS.pdf)

    Hydrocarbons, C11-C12, Isoalkanes, < 2 %, 100 %, CAS-Nr not stated, EINECS-Nr: 918-167-1

    If I consider just the term "odorless/low odor solvents", all these things should perform the same. But then I don't understand the difference in price. I guess, that various CAS numbers mean, that the composition is somewhat different in each case. Shellsol T is six times cheaper than Sansodor and Diluent N, but I suppose that doesn't mean that it is inferior product (and also I suppose Kremer wouldn't offer some sort of cheap "trash"). 

    Can you explain meaning of those terms like hydrtretaed heavy, hydrotreated light, C11 (I saw msds of various solvents containing a range of these, like C11-C12, C9-C14, etc.)? How does it affect the nature and performance of solvent? Also, do you have any experience with Shellsol T in particular? What should I expect from it? If it performs that same as e.g. Sansodor there is no reason for me to go for Sansodor, which is six times more expensive.


    Regards

     

  • Question asked 2018-11-11 16:22:57 ... Most recent comment 2018-11-11 16:20:00
    Varnishes
    Question

    ​Wondering about the use of amber mediums and varnish in oil painting. Benefits, drawbacks? It is very expensive and Blockx is the only company that makes it at present.

  • Question asked 2018-11-09 13:03:06 ... Most recent comment 2018-11-09 13:00:00
    Drying Oils Paint Additives Scientific Analysis
    Question

    ​Hello,

    Could someone tell me about why walnut oil has a slippery feel compared to other drying oils? Someone mentioned it's probably because of a higher glycerin content in walnut oil?

    I have read someone else say that it's not recommended to all glycerin to oil paints though as it will interfere with the drying process?

    Any thoughts on this?

    Thanks,
    Richard

  • Question asked 2018-11-09 11:32:04 ... Most recent comment 2018-11-09 10:50:00
    Grounds / Priming
    Question

    Hello,

      I'm trying to better understand my options for priming panels for oil painting and the pros and cons of each system. I was hoping someone could enlighten me with regards to acrylic primer. 

    1. As I understand there are three mechanisms that enable adhesion of a new layer in a painting:   a) chemical bonding, b) absorption (wetting of the existing surface by the applied layer), and c) mechanical bonding (interlocking with rough/textured areas). Is this accurate?   

    2. When applying the first layer of oil paint over an acrylic primer I assume that there will be no chemical bonding ? 

    3. Acrylic grounds have calcium carbonate added to promote mechanical bonding. Is this intended to be the primary adhesion mechanism between the first layer of oil paint and the acrylic primer?

    4. I've noticed that some brands of acrylic primer tend to be less absorbant than others - as evidenced by less sinking in of the first layer of piant. Also, "non-absorbant" acrylic primer has appeared on the market. It begs the question, what role does absorption play in the bonding of oil paint to acrylic primer?  Can too much absorption rob the oil paint of binder? Can too little absorption limit adhesion? 

    Thanks in advance and I just want to say that this website and forum is a greatly appreciated resource! 

  • Question asked 2018-11-09 00:41:06 ... Most recent comment 2018-11-09 00:35:00
    Oil Paint
    Question

    ​I asked about Bitumen/Asphaltum/Gilsonite at a painting techniques FB group. But, some warned that it is prone to cracking and fading in glazes. Although several manufacturers have paints named "asphaltum or bitumen" in their lineup ,they are NOT the traditional Nbk6 pigment but are various blends. One paint I bought was too reddish. The pigment alone is available from Natural Pigments and Kama pigments as gilsonite. The only oil paint I can find with solely Nbk6 bitumen is Maimeri Artisti. I would like to use this neutral transparent brown for glazing. But what about the fear of fading, cracking or some say darkening?

  • Question asked 2018-11-05 16:28:29 ... Most recent comment 2018-11-05 16:23:00
    Paint Additives Oil Paint Scientific Analysis
    Question

    ​Hello all,

    I was just reading an article from the UK art supplier (and manufacturer) about their own professional oil paint range:

    https://www.jacksonsart.com/blog/2018/11/02/the-differences-between-grades-of-oil-paint/#comment-298531

    In the article they show an example of the proportion or ingredients used and I was suprised to discover that instead of using Aluminium Sterate they use Magnesium Sterate. I have not heard of this before.. would I be correct in thinking it would work similarly to Aluminium Sterate but have a drying action?

    https://www.jacksonsart.com/blog/wp-content/uploads/2018/11/Provsbasicoil.jpg

    I find their paints well pigmented, and good value for money, but too stiff and fast drying in some pigments for my personal tastes.


  • Question asked 2018-11-04 14:51:07 ... Most recent comment 2018-11-04 14:32:00
    Art Conservation Topics Solvents and Thinners Pigments
    Question

    I am currently working on a project in which I crush fruits and vegetables on Hahnemuhle cotton paper using a cylindrical engraving press. As the plants are emptied of 95% of their water in one pressure the color remains on the paper, it does not yellow for the moment, so I keep my print in the dark.

    I would like to protect the color of crushed plants from sunlight, UV ... would you have an idea of ​​invisible lacquer, or colorless and matte varnish that I can pass on the plants without damaging or altering the paper?

    I also thought of sticking a very fine paper, type rice paper 20 grams, on my print using rice glue or vegetable glue, to protect the plants (so they do not flake) and also protect them from light. When I do this the rice paper becomes almost invisible, I think that if on this paper I apply a layer of varnish to protect the colors from UV it would work, but what do you think?

    I don't know what to use, do you have any idea ?

    I have to find a solution to show the piece in February at an exhibition and I would like the colors of the fruits to be preserved  during the exhibition.

    Thank you for your help

  • Question asked 2018-11-01 15:40:25 ... Most recent comment 2018-11-01 15:29:00
    Varnishes Acrylic Art Conservation Topics
    Question

    ​I have a question about those paintings from artist Robert Vickery , that were done with acrylics. I have read that he used Liquitex colors, but what i am really interested is does anyone know with what type of varnish did he varnish those acrylic paintings, how those paintings look today? And are conservators able to remove this varnish and to clean the paintings without harming the acrylic beneath? 

    Thank you!


    Marko Karadjinovic

  • Question asked 2018-10-31 23:25:40 ... Most recent comment 2018-10-31 23:23:00
    Oil Paint Pigments
    Question

    ​Hi,

    Are there likely to be similar issues with PW7 in oil as there is with PW4?


    Many thanks.

  • Question asked 2018-10-31 19:47:55 ... Most recent comment 2018-10-31 19:47:00
    Question

    thanks​

  • Question asked 2018-10-31 17:09:20 ... Most recent comment 2018-10-31 17:07:00
    Sizes and Adhesives
    Question

    ​While getting ready for an upcoming show, I glued labels to the canvas backs of six of my works with fish glue. I like this glue because it is really tacky, dries fast and is reversible. To my utter horror I noticed that there is now a visible elevation the size of the label on the front of each picture. The paintings are oil on store prepped canvas. I did not add another layer of gesso before painting. Can I safely soak off the label on the back and perhaps dampen the unaffected area, or should I leave it alone and hope they don't get rejected. Any advise would be very much appreciated.

  • Question asked 2018-10-29 12:12:45 ... Most recent comment 2018-10-29 11:59:00
    Varnishes Oil Paint
    Question

    Couple of years ago i have heard about this practice that is ok to put a coat of Retouch Varnish over a painting after a month/two months and then after a year-year and a half to put a final varnish on top of that.  

    I heard that is especially ok to put retouch varnish  if the one needs to have a exhibtion, or has done commission and doesn't have year-two years time to let the painting dry.

    Year ago i have contacted few companies and asked about this, and got the answer that is totally ok to put retouch varnish after a month/two months and after a year-year and a half to put final varnish on top of that, and that i don't have to remove the retouch varnish before applying the final one.

    Also i have read that some conservators/restorators disagree, and that they think that the retouch varnish should be avoided, and that is best to put just a final varnish on a painting. If one needs to put a retouch varnish, then when he wants to put the final one should actually remove the retouch varnish before that??

    What are your thoughts about this and what do you think is the best way to varnish a painting, and how to protect it if one doesn't have enough time to let it stay unvarnished for a year-two years?

    Thank you in advance!

    All the best!


    Marko Karadjinovic  

  • Question asked 2018-10-29 11:22:31 ... Most recent comment 2018-10-29 10:39:00
    Paint Mediums Oil Paint Solvents and Thinners
    Question

    ​Hello! I have a few questions regarding oil mediums.

    1. I have done some of my paintings with oil medium that has Venetian turpentine in it. The formulation of this medium is one part of stand oil, one part of Venetian turpentine (Schmincke Natural balsam/larch turpentine) and two parts of turpentine ( Lefranc & Bourgeois rectified turpentine) . I have read that Venetian Turp/Balsam is not that recommended, but at the time i didnt know, so i did some very important paintings with this medium. What are your thoughts about this medium? I was very carefull about layers ( fat over lean) Do you think that these paintings will be ok, even if i did them with this medium? 


    2. I was also using Winsor and Newton Liquin Original medium.

    What are your thoughts about this medium, do you think this is good archival medium to use?

    And is it really true that you dont have to be that careful about "fat over lean" rule with W&N Liquin original? I always try to be careful about layers even with this medium. 

    I wanted to ask is there some substance that can be added to Liquin as a thinner, some solvent, because i paint in several layers? Or i should just use less Liquin medium in first layer and then add medium as i build up the painting? 

    Also i have combined two Liquin mediums on one painting. 

    I used Liquin original for first layers and then used Liquin Fine Detail for finishing layer. I have contacted W&N about this and they have told me that is totally ok to combine those two mediums, i just have to keep in mind "fat over lean" rule when i am combining them? What are your thought about this? 


    3. In museums there are some paintings that stood the test of time, and these artists did scumbling techniques, and glazes, and it really seems that they sometimes didnt care that much about "fat over lean" rule, and still it looks great. Do you think that we should maybe try to some extent to apply these rules, but not to be very precise and that concerned about it?  


    4. And i wanted to ask what types of oil mediums were least changed through time, and prooved to conservators/restorators as most stable? 

    I have heard that these were the ones which were more basic (stand oil + turpentine, or white spirit, or something like that). 

    What are your  advices about medium choice and what is the best way to  paint in layers? 

    Thank you for time and efforts!

    All the best!


    Marko Karadjinovic 

  • Question asked 2018-10-29 10:05:58 ... Most recent comment 2018-10-29 09:38:00
    Gilding
    Question

    ​I'm reading a 19th century Portuguese treatise on gilding. The master gilder that wrote it was called Francisco Liberato Telles de Castro da Silva. He was in charge of the restoration of the gilded woodcarvings of the church of Madredeus, in Lisbon.


    He advocates a recipe for the red bole that puzzles me:

    1kg Armenian red bole + between 120-150g of graphite powder + between 120-130g of sanguine hematite. This mix should be ground in pure water (and allowed to dry afterwards? The original text isn't clear on this), then mixed with a spoonful of olive oil and ground again. Just before use, this mix should be ground with a weak solution of rabbit skin glue and another spoonful of olive oil.


    I have two questions:

    If the original mix is allowed to dry before adding the olive oil (as the text strongly suggests) then a spoonful wouldn't be enough to wet the bole - so perhaps he didn't mean to fully dry but just to allow some of the water to evaporate, so the oil could be added to the thickened paste.

    Could this very small amount of olive oil be there just as a plasticizer? Wouldn't the fact that olive oil is non-siccative create problems with the drying of the mordant and also with the burnishing? On the other hand, I know that the most beautiful burnishing is achieved when the bole is just before fully dry (a few hours after, not a few weeks after)... maybe the small amount of olive oil replaces that necessary small amount of humidity, allowing top level burnishing to be done after all the water in the bole evaporated?


    Many thanks!

    Nelson

  • Question asked 2018-10-24 09:18:36 ... Most recent comment 2018-10-24 11:18:36
    Varnishes Acrylic
    Question

    ​Hello! I am new at the forum, i am very glad to be here. I am painting mostly with oils, egg tempera, but i also do paintings with acrylic.  I have a question about varnishing acrylic painting. Recently i bought Royal Talens Amsterdam Acrylic Satin Varnish and tested on one piece, and it looks really good. This is removable varnish, based on white spirit. I contacted Royal Talens also, and they told me that i dont need isolation coat because this is removable varnish based on white spirit, and it can be removed with the same solvent. My question is what do you think about these types of varnishes, and do you think it is a good practice to varnish acrylic paintings with them? The composition of this varnish is : Acrylic resin, white spirit, turpentine oil, matting agent (silica). Thank you

  • Question asked 2018-10-19 22:27:58 ... Most recent comment 2018-10-23 10:52:51
    Varnishes Oil Paint
    Question

    ​Hello,

    I was wondering if the edges of a painting should be varnished as well, or just the front of it? I paint the edges too so I figure I should varnish it but I wanted to seek professional opinions here. 

  • Question asked 2018-10-18 17:09:14 ... Most recent comment 2018-10-22 17:37:04
    Oil Paint Paint Mediums Drying Oils
    Question

    ​Ralph Mayer speculates that, because sun thickened oil is partly oxidised, it's adhesive proberties may be compromised to some extent.
    Do you know if this has been tested at all?

  • Question asked 2018-10-14 09:15:37 ... Most recent comment 2018-10-19 14:55:07
    Egg Tempera
    Question

    I have a painter friend who wants to isolate every layer of tempera she applies because she vigorously works each new layer yet doesn't want to affect underlying ones.  She wants to work in a similar vein to the English painter Nina Murdoch, whose working method is described as egg tempera alternating with varnish layers.  My friend wrote Murdoch to ask what she uses as a varnish but did not get a reply. I've read catalogs that describe Murdoch's work - 

    https://issuu.com/marlboroughfineart/docs/1561_mfa_nina_murdoch_artwork_issuu

    https://issuu.com/marlboroughfineart/docs/murdoch_aw2_issuu

    One image shows a very high gloss, saturated surface – so I am puzzled what Murdoch could be using to achieve her working method and high gloss, but which keeps her work in the realm of "Egg Tempera".  (Of course I realize that artists' descriptions of their work, catalog captions, even museum labels are not always complete or completely accurate). 

    The catalog also mentions Murdoch's favored glazing medium recently went out of production; coincidentally my friend noted Sennelier's egg tempera glazing medium has been discontinued – could that be Murdoch's secret formula?  We don't know. I couldn't find Sennelier's glazing medium ingredients but their binding medium is made from egg, oil and gum Arabic.  I would rather such a medium not be described as "Egg Tempera"; I think it would be more clarifying to call it Tempera Grassa or egg/oil emulsion - but I realize I have no say in the matter. :-)

    I've wondered how the tubed egg temperas (which are in fact tempera grassas) by Zecchi, Sennelier, Rowney, etc are made - they can't use a yolk in its entirety as the paint would putrefy.  Do you know how they do it?

    Back to Murdoch's work, and my friend who's trying to understand it; she also prefers the more saturated, rich look of varnished tempera.   I have told her that, while alternating multiple layers of ET and some sort of water insoluble isolator is potentially quite problematic, I believe there are reasonably durable ways to isolate a final tempera layer and then varnish it.   

     

    Any thoughts on the above are welcome.


    Koo Schadler 

  • Question asked 2018-10-18 08:46:32 ... Most recent comment 2018-10-18 14:34:44
    Oil Paint
    Question

    ​Hi,

    I got this question from a student of mine. He wants to paint with oils on top of a inkjet print. My concern is that those inks might bleed into the oilpaint. Does anyone have experience with this?

  • Question asked 2018-10-09 00:44:21 ... Most recent comment 2018-10-18 11:08:46
    Oil Paint Alkyd Industrial and Non-Traditional Products
    Question

    ​I want to try adding glitter to some paintings of mine, but I'm wondering how I can do it properly with oil paint?

    I found that using Galkyd Lite by Gambin produces the least yellow tinted colour shift, and holds the glitter in perfectly so none flakes off. However I don't know if this could later be an issue due to either the alkyd yellowing (will it yellow?), or the fact that a layer of alkyd is sitting on top of a layer of oil paint. 

    What issues could I face here, and are there any tests I could conduct to see if it will last? I plan to sell the work so I want it to be high quality. 

  • Question asked 2018-10-10 06:29:40 ... Most recent comment 2018-10-17 14:26:25
    Animal Glue Art Conservation Topics Gouache Sizes and Adhesives Scientific Analysis Technical Art History Watercolor
    Question

    ​hi there, egon schiele used watercolour and gouache on different similie japanese papers / fake vellums & brown wrapping paper. did he size this wrapping paper to hold the paint or was the paper made in 1910 heavily sized to avoid seepage? either way is there a paper out there today that is similar to the paper he used? it is hard to find tinted papers for this medium. i have tried sizing my own papers with rabbit skin glue & gelatine, using coloured washses, kraft legion stonehenge paper and strathmore tan for mixed media (none have the same affect as schiele - his colours stand on the paper - not absorbent). apparently he use strathmore japan paper produced by mohawk fine papers. i have contacted both companies and both have directed me here. i have also contacted dr. jane kallir, the world's leading egon schiele scholar. i have also tried wetcanvas. does anyone know if his works have been under conservation. can anyone help? thanks

  • Question asked 2018-09-27 15:20:04 ... Most recent comment 2018-10-17 13:47:58
    Encaustic
    Question

    I am working on reconstructing a Fayum mummy portrait, and a few sources I've read have mentioned methods that might have been used to make the wax easier to paint with. There's a small section in "Ancient Egyptian Materials and Technology" about "punic wax" that suggests beeswax was possibly saponified to make it water soluble. Do you know if that theory is plausible or have you tried painting with punic wax?

  • Question asked 2018-10-16 12:41:07 ... Most recent comment 2018-10-16 19:59:38
    Oil Paint Rigid Supports Flexible Supports Art Conservation Topics
    Question

    ​I was wondering if there's any benfit to using a layer of alkyd resin like Galkyd to help seal a painting? Will it help reduce moisture absorbtion? 

    I would apply it as the last step before painting, so my process would be: size wood panel using gac 100 x2 layers, adhere fabric to the panel with beva film, size fabric using gac 100 x 2, gesso or oil ground layer x2, and then 1 layer Galkyd and Gamsol 1:1 ratio to cover that.  I would be coating the entire panel front and back, including edges. 

    Is this overkill or is this a good way to do it? I just want to get a smooth and as warp resistant panel as possible. I'm using the cotton canvas overlay so that if the panel is ever damage the painting can be taken off, instead of having it painted right onto the wood.  

  • Question asked 2018-10-13 16:00:03 ... Most recent comment 2018-10-16 07:53:35
    Egg Tempera
    Question

    Several years ago, when testing isolators for egg tempera, someone (a materials expert) recommended Golden's GAC 500 and Acrylic Gel Medium as isolators.  Being water-based, I was skeptical they could be applied without disturbing a relatively new egg tempera painting, but in fact they went on fine and worked well.  I haven't used them since but suggest them to students as possible isolators (preferably with more testing). 

    Recently another materials expert told me that using GAC 500 as an isolator could prove problematic as it would create a completely unbreathable layer that would stop the egg tempera from properly oxidizing/curing, and could cause potential bloom or mold problems.  Your thoughts?

     

    Koo

  • Question asked 2018-10-11 13:53:09 ... Most recent comment 2018-10-12 21:35:50
    Rigid Supports
    Question

    Good afternoon,

    I am a pastel artist who is searching for a lightweight aluminum substrate to mount pastel paper that can be used in the studio or in the plein air environment. The papers that I am considering to bind to the substrate is Sennelier LaCarte (This surface is created with finely ground (pH neutral) natural cork applied to a 170 lb. (pH neutral) board similar to cardstock) as well as UART paper product (sandpaper material mounted on 4ply or 8ply Conservation Board).

    There seems to be many aluminum products available yet looking at your document "Rigid Supports" I have a few questions regarding your selections. The doc states to use a product that has a plastic core yet most are available from 2-5 mm in thickness. A product by the trade name Alumalite has a fluted plastic core and available in 3/8" and 1/4" thickness. Since I paint out of doors the thicker gauge material seems optimal to avoid bending corners and edges of the surface in the outdoor environment. Is the fluted core acceptable? What is the minimum thickness appropriate to avoid warping? A local distributor stated that Dibond and Alumalite are pre-painted with a white aluminum finish yet your document states to avoid anything that does not have a polyester coil coating. The coating that you are referring to is it a high quality pre-painted finish onto the metal prior to fabrication-heat cured/cooled and rewound for shipment? If both substrates are acceptable do you recommend cleaning the panel with 99% isopropyl alcohol prior to applying an adhesive or what cleaning product is preferred? Also what adhesive(s) are considered appropriate to bond the aforementioned pastel surfaces to the aluminum substrate (BEVA 371 adhesive film/other)?

    Thank you,

    Maria

  • Question asked 2018-07-25 19:53:57 ... Most recent comment 2018-10-11 21:34:43
    Paint Making Paint Mediums Encaustic
    Question

    ​I experimented with 100% carnauba wax and pigment on a hide glue gesso ground. As you probably know it was hard and glossy, but brittle, and it was easy to chip off. I am reluctant to add dammar because it may yellow. I considered Canada balsam, but after looking into it seemed that it might have the same problems as dammar. Could a hydrogenated rosin help, or microcrystalline wax? II found an article from the food industry that found polysorbate 60 was an effective plasticiser for carnauba, but I think that would make it susceptible to moisture. I  understand my responsibility to do my own tests, but any suggestions on what I might test? 

  • Question asked 2018-10-05 17:44:20 ... Most recent comment 2018-10-10 19:08:05
    Drawing Materials Health and Safety
    Question

    ​I just received a lead point and lead-tin point from Zecchi's.  How readily is lead transfered to the skin via either the stylus itself or from marks made on paper (i.e. resting a hand on a drawing)?  Any  other lead point consdierations I should keep in mind?


    Thanks,


    Koo Schadler

  • Question asked 2018-10-05 14:31:30 ... Most recent comment 2018-10-08 15:17:07
    Oil Paint Art Conservation Topics
    Question

    ​Jerry's artarama makes an aluminum metal surface on which they claim you can paint directly onto. My question is can really I use oil paint directly on this surface (without any gesso) and will it last or will it chip off over time?

  • Question asked 2018-10-05 00:08:06 ... Most recent comment 2018-10-07 01:58:47
    Question

    I have an Ampersand Gessobord which has an additional 2 coats of acrylic gesso and a thin layer of oil colour using Liquin. I would like to adhere a small oil painted sheet on Daler-Rowney Oil Painting. Is this possible? What should I use as an adhesive?​

  • Question asked 2018-10-05 08:52:09 ... Most recent comment 2018-10-05 21:20:18
    Varnishes Oil Paint Art Conservation Topics
    Question

    ​Is there any particular reason why Regalrez 1094 is prefered as a varnish over Regalrez 1126? I gave up on using 1094 as a varnish a number of years back--I just don't like how it handles, or how it's really finnicky and tends to form an uneven sheen (and its high solubility means that you can't really apply multiple coats to even out the sheen), and I don't like how it tends to get tacky when you touch it, or when it gets too warm in my studio. Its glass transition temperature is so low that it can be above Tg at room temperature, on a warm day! That may not be a problem in the carefully-controlled climate of a museum, but for a painting that's going to be hanging in someone's house, and that may need to be shipped in the mail (how hot is it going to be in the back of that UPS truck?), it's a problem. 

    So I went back to using dammar, because while its aging properties are inferior to those of Regalrez, it makes an aesthetically pleasing varnish that is easy to use with predictable results, and its Tg is high enough that it's not going to get tacky and turn into a dust magnet just because you don't have the AC turned on. 

    But doing some reading on varnishes, apparently Regalrez 1126 is a possible alternative? It has a higher molecular weight and a higher glass transition temperature than Regalrez 1094, but is otherwise chemically identical. Is there a reason why 1094 is (seemingly) preferred variant for varnishes?


    -Ben 






  • Question asked 2018-10-05 10:18:03 ... Most recent comment 2018-10-05 17:45:16
    Question

     Over the years I've had several people give me boxes of old pigments they no longer want. 


    1.  One box dates from1970s, NYC.  It includes labeled jars of lead white and Naples yellow (the latter genuine, I presume).  There are also many unlabeled jars of beautiful, turquoise colored pigments in various shades, akin to rich versions of dioptasio or malachite – but I'm doubtful malachite or dioptasio were commonly sold in NYC art stores in the 70s.  I'm thinking they are more likely some other copper color (and should be handled with caution).  Any thoughts?

     

    2. Another box contains pigments bought at a tiny Italian color shop in Perugia – wrapped in wax paper with scratchy handwriting to identify them, not always legible.  A bright yellow pigment is "Cromo", so I presume it's genuine chrome yellow and should be handled with caution?  Another color is bright green, the writing something like "vinyulto" (very hard to read) – any guesses?  An orangey red that looks like vermillion is labeled "scarlatto"– any idea what exact pigment the term scarlet refers to?

     

    3.  Finally, one box contains about a gallon of a fluffy black pigment, some sort of carbon I presume, maybe lamp?  One of my least favorite colors.  I could drop it off at a hazardous waste disposal day but we rarely have those where I live.  Is it okay to just throw away or scatter carbon black in the woods?

     

    Thanks.  And I'm not taking anymore boxes of old pigments!


    Koo Schadler

     

     

  • Question asked 2018-09-12 15:06:18 ... Most recent comment 2018-10-03 19:56:08
    Oil Paint Rigid Supports
    Question

    Hello!

    Various types of aluminum sheets are available. Which material is best suited as a foundation for oil painting?

    • Al99,5
    • AlCuMg1
    • AlCuMg2
    • AlMg1 (can be anodized)
    • AlMg2Mn0,8
    • AlMg3 (can be anodized)
    • AlMg4,5Mn0,7
    • AlMg5
    • AlMgSi1
    • AlZn4,5Mg1
    • AlZnMgCu0,5
    • AlZnMgCu1,5

    I'm thinking about painting directly on a sandblasted surface (the first layer with titanium white (linseed)).

  • Question asked 2018-09-30 12:36:58 ... Most recent comment 2018-10-03 19:17:28
    Watercolor Flexible Supports Matting, Framing, and Glazing
    Question

    ​Would it make sense to apply this plastic/aluminium backing (homemade version of Marvelseal) to thick watercolour paper before framing it, to prevent potential future contamination?

    Is this also helpful with canvases?

    The article only seems to talk about boards:


    https://www.naturalpigments.com/artist-materials/moisture-barriers-artwork-supports/

  • Question asked 2018-10-03 09:19:22 ... Most recent comment 2018-10-03 18:48:52
    Question

    ​I am a printmaker who uses oil-based ink on cotton rag paper and sometimes on mulberry for both relief work and monotypes. I've sometimes used oil paints, after allowing some of the oil to be absorbed by paper towels. I'm wondering why I don't have to seal my printing papers (Rives BFK etc.) but on canvas, you would need to use gesso.

  • Question asked 2018-09-30 19:16:31 ... Most recent comment 2018-10-01 07:49:02
    Rigid Supports Flexible Supports Oil Paint Grounds / Priming Sizes and Adhesives
    Question

    Hello,

    I'm trying to find the best way to prepare my supports so that I can have the longest lasting paintings possible. This is my current process, I use commercially made birch plywood panels that are cradled with basswood. These are the ones I use https://www.currys.com/catalogpc.htm?Category=WOOD_PAINTING_PANELS

    This is my current process

    1.    Sand the panel to make it smoother using fine or extra fine grit paper (usually 220). Wipe off dust or vacuum the panel to get rid of any debris. (I use a dry cloth because I don't know if it's okay to get it damp)

    2.    Apply 1 coat GAC 100 to the front and sides, and let it dry enough that I can turn it over without it sticking to anything (usually 20-30 minutes roughly)

    3.    Coat the back and inside edges of the panel, then let it dry with the back facing up for 2-3+ hours (I use a smooth but semi-firm nylon brush to apply the GAC 100, it helps minimize brush strokes)

    4.    Repeat the process above to coat the front and the back again, but this time let it dry for 3+ days

    5.    After 3+ days I apply acrylic gesso with a very soft camel hair brush or a soft nylon brush. If the gesso is thick I use a stiffer brush or water it down. I apply 2 coats but if I water it down I add more to compensate, usually only 3, sometimes 4. I wait the around 4+ hours between new coats depending on how cool to the touch it feels.

    6.    I let the gesso dry for 72+ hours before painting because I've seen that recommended by a few companies/artists including Golden. Then I start painting

    I do want to add a few steps to help my paintings be more archival. First I want to start mounting cotton canvas to the panels using BEVA film, before the gesso step. I would then use GAC 100 x 2 coats to help block oil penetration to the canvas. After that I would continue with the gesso step, but this time add a third layer. The third layer would be clear so I can draw my design on the second layer with pencil first and then seal it, to avoid having any graphite transfer through to the paint. Finally I would finish by using a 50/50 mixture of Galkyd Lite and Gamsol to thin out a colour I want to use for the ground layer, and then paint it over the gesso and wipe away the excess to leave an even tint. I was told this is a good way to increase adhesion for future oil paint layers, especially if you do heavy impasto which I want to explore more.

    I'm using those specific wood panels because they are the only ones I can access easily where I live in Canada, and I'm using 10oz cotton duck canvas because I can't afford linen (yet). I'm an art/design student, I don't have a big budget. 

    One thing I saw mentioned in another thread here was that GAC 100 is really bad as a moisture barrier, so I was wondering how much this matters with the panels I use since they are 3 ply and cradled? Do I need to do the priming method listed here instead? http://www.justpaint.org/preparing-panels-for-a-life-outdoors/ - if so, how would that change my current method? Also how much ventilation would I need because I don't have anywhere to work with a ventilation system. I do all my work in my room and avoid anything with fumes, or do it right by the open windows.

    I havent painted much all year cause I've been fixated on solving the issue of "what support is best?" and I know that's a subjective topic so I'm hoping someone with proper expertise here can help me out. Thank you for taking the time to read this

  • Question asked 2018-09-26 16:05:07 ... Most recent comment 2018-09-27 03:34:00
    Drying Oils Oil Paint Paint Additives Scientific Analysis Technical Art History Pigments
    Question

    FYI in case it proves useful for reference

    I have just completed my first proper test of clove oil for extending oil paint drying time. Although I have used it for a few years I've never tested it out properly with different pigments.

    For this test I mixed several of my core paints I use (cheap, low chroma, high opacity) with walnut oil until they took on a slippery quality. I then applied each mix to two separate sheets of PET-G with a W&N clear acrylic gesso ground.

    Each sheet was stored in an A4 sided clear plastic folder and sealed (so probably not air tight, but not open to freely moving air). They were stored side by side in a dark (but not totally light free) house temperature environment. Each night I would open both boxes and test if the paint had dried by drawing down a vertical line with the use of a rubber shaper tool.

    One sheet was left as it is, while the other had a cotton wool pad placed inside and two drops of clove oil were added to it each night. So no clove oil was added to the paint itself and the paints on each sheet came from the same mix. I then recorded once a day over a period of 14 days for each sample when they had touch dried.

    The results were surprising.. and interesting. I didn't expect to see much variation in drying times in the same pigment between brands. If anything I expected that the stiffer brands which had more walnut oil added might take longer to dry.

    Instead I found the complete opposite! The stiffer paints seemed to not have their drying time extended very much at all by the clove. I am not sure if this is due to the the presence of driers, or waxs/aluminium stearate in the paint to add body. Or maybe it's for another reason as yet unknown?

    I though I would share the results as they might prove useful to others. Next I want to examine the difference with clove oil present in the actual paint, as well as not replenishing the clove oil drops each day.

    Photo of the folders used and test surfaces:

    clove_oil_test1.jpg

    Final results, stopped after 14 days.

    Clove_oil_test_results1.PNG

  • Question asked 2018-09-24 11:15:46 ... Most recent comment 2018-09-26 16:01:43
    Oil Paint Paint Additives Scientific Analysis Technical Art History
    Question

    I have read many times where people have made statements about the durability of paint films. Statements such as linseed oil produces the most durable oil paint film, or that slower drying paints tend to form softer weaker films, or that additives like clove oil, resins or other additives can make a less durable paint film.

    My question, is what does that actually mean in practice? Are differences in durability in a paint film measurable by a microscope, or other chemical or other scanning tests? Are differences only apparent in bending tests, or do they relate to delamination in real world paintings.

    Does a 'less durable' paint film mean it is more likely to delaminate, or that it will withstand less stress and strain? Will a painting done in linseed oil on dibond last longer before cracking than the same painting if done in say safflower oil? Or is there no appreciable difference?

    I realise these are impossible questions, but I hope you can feel my frustrations about the lack of answers regarding what a 'less durable' paint film actually means..

  • Question asked 2018-09-24 14:11:27 ... Most recent comment 2018-09-25 12:22:03
    Acrylic
    Question

    ​Is there anything I can do to get the odour out.  It is acrylic on a gallery canvas? It has some yellow spots on the back of the canvas

    I have tried putting it in the sun outside and a vinegar wash but does not get rid of it.  Thank you for any help you can give

  • Question asked 2018-09-19 16:13:43 ... Most recent comment 2018-09-22 06:45:05
    Question

    Hi MITRA Team,

     

    I am inquiring on information that would support the use of  White Oil Base Primer paints (sold through paint stores/major home improvement stores ) as an alternative to Gesso and/or for adding as a top layer to the existing Gesso foundation.  

     

    I recently re- read some articles and books written by artists and several mentioned that they used a White Cover Stain Oil Based Primer sold through hardware /paint stores for sealing canvases. Some applied the Oil Primer as the top layer over Gesso  and others stayed with an oil base for all layers. One or two articles actually mentioned the name of Zin_ _ _ r Oil based primer for indoor/outdoor applications.

     

    Has anyone tested and/or heard about using traditional oil based primers that are normally available for household/commercial paint stores on artist canvas and/or panels?

     

    Is there any reason NOT to use oil based primers that are available through paint/hardware stores?  

     

    Looking forward to your reply.

     

    Patrick McGuire

  • Question asked 2017-03-15 06:53:44 ... Most recent comment 2018-09-22 06:07:50
    Flexible Supports Grounds / Priming
    Question

    ​I've come across conflicting information on this.

    Some old manuals advise us to seal the canvases also from the back to protect them from humidity. Japan size and tin foil were highly recommended to do so.

    On the other hand, I've read that canvases sealed from behind perform worse than canvases where the linen fibers were left to breathe. 

    What is your opinion on this topic?

    Cheers. Nelson

  • Question asked 2018-09-10 17:31:10 ... Most recent comment 2018-09-10 22:43:07
    Oil Paint Environment Studio Tools and Tips
    Question

    ​I am wondering what harmful residues or contaminants  might be introduced into the paint film during cleaning of palette, wiping off brushes during painting, etc. that may be present in general paper towels/ blue automotive shop towels and if it is worth the investment to use a higher quality rag. There is a product called sontera ec wipes, which market the product as containing no binders, etc. is there a conservator recommended product for general painting rag use? Wouldn’t even old t shirts etc have laundry detergent residues on them? 

  • Question asked 2018-09-06 13:09:37 ... Most recent comment 2018-09-10 12:30:12
    Drawing Materials
    Question

    Hello,

    I have some metalpoint questions.

    1.  I have a metalpoint friend who no longer uses his favorite grounds - Golden's Pastel Ground and Sandable Hard Gesso - because he is concerned with the warning labels (i.e. can cause cancer).  I presume the warning is due to silica content in both grounds - is that correct?  Any other reason? 

    2.  I presume it's sufficient to wear a good dust mask to address the issue?  Even with a mask my friend doesn't like creating dust because he figures it ends up somewhere.  Is there any harm to these sanding dusts if wiped up with a damp rag and put in the garbage?

    3.  My friend also had problems with "fading" in metalpoint drawings. He understands they don't literally fade but rather the metal isn't adhering well long-term; he feels he probably over-sands his ground, doesn't leave enough tooth for the metal to be deposited within. 

    My question is, how does a metalpoint line actually "adhere" to the ground?  Is it merely that metal deposits get "lodged" within the interstices of an irregular surface; or is there another sort of adhesion (such as electrostatic adhesion)?

    4. I want enough tooth in a ground to maximize the potential for dark lines, and to create a good bond between metal and ground.  On the other hand I want a smooth surface so my nib doesn't skip or leave dark flecks when drawn across areas with more texture. Any thoughts on how best to achieve these contradictory aims?

    5. Another conundrum of metalpoint drawing: the more one works a surface with a metal nib, the more smoothed the surface becomes, ergo the less abrasive it is and the less metal is deposited. 

    One way I address the problem (i.e. the surface is smoothed by the act of drawing itself) is this: Once my drawing is more or less developed, I'll occasionally apply a very thin, transparent layer of whatever ground I'm using over the entire image.  This whisper thin "scumble" of ground slightly obscures the drawing, yet it's still visible; the fresh ground reinstates "tooth" so I can go back in and deepen my darks and build up the drawing again, but richer and more multi layered. 

    Do you see any problem in putting a very thin layer of ground on top of a metalpoint drawing, and then continuing to work on it (and potentially repeating that process several times in a drawings?) FYI, I use different grounds - gouache, casein, acrylic polymer gesso, traditional gesso - although the same ground throughout a single drawing.

    I have more metalpoint questions – but that's enough for now!  

    Koo Schadler 

     

      

  • Question asked 2018-09-06 22:05:09 ... Most recent comment 2018-09-07 21:56:42
    Question

    An exhibition of some 25 bronzes by Rodin is opening tomorrow, Sept. 7, 2018 at the Jundt Art Museum at Gonzaga University in Spokane, WA. I will be writing up a review for a regional arts magazine called Art Chowder. Two of the pieces are owned by the Jundt and they have a typical, and very pleasing, aged bronze patina. The majority in the show come from the Iris and B. Gerald Cantor Collection​ and they all have a black patina. Some conservators came to "polish" (I was told) the 22 pieces from the Cantor Collection. The museum's preparator had asked the conservators about this matter and they really didn't have an answer about the nature of or reason for this black patina. It really is black and very shiny, and to my eye competes with the sculptures' form. Is anyone on MITRA familiar with this? I'd like to address it in the article (will cite source) because i'm sure visitors will wonder.

    Thanks very much!

  • Question asked 2018-09-05 08:55:44 ... Most recent comment 2018-09-05 16:34:23
    Handling and Transportation Paint Making Storage Studio Tools and Tips
    Question

    ​Dear MITRA moderator,


    I start make my oil paint out of pigments and linseed oil, nothing else, and I don't know how to store large amounts like 200 to 500 ml.

    One year until now I used plastic syringes for small amounts and had no problems.

    My first question is: What do you think of keeping this paints in plastic syringes? Would paint react with plastic envelope?


    My next question is more general:

    What do you suggest as best way to store linseed oil and pigment paint?

    Empty aluminium tubes are not economical for me and glass jars load with oxygen during use. Do you know if empty aluminium tubes can be used more than once, I mean can I open them again after use and fill?


    Kind regards,

    Damir.

  • Question asked 2018-08-27 22:34:54 ... Most recent comment 2018-08-31 22:34:26
    Varnishes Oil Paint
    Question

    ​This is a great resource! thank you for the support.

    A long winded question:

    I have looked at the reasons for the issues of sinking in.

    I have looked over the technical docs. around vasrnishes and I have corrected my process to (hopefully) avoid the following problems in the future.

    However I have a few older paintings that I need to "correct'" as the Gamvar varnish I have applied has been beading, uneven, spotty and dripping.

    I want to try and carefully remove it or somehow even it out.

    Here is the lowdown

    I use a generous amount of chromatic black. My mixture is a combo of Aliz Crimson, Prussian Blue and Raw Umber.

    Because of the dose of Raw umber, and the fact that I was using too much thinner, I consistantly had areas that "sunk in."

    As a result I was correcting this issue by oiling out using WN Artists' Painting Medium as I painted to bring back the details and rejuvinate the work. Occassionally, I would apply this over the entire work when I was finished to create the most even appearance. Sometimes this worked well.

    However, after letting the paintings dry for 6 months I tried to apply, (2 coats thus far), of Gamvar as a varnish and it failed to sink into the work and beaded and ofter dripped as mentioned.

    My question: Is the non adherence and innefectiveness of the varnish a result of oiling out with the WN medium? Can I remove this with OMS or mineral spirits? and what is your opinion about the WN medium? 

    Also looking for expert help in and around the Hudson Valley if I do have to remove the varnish...

  • Question asked 2018-08-23 15:31:48 ... Most recent comment 2018-08-31 12:46:41
    Oil Paint Sizes and Adhesives
    Question

    ​I have a piece of dibond that was sanded and had 2 layers of Bullseye 1-2-3 primer on it and then an old acrylic underpainting for a painting I never started.

    I primed the dibond again with 3 coats of Bullseye 1-2-3 primer over the old acrylic painting and lightly sanded the last layer with very fine grit sandpaper. I then painted a undiluted acryic underpainting with fluid consistency.

    After a few days I painted with oil paint thinned with pure walnut oil and found that around 4-6 hours later parts of the paint were dry and non-shiny as though the oil has been sucked down into the primer/acrylic underpainting.

    In this case I am guessing that the (in total) 5 layers of bulleye 1-2-3 primer resulted in a too absorbant surface, but I expected the acrylic paint to seal the primer to some extent. But it seemed to have no effect judging by the speed the oil paint was sucked into the primer.

    Is this perhaps due to the acrylic resin used in the paint or a property common to all acrylic paints due to their open surface nature? (in contrast to the closed nature of oil paints).. Are all acrylic paints absorbant to oil?

    Thanks,
    Richard

  • Question asked 2018-08-29 23:00:19 ... Most recent comment 2018-08-30 10:41:23
    Oil Paint Paint Mediums Solvents and Thinners
    Question

    ​Hello MITRA folks.

    I just came across this product, and wondered if anyone here has had any experience (especially using it as a toning or underpainting medium) with this product, Natral Earth Paint "Eco Solve?" https://www.naturalearthpaint.com/products/eco-solve

    Thanks for any thoughts!

  • Question asked 2018-08-29 01:34:03 ... Most recent comment 2018-08-29 12:26:43
    Oil Paint Art Conservation Topics Drying Oils
    Question

    ​I have a blot of oil paint about the size of a nickel that penetrated my Liquitex Matte Medium prime/size layers into the back side of the canvas (36x36 inches). It came from an early layer that was lean and thin, dilluted with odorless mineral spirits. This painting has been entirely dried and hardened for about 5 months. Given that the oxidation process of oil paint is no friend to cotton duck canvas (18-24 oz mine) what would you do to help the long term integrity of the painting?

    I had considered applying acrylic gesso to the oil blot, or even the entire backside of the canvas, applying layers thinned slightly with water to soak deep and contain any oil leakage. I have researched (to no avail) the conservation of Francis Bacon oil paintings on raw, unprimed and unsized canvas which I sought as a precedent. 

    Thank you for your help!

  • Question asked 2018-08-21 13:53:58 ... Most recent comment 2018-08-27 17:42:31
    Oil Paint Acrylic
    Question

    Hello and thank you in advance for your time.

    A few days ago, I painted a portrait on a 6"x6" gessoed wood panel using oil paints, or at least that's what I thought. When my paint tubes break, as they sometimes do, I put the leftover paint into small, clear jars. Unfortunately, a jar of acrylic ochre somehow snuck into my drawer of oil paints. I didn't notice anything fishy until the next day, when I returned to my palette and discovered that all of my paints were understandably wet with the exception of the hardened acrylic color.

    This painting has a light acrylic underpainting which I applied many months ago. The rest was completed a few days ago in one sitting. The use of this color is not isolated- it is incorporated into the whole portrait. However, although it was mixed into most of the piece, it is not neccessarily the majority color. I relied more heavily on reds, whites, and yellows when creating the skin tones. Removing the paint would mean destroying the work completely, which I am not prepared to do.

    I am wondering two things: 

    1) What will happen to my painting if I leave it as is?

    2) What options are available to me to attempt to rectify the situation? Would varnish or resin help hold it together?

    Thank you for your time.

  • Question asked 2018-08-22 01:20:45 ... Most recent comment 2018-08-23 11:56:38
    Grounds / Priming Oil Paint
    Question

    ​I'm not sure if it's kosher to ask for thoughts on specific products here, but thought I'd risk it, as I can find no reviews anywhere for the new "Michael Harding Non-Absorbent Acrylic Primer" that came out in late 2017. It is advertised to "not suck out the oil from oil paint, thus preventing sinking in." But doesn't an acrylic gesso actually need to have some absorbancy to bond with oil paint? I'd LOVE to find an acrylic gesso that I could scrub a solvent-free Imprimatura into without it's absorbency preventing a really light layer of paint, but this seems too good to be true... Thoughts would be much appreciated.

  • Question asked 2018-08-16 06:00:30 ... Most recent comment 2018-08-18 11:31:46
    Oil Paint Paint Additives Paint Making Industrial and Non-Traditional Products Pigments Scientific Analysis Technical Art History
    Question

    ​Hi,

    I recently came across a very insightfull book by Max Doerner.

    In the book he mentions that the strength and archival longevity of ancient paintings can also be attributed to the fact that the pigments were ground much more course,providuing a greater adhesion of the pigments to the oils resulting in a very durable paint film in contrast to what we have in modern times,that modern colormen risk creating very weak oil paints by grinding the pigments too finely in their persuit of color brilliance andsmooth paint consistency.Though it can be rectified somewhat by adding finely ground pumice stone or marble dust to give the paint film some grit.

    On the surface this makes sense to me in many ways but would like to hear your opinion on this matter.

    Thank you.

  • Question asked 2018-08-17 10:58:06 ... Most recent comment 2018-08-17 12:30:59
    Question

    Hi,

    I have a friend who owns a Maxfield Parrish painting (of a farmer accompanying his oxen at sundown on a wintery day.  She believes it was on the cover of Collier’s Magazine Jan. 1906; her in-laws bought it at Vose Gallery, Boston in the 1960s).  It isn't in great shape - has smoke damage (they hung it over a fireplace) and a few small areas missing paint. She is looking to get it conserved.  

    I recommended she check out the American Institute of Conservation (AIC) website to find a conservator. I've had good luck with AIC in the past.  However I'm wondering, since it's a work by a well known painter, if a greater level of scrutiny is warranted.  

    When a painting by a "famous" artist needs attention, is there any interest in or means by which it could/should be brought to the attention of historians or conservators; or are there just too many paintings by well known painters in private collections to warrant such attention?  Just curious.


    Thanks,


    Koo Schadler

     

  • Question asked 2018-08-09 12:34:51 ... Most recent comment 2018-08-16 11:39:39
    Alkyd
    Question

    ​Hi, Is 1-shot lettering enamel alkyd based? Would artist's alkyd paint be compatible with this enamel?

    While I'm here, does anyone have experience with the medium Smith's Cream? It has been recommended to me to use with  lettering enamel. 

    I'm trying to decide what type of paint to use on a traditional landscape painting to be installed outdoors. ( I just can't manipulate acrylic and I'm afraid that the artist's alkyd paint is very much like acrylic to handle. ) So, I got a few considerations. The other artists may be protecting their work with uv protection  and graffiti protection. Apparently, the 1-shot won't need this extra coating.

    Thank you!

  • Question asked 2018-08-05 11:25:11 ... Most recent comment 2018-08-15 11:00:30
    Acrylic Varnishes Art Conservation Topics
    Question

    ​I work for an artist who paints acrylic on canvas. He would like to collage an inkjet print to the acylic-primed canvas (using Lascaux 303 to adhere). There may be a minor amount of additional paint application around the edges of the print after it has been applied to the canvas, but otherwise, the surface of the print will remain untouched. I usually finish off his paintings with a coat of Golden Soft Gel Medium and then two coats of Golden Polymer Gloss Varnish. So, my question is... (from a conservation point of view) would it be alright to cover the inkjet print with the soft gel and varnish as well, or is there another product I should be using to protect the print separately?

  • Question asked 2018-08-09 12:10:08 ... Most recent comment 2018-08-15 09:51:36
    Environment Varnishes Oil Paint
    Question

    ​Is it reasonable to think that a painting done with artist's oils ( on an mdo properly primed board) will withstand the weather and sun exposure with several, 5, coats of uv protection, archival spray varnish? Is there another better product? The project I am working on will be installed outdoors 6 months of the year, hopefully to last several years. Thanks so much! 

  • Question asked 2018-08-09 12:46:10 ... Most recent comment 2018-08-11 17:56:02
    Drawing Materials
    Question

    ​Is it recommended to frame silverpoint/metalpoint drawings under glass? Will it affect the oxidation process? How long will the oxidation process go on for?

    Thanks!

  • Question asked 2018-05-10 15:00:04 ... Most recent comment 2018-08-08 00:00:01
    Health and Safety
    Question

    ​This may be redundant, I didn’t see too much on it here though.  My question is about waste management. I’m an oil painter, so paint including lead white, and mineral spirits are my concerns. I have not painted for about two years because I am a hypochondriac, and my current studio space is a basement apartment. I am trying to get over it, and have been trying to find some clarity. I live in Utah, and I actually contacted my state office of solid and hazardous waste, and explained what I was doing, the waste I was generating and an estimate at the quantity. They  indicated to me that even though I was engaged in activities for profit, my residential status and volume would allow disposal into the municipal waste stream. I also contacted my local transfer station, and they will accept up to 5 gallons of waste at a time for 8$, which is very reasonable. My problem is safe storage. In a day, I might generate 3 or 4 paper towels with a few milliliters worth of paint, and some mineral spirits stained areas. For final brush cleaning I will use two small bowls of water and wipe the waste out on a paper towel so as not to have it go down the drain.  I am storing these materials for a week or two in a justrite oily waste can until I take it to the transfer station, how safe is this given my living environment? Does solvent evaporate out of those cans? Am I trapping volatile compounds and releasing them every time I open it? The can says empty every night which makes no sense. I am not opposed to “solvent free” however large quantities of drying or vegetable oil on rags still present a combustion risk. And varnishing procedures are not accomplished without use of solvent. So I can’t entirely get away from solvent. I am also curious what artists were doing with waste throughout history. There were thousands of artists working in Paris in th 19th century. Where did all their painting rags go? Anyway I apologize for my neurosis I just want to keep working, but my anxiety makes me think that I’m storing waste that will explode into flames at any moment.                                                                                 

  • Question asked 2018-08-01 14:14:07 ... Most recent comment 2018-08-05 16:37:43
    Oil Paint
    Question

    ​Hello MITRA folks. I can't find the reference within the forums here, but I seem to recall that someone expressed some hesitation about using water-miscible oil paints for an underpainting for further regular oil layers (for a solvent-free approach to oils). Something about "they haven't been around that long to demonstrate their long-term archivalness." That was also said about acrylics used for the same purpose, and apparently they are now proven to be reliable. Would someone comment more on the use of water-miscible oil paints for an imprimatura and/or underpainting for regular oils? Thank you so much!

  • Question asked 2018-07-31 10:49:22 ... Most recent comment 2018-08-04 19:41:08
    Varnishes
    Question

    ​this is a reply offering clarification as to the type of coating I wish to apply to wood turnings. From my readings it is said that oil varnishes are better then Spirit varnishes. I wish to prepare And apply a permanent coating that seals, vrmains flexible and is a high gloss.  

  • Question asked 2018-07-30 23:24:07 ... Most recent comment 2018-07-30 23:04:00
    Question

    ​Brian, 

    The response you gave me is a starting point for me. 

    For years I had mixed Carnauba wax (highest grade, light amber) with beeswax (bleached) in proportions of 3 parts carnauba was to 1 part beeswax. The wax is supper hard. Should one drop a stick it shatters like broken glass. After polishing the hardwoods turned up to grit 600 the wood apeares like mable. All sanding is performed on the lathe in motion. I would press the hard wax stick against the wood and then buff it with a soft  cotton cloth. This application yielded a high gloss surface. But the finish doesn’t hold up over a short time of handling. The wax would dull. I am seeking to produce a mirror finish (high gloss) on the exterior of the turning that is more durable to handling with bare skin.hands.

    The link you gave me about violin finishes is a good start. I will experiment with some of the formulas presented. I did not have any recipes. Given the time and expense I did want to proceed without any glue as what should be the ingediants and amounts. 

    Any finish has to be flexible that is why I mentioned kiln dried wood verses air dried woods. 

    You mentioned that the furniture restoration conservators may have their own formulas. If you can offer a link to them that would also be something I would investigate. 

    Any finish I apply should seal the wood from moisture changes and offer a hard durable gloss that hold up. 

    Thank you for responding to my initial inquiry. Everyone’s time is limited and I don’t want to waste any bodies time. Thank you.

  • Question asked 2018-07-28 02:17:17 ... Most recent comment 2018-07-30 16:01:38
    Storage Oil Paint Art Conservation Topics
    Question

    ​Greetings,

    I recently moved studios and used pieces of corrugated cardboard (made for mirror boxes) in between the faces of the paintings- the surfaces of the paintings (oil on canvas, dry paint) to protect the textures from rubbing and scratching each other. After the move, I left these sheets in between the paintings for storage for similar reasons, but then remembered the acidic negatives of cardboard and wanted to know if this practice should be avoided. Is storing paintings in contact with cardboard going to be problematic related to the acidity?

    Similarly, is there a best practice for storing a large amount of paintings fairly tightly packed in the studio while protecting the surfaces? 

    I am aware that not having light on the painting will be a long term issue, but perhaps plastic wrapping is preferable. In the past I have just gone dry face to dry face, but my surfaces have gotten more delicate and need more protection...

    Thanks so much for any insight! I´ll research resource archive here in case this is discussed elsewhere.

    T

  • Question asked 2018-07-26 00:24:06 ... Most recent comment 2018-07-27 23:51:58
    Grounds / Priming Industrial and Non-Traditional Products
    Question

    ​Hello everyone,

    I have a question regarded priming of linen canvas. I have streched over 100 canvases and glued them with rabbit skin glue, and want to know that what would be the best primer over the glue which is reliable and trustworthy. I know that old masters used oil primer, but I have got so much different information that I am really confused. Someone told me that I can just buy regular acrylic paint which we use in homes for interior and make three coats of it on canvas, while others says that I should use oil primer. Some people go for the gesso version.

    What about the glue, next time, should I use GAC400/200/100 insted of rabbit skin glue?

    I have seen 19th centuries paintings on galleries, and the are almost vanished. The oil is cracking and the conditions are very bad. I saw a Picasso in gallery, and that was almost finito. This means that paintings which are made on acrylic background are not reliable.  

     

  • Question asked 2018-07-25 14:10:49 ... Most recent comment 2018-07-27 15:11:12
    Varnishes Drying Oils Other Solvents and Thinners Flexible Supports
    Question

    ​I work only with air dried woods that I have harvested for their unique figured grain characteristic. These woods will always move with changes in humidity., unlike kiln dried lumber whose moisture content has been reduced to 6%. I am no pleased with modern commercial synthetic varnishes that have a plastic look. I have read much on the subject of classical oil and alcohol varnishes utilizing tree resin. I don’t want to move forward without some advise from  persons with experience in making such varnishes. Given that each resin has different acid resin constituents and percentages developing a receipt by trial and error could be a life long expensive process. I have purchased a wide assortment of gums and resin based upon my readings but I am not applying this custom finish to canvas.  

  • Question asked 2018-07-20 22:22:27 ... Most recent comment 2018-07-26 21:52:17
    Acrylic Encaustic Matting, Framing, and Glazing Varnishes Watercolor
    Question

    ​Hello MITRA folks! Recently, I've come across several professional artists who are using encaustic over their watercolors on paper, sometimes layered with mixed media in the wax. I know encaustic has been around a long time, but I'm wondering if the encaustic (as an alternative to glass) a) is good UV protection b) will yellow or darken over time c) has long-term archival problems including dust, fragility, poliution, temperature sensitivity, physical damage, etc. and d) has an odor that lingers? On a related subject, I know that some artists use acrylic mediums and varnishes as an alternative to glass over watercolors, but I seem to recall that Mark Golden is somewhat cautious of this use of their products, stating that acrylic varnishes will change the appearance, texture and surface of a watercolor on paper, and that this approach is not as protective as archival framing under glass. But...varnishing a watercolor would essentially turn it into an acrylic painting, and a conventional acrylic painting which has been varnished with acrylic varnishes would also have this same vulnerability, wouldn't it? Or maybe not because the paint film would be thicker with acrylic paint? I'd really appreciate some light on all of these questions, if you are able. Oh, and it goes without saying that this would be on a rigid support. Thank you!

  • Question asked 2018-07-22 07:46:28 ... Most recent comment 2018-07-24 10:20:26
    Oil Paint Art Conservation Topics Paint Mediums Sizes and Adhesives
    Question

    ​I work in mixed media and sometimes add collage elements after I have already used oil paint.  Since conventional adhesives cannot be used on top of oil, I use the oil paint itself as the adhesive. Sometimes I mix in impasto. The materials I am collaging are lightweight, typically fabric or ribbon.  If I am using a natural fiber, I seal it first to prevent erosion from contact with the oil. Can anyone tell me if this is a good method, or recommend any alternatives?  I am concerned about collaged elements falling off over time.  Thank you. 

  • Question asked 2018-01-17 13:01:48 ... Most recent comment 2018-07-24 04:09:35
    Acrylic Oil Paint Other Watercolor
    Question

    ​Would anyone hazard a method for a "durable" approach to using oils over an acrylic underpainting, which also possibly has collage elements? I am particularly concerned about oil delamination, drying time between acrylic layer and subsequent oil layers, best thinning medium for the acrylic layers, and the ideal substrate. Any thoughts or links to articles would be greatly appreciated. I know there are contemporary well-known artists who use this approach and have not read anything about their paintings falling apart. I am also wondering if watercolor could be used as the initial layers instead of acrylics, and any caveats about that approach. Basically, I'm looking for a quick way to get a painting started without the traditional use of solvents for this underpainting or initial rough-in layer. Thanks!

  • Question asked 2018-07-20 20:56:25 ... Most recent comment 2018-07-23 17:59:42
    Gilding
    Question

    ​Hello, I am working on a oil gilding project. I am gilding with 23k best surface goldleaf on top of a wooden, linen lined, gessoed board. I have used shellac for my first surface layer and for size application, I have used Lafranc Charbonoble 12 hr size. What is your best recommendation to seal the goldleaf after application is complete.

  • Question asked 2018-07-23 05:15:12 ... Most recent comment 2018-07-23 17:45:13
    Grounds / Priming Oil Paint Paint Mediums Other Studio Tools and Tips
    Question

    ​Hi,

    I am curious to know about the strenght and flexibilty of venice turp and stand oil considering is thick viscous body and how well it ages and if it might actually help the paint film be a bit stronger if either of these are used as mediums with additions of normal turp and oil and if they may actually increase the strength of oil grounds(I make my oil grounds by hand with chalk,pigment,oil and a bit of alkyd etc.)

    Thank you!

  • Question asked 2018-06-30 12:22:47 ... Most recent comment 2018-07-13 20:52:20
    Question

    ​Hello,

    Before I start doing multiple tests maybe someone can steer me in the right direction or even better allready have the solution to theis problem. 

    I need to seal fabric to close the holes in the weaving allowing me to spread magic smooth epoxy on top without it going through.  I need a permanent adherence between the fabric, the sealer and the epoxy. The sealer has to be flexible and permanent. 

    Thanks for your time.

    Best,

    Tao

  • Question asked 2018-06-28 22:45:16 ... Most recent comment 2018-07-01 14:59:35
    Oil Paint Paint Making Pigments Scientific Analysis
    Question

    ​If it is not available, I would like to make a database of the refractive index of Oil Paint samples, along with their partical sizes per a given unit of paint, for each currently available, and respected oil paint manufacturar.

    Is this information which has already been collected? If it is, I would really appreciate information on how to access to the data.

    I am not sure how to catagorize this question.

  • Question asked 2018-06-17 12:13:24 ... Most recent comment 2018-06-29 06:56:07
    Sizes and Adhesives Other Industrial and Non-Traditional Products Art Conservation Topics
    Question

    Would building up layers of texture or mass using things like toilet paper or tissue papers or newspapers covered in acrylic medium or PVA glue be a bad idea from a conservation perspective? The only thing that I managed to find online is that polymer-encasing won't stop paper degradation itself, but I'm wondering if such degradation would be detrimental to the entirety of a work (presuming we only use the paper for structural purposes and don't care if it gets brittle or yellows itself).

    Would it be better to soak the paper and shred it before mixing with a polymer and plaster to make a cellulose clay-like substance?

    I tried searching for information about conservation issues with papier mache related to acidity, but couldn't find anything.

  • Question asked 2018-06-16 16:42:49 ... Most recent comment 2018-06-19 09:08:41
    Question

    ​I am creating a slate-veneer panel for oil painters using flexible slate veneer and aluminum composite material. Here are three photos: 

    https://drive.google.com/open?id=1k1Q9hXYUjTgjybDCTfTHfX-XmYQik_XK

    The back of the slate veneer almost certainly has acidic adhesive to adhere a thin felt backing. (It's building material.) ​So, is it necessary to seal the back of the veneer with something like GAC 100 before adhering it to the substrate, or does adhering it seal it enough? I used Golden Soft Gel to adhere the slate to the ACM, and it worked very well. On the sample in the photos, I sealed the back of the veneer with two coats of GAC-100 before adhering it, but I'd like to skip that step, if the panel would still be satisfactory. 

    Thanks, Amanda Teicher, Seattle

  • Question asked 2018-06-09 04:33:36 ... Most recent comment 2018-06-18 12:16:26
    Question

    ​Hello,

    Recommended practice is to not glue cross braces to the back of a (let us say, 1/4 inch tempered hardboard, or 1/2 to 3/4 inch Medex (minimum formaldehyde MDF panels).  Considering medium large, 36 by 48 inch panels, or similar.

    I assume/ have read that the reason is to minimize or eliminate the bracing  "marks" appearing in the painting over time, and the potential warpage these wood strips may undergo.

    How can the cross bracing perform its intended function of keeping the panel from "cupping" or "bowing", when it is only attached to perimeter bracing?

    Has the website ever considered a "visual database" of contemprary "best practice" supports?  For example, every internet search for building a wood panel for painting recommends glueing cross braces to the back of the panel, which is, probably, bad.  But not doing so  may lead to "warping, bowing, cupping"; also bad.

    Pictures would be helpful.  Thank you for considering questions that are more implicit than explicit, and many thanks for your time and effort considering these issues.

  • Question asked 2018-06-12 19:08:44 ... Most recent comment 2018-06-13 10:25:49
    Drying Oils
    Question

    ​Dear Mitra people

    As a painter I’m very aware of the need to correctly size supports prior to painting in oils on them. I’m now getting back into printmaking and am puzzled as to how the paper copes with oil-based inks such as are used for lino printing. etching etc. I know there are water based inks available. However, I much prefer the oil based ones (and have already bought some). I’m wondering if the papers used for such prints (even the best quality printmaking papers) are doomed to eventual degradation due to the oil in the inks, which can, for example, in a link print, be used in considerable quantity. I do note the survival of many such prints over the centuries, such as Rembrandt’s etchings etc. I’d be very interested to hear your thoughts on this question. 

  • Question asked 2018-06-03 13:37:10 ... Most recent comment 2018-06-09 10:05:58
    Alkyd Grounds / Priming Oil Paint Pigments
    Question

    ​Hello MITRA folks! Can you recommend the best white oil paint (used thinly) for both a straight white Imprimatura and a pale colored Imprimatura? Thin, of course, and non-Zinc. I'm also wondering if a product like Gamblin Ground could be used? Whatever I use needs to be non-yellowing if some areas are left exposed, and also needs to take varnish the same as further layers of oil paint. Hope that's clear. I used to do this with a Zinc-based paint, but apparently that is NOT a viable option anymore. Thanks for your thoughts.

  • Question asked 2018-06-07 09:52:48 ... Most recent comment 2018-06-08 06:51:38
    Egg Tempera Ink
    Question

    ​Does anyone (Dr. Joyce Stoner?) know if Andrew Wyeth always began his egg temperas with an India ink underdrawing, or did he do so only for certain paintings, or for just part of his career (i.e. early on)?  

    Thanks,

    Koo Schadler

  • Question asked 2018-05-25 11:07:44 ... Most recent comment 2018-06-08 03:05:54
    Health and Safety Solvents and Thinners Art Conservation Topics Environment
    Question

    ​Hi all,

    There is a recent thread on the WetCanvas forum discussing the relatively new 'non-toxic' solvent produced by Sennelier under their Green for Oil Range:

    http://www.sennelier-colors.com/en/Green-for-oil_fiche_9895.html

    http://www.sennelier-colors.com/en/Green-for-oil-thinner_fiche_9896.html

    http://www.wetcanvas.com/forums/showthread.php?t=1447854

    They claim that it is non-toxic and apart from the warning that it shouldn't be ingested there doesn't appear to be any warnings online about ventilation or toxicity. I was under the impression that all solvents were toxic to some extent, but if a well known brand can market this product and without any warning information then maybe it is non-toxic?

    There is speculation on the WetCanvas thread that due to it's more oil like feel and very slow evaporation rate that it is likely a 'biodiesel' - a methyl ester of fatty acids. I am not a chemist but if I understand the science correctly: 

    "Biodiesel is produced from linsed oil through a procescaled transesterifcation [12], with this proces the higherfaty acids are separated to methyl and ethyl esters usingmethanol and catalyst KOH.Biodiesel fuel has beter properties than that ofpetroleum diesel fuel such as renewable, biodegradable,non–toxic, and esentialy fre of sulfur and aromatics. Thepurpose of transesterification proces is to lower the viscosityof the oil. The viscosity values of linsed oil methyl andethyl ester highly decreases after the transesterificationproces. The viscosity values of vegetable oils vary betwen 27.2 and 53.6mm2/s, whereas those of vegetable oil methylesters betwen 3.59 and 4.63 mm2"

    So if this is correct it sounds like it is a very low viscosity oil that can be added in small amounts to thin out oil paint.

    I am going to try some out myself, but wondering if anyone hear had any experience with this product or any thoughts on it from a conservation perspective.

    It feels to me that there is a growing concern over the toxicity of solvents and the marketing of non-toxic alternatives, which might still have toxicity or archive issues.

  • Question asked 2018-06-07 03:37:52 ... Most recent comment 2018-06-08 02:47:39
    Pigments Oil Paint
    Question

    Hi all,

    I prefer to use Iron Oxide Black (PBk11) for my darkest values as I read that unmixed Lamp Black (PBk6) can have cracking issues due to the very small pigment size and oil absorbing nature. I use it pure for the darkest values and then mixed in with other pigments for the darker colours in my painting.

    However I do find Iron Oxide Black dries a bit quick. Would mixing it with Lamp Black be acceptable from an archival point of view so I get a bit more open time? Would the Iron Oxide help the paint film withthe larger particles and less oil rich nature?

    I work on rigid panels on a toothy surface with paints made more fluid with walnut oil (no solvents). With this extra oil and lack of movement do you think I would experience any issues with using pure Lamp Black areas? Or would it be safer to use a mix with Iron Oxide Black or Iron Oxide on it's own?

    Thank you,
    Richard

  • Question asked 2018-01-26 12:11:23 ... Most recent comment 2018-06-05 10:36:46
    Rigid Supports
    Question

    Hi, I've sometimes used cradled birch plywood panels for smaller works (from 4"x5" up to 11"x14") over the past 5 years. I size the panels on all surfaces with an acrylic medium (GAC100) and prime the face with 4 coats of acrylic gesso. The brand of panel I use seems to be of good quality. There is no raising of fibers when I size them. However, I've seen some instances of people on painting forums implying that plywood panels will "definitely" crack over time - no exceptions - and shouldn't be used.  How accurate is that assertion in your estimation?   The article at: http://www.justpaint.org/understanding-wood-supports-for-art-a-brief-history/ says " Completely sealing and priming the plywood with several layers of gesso is essential to eliminate future cracking ... "  This implies that, with proper preparation, plywood panels are a viable long term support. Am I correct in that assumption?   

  • Question asked 2018-06-03 15:08:39 ... Most recent comment 2018-06-03 22:19:20
    Rigid Supports Industrial and Non-Traditional Products
    Question

    I have just received a sample of slate veneer, which I believe has the potential to be a terrific surface for oil paintings, especially if some of the slate is left visible in the finished painting. This slate veneer is thin and flexible. You can cut it with scissors, but it's real stone. The sample I have has a thin cotton felt backing. I asked the supplier if he knew if the adhesive used on the back were pH neutral. He didn't know. (Slate veneer is usually used in woodworking.) I'd like to know if there's a way to have this sample tested, so I'll be sure it's OK to adhere to a substrate of aluminum composite material (using either BEVA 371 Film or one of Golden's acrylic mediums). 

    If you're curious to look at the slate veneer, I made a 1-minute YouTube video called "This is Slate Veneer." Here's the link: https://youtu.be/X2NjyON3QOs

    By the way, if I do create an ACM panel with slate veneer, I would seal the surface of the slate with a gloss or semi-gloss acrylic medium (whichever Golden recommends) before painting on it. 

    Thanks for your help.

    Amanda Teicher

  • Question asked 2018-05-30 22:18:37 ... Most recent comment 2018-06-03 14:39:31
    Grounds / Priming Rigid Supports
    Question

    Hello,

    Would you mind sharing your knowledge about copper as a surface for an oil painting? 

    I make artist’s panels for myself and other Seattle artists with aluminum composite material as a substrate. They feature various surfaces. 

    I’ve been researching copper, and I've just learned that, even if it's sealed properly with Incralac, the copper will only stay shiny for about 5 years, according to a technical expert at Talas. I called to ask about Incralac, and he told me that copper isn’t expected to stay shiny indefinitely, that it’s incredibly prone to corrosion. Because of that conversation, I’ve chosen to stop research and development on copper-veneer panels. I am now reluctant to develop a copper-veneer panel without more assurance from experts that there is a way to preserve its shine that would satisfy artists, conservators, and collectors.

    What do you think? 

    Thanks so much for your time and expertise. 

    Amanda T.

    Seattle

  • Question asked 2018-05-13 01:14:12 ... Most recent comment 2018-05-31 23:16:13
    Art Conservation Topics Oil Paint Solvents and Thinners
    Question

    I was curious if using amylase powder - available in large amounts, as people use it to convert starch to sugar - can be used to create a more effective cleaning solution for a large area, rather than having to drink water and spit all over an oilpainting's surface?

    Amylase powder it's suposedly the key enzyme in spit that cleans things, so I figured why not create a large batch for a giant surface, rather than having to worry about what I eat or stay hydrated?  "cause sometimes I just want to eat garlic y'know?

  • Question asked 2018-05-28 15:34:50 ... Most recent comment 2018-05-31 14:44:22
    Studio Tools and Tips
    Question

    ​Hi,

    First of all, please forgive my poor English! I work sitting in front of a desk. I use acrylic paints on rigid supports. My pieces are not put horizontally on the desk but slightly leaning. I have just seen a photo of Alex Colville's standing desk and am wondering whether some of you work in a standing position with a table easel. If yes, do you know where to buy one? Or if I need to build it myself, would you have some advice about what it should be like?

    Thanks!

  • Question asked 2018-05-17 10:04:50 ... Most recent comment 2018-05-30 19:11:01
    Egg Tempera
    Question

    Hi Brian,

     

    In a reply to a recent post you said, "…works painted over earlier compositions are much more likely to develop delamination issues over time." This raised questions for me.

     

    1.  Why is this so? Is it because newly formed oil paint films don't crosslink with dried paint underneath?  How much less absorbent is a dried oil paint film versus acrylic gesso ground?  And were you referring to oil paint only, or other mediums?

     

    2.  Would you say the same is true for egg tempera; that delamination is more likely to occur in works painted over earlier compositions?

     

    3. The case is often made that dispersive adhesion is primary; however in my experience with egg tempera mechanical adhesion seems equally important.  When I've continued painting on aged egg temperas (from a few weeks to over a year old; i.e. partially or fully polymerized surfaces) the paint is more difficult to work with; much more prone to lifting if I do things like sponge on watery paint, or lightly sand or polish as I develop layers.  This seems to indicate less than ideal adhesion between old and new egg tempera paint layers; and that they "are much more likely to develop delamination issues over time".  And yet I've also been told (by well-informed people) that it's fine to paint atop old, polymerized egg tempera with fresh tempera (as long as the surface is clean).   Your thoughts?  

     

    4.  To address the less than ideal working properties of fresh tempera paint applied to a polymerized surface, I do three things to the surface: 1. Wipe off dust, 2. Do a gentle sanding with a 1500-grit sanding pad, to open the surface, 3. Apply a very thin nourishing layer of egg yolk medium (1 part yolk to maybe 8 parts water).  I'm actually not quite sure why I do #3, except that it seems to help the paint grip and behave better – but I also wonder if the nourishing layer is more detrimental (i.e. contributes toward fatty acid migration, or even delamination) than helpful.  Again, your thoughts?

    Thanks as always!

     

    Koo 

  • Question asked 2018-05-10 01:26:17 ... Most recent comment 2018-05-30 01:33:10
    Technical Art History
    Question

    ​Just curious, in regards to the writings of eastlake what are some of the technical inaccuracies promoted by him? What would be the benefit of reading his work? I know he talks a lot about the Flemish painters, do you know of any other resource that would give solid information not only on the practices of certain painters from the northern renaissance (like van eyck) but also materials? Thanks!


    Regards,

    Justas

  • Question asked 2018-05-28 20:42:04 ... Most recent comment 2018-05-29 07:23:25
    Flexible Supports Grounds / Priming Oil Paint
    Question

    ​Hi! I guess this is a topic already answered, but I coudn't find it.
    I've read both that the reverse of the canvas shouldn't be sized/primed and also that the current thread between conservators said that should be sized (and then mounted in a more rigid support). Well, should the back of the canvas, the raw linen, be sized and primed or not?

  • Question asked 2018-04-11 04:16:42 ... Most recent comment 2018-05-26 06:46:23
    Photo-Documentation / Digital Printing Industrial and Non-Traditional Products
    Question

    ​I am looking to print on acetate/transparencies - are these compatible to overlay over lithographs to make fine art collages/assemblages?  I am unsure whether commerical transparencies are archival/acid free.  Grafix are the only company which appear to state their acetates are acid-free/printer friendly for fine art use but I am limited by their sizes.  I am using an inkjet printer.  Are these methods archival once framed behind UV glass? (Based in UK) Are there other alternatives for using transparent overlays which can be digitally printed on?

  • Question asked 2018-05-22 13:06:13 ... Most recent comment 2018-05-23 18:28:54
    Oil Paint Drying Oils
    Question

    What kind of mediums or additives​ can I add to my oil paint to give it a sticky/stringy quality that won't also cause the paint to level? The use of bodied oils provides the stickyness and stringiness, but levels too much. 

  • Question asked 2018-05-12 18:04:33 ... Most recent comment 2018-05-14 21:49:51
    Oil Paint
    Question

    ​I have been doing small studies from life on Arches Oil Paper that have had 3 coats of acrylic gesso applied.  I realize the oil paper does not need the acrylic ground applied, but I prefer the surface prepared in this way. 

    I would like to mount or otherwise prepare a 6"x8" oil study as a gift to a family member.  What would be the best method?  I don't expect the painting to last for centuries, but hope to get at least a few good years of enjoyment out of the painting.  I work in sizes up to about 9"x12" on Arches Oil paper with the acrylic ground, so if you can address any issues going up to this size as well, just in case any future studies might be given as a gift, that would be appreciated. For my more serious work that I hope lasts a long time, I paint on tempered hardboard prepared with acrylic ground, but cost and storage space prevent me from always working on hardboard, especially when most of the studies are for my personal learning experience.  

    The other option would be for me to paint studies on hardboard and repaint over unsuccessful paintings.  Would this be a sound practice assuming the paintings have not been varnished?  Any advice on this practice?

    Thank you to all who contribute their time to this forum, it is very much appreciated.

    Thanks in advance. Barbara

  • Question asked 2018-04-27 11:19:02 ... Most recent comment 2018-05-13 13:35:10
    Flexible Supports
    Question

    ​Looking for plain weave umprimed linen canvas 8x8 warp and weft, who makes or carries a linen canvas like this? 

  • Question asked 2018-04-21 13:35:10 ... Most recent comment 2018-05-10 09:48:28
    Rigid Supports Flexible Supports Scientific Analysis
    Question

    ​I like many am interested in the materials used by my favorite past masters. As conservators, are there any current manufacturers that would supply a linen texture that is close to what an artist like John Singer Sargent might use? Does that knowledge enter the realm of conservation needs? If anyone is also familiar with trends in support texture for artists who painted thickly like sargent, sorolla, zorn, etc. that would be excellent as well. 

  • Question asked 2018-05-02 18:56:34 ... Most recent comment 2018-05-03 03:46:51
    Pigments Oil Paint Art Conservation Topics
    Question

    ​Cassel Earth, NB8, bituminous earth.

    A pigment I have long been contemplating on using although I have only used imitations of this pigment(premixes to replicate it),I have read a few things on this pigment and know that it is not stable at all and that there have been quite a few paintings from history that have suffered from its usage but also that it was used successfully in some.However there are paint manufacturers who produce this pigment.Should this be avoided or is there a way to safely handle this pigment?

    R.

  • Question asked 2018-05-01 00:00:05 ... Most recent comment 2018-05-02 19:25:23
    Oil Paint Health and Safety
    Question

    Dear Mitra :

    I was having a discussion with an artist who often sleeps in her studio. It's a small space, without good ventilation, so she paints solvent-free. She works on two or three paintings at a time and hangs them on the walls to dry. She's fairly sure that sleeping in the studio is fine. I wonder about that ( many of us have had to "work where we live" at some point in our lives ).  The only information I could find about solvent-free linseed-oil paint and aldehydes, etc., dealt with house paint. 

        Is sleeping in the studio - or for that matter, hanging wet paintings in the bedroom - really a safe practice, even if you don't use solvent?

  • Question asked 2018-04-27 11:24:04 ... Most recent comment 2018-05-01 23:22:26
    Art Conservation Topics Oil Paint Casein Paint Making Pigments Technical Art History
    Question

    ​I would like to find out what is the best way to prepare cochineal to last as much as possible, (is there anything that can be done to improve its lighfastnest) 

  • Question asked 2018-04-27 04:01:23 ... Most recent comment 2018-05-01 02:14:36
    Acrylic Varnishes
    Question

    Hi all,

    I have an acrylic painting on a smooth panel. I would like to try to retain the brush strokes and smoothness when I apply an isolation coat and varnish. For the varnish I can always use a spray, but for the isolation coat I'm a bit stuck without having access and experience of an airbrush.

    Is there any product that applies an acrylic resin in a spray form that would serve as an isolation coat? Would a non-removable varnish work if I then used a removable varnish for the 'varnish' layer?

    Any suggestions would be gratefully received! :)

    Richard

  • Question asked 2018-04-30 18:27:15 ... Most recent comment 2018-04-30 21:01:41
    Acrylic Gilding
    Question

    Is it sound to use acrylic medium instead of the regular gilding paste to attach imitation goldleaf to a rigid, gessoed support? Is it fine to put acrylic on top of said gilding? Would there be any archival problems with such a solution?​

  • Question asked 2018-04-24 11:23:00 ... Most recent comment 2018-04-24 22:30:12
    Rigid Supports Sizes and Adhesives
    Question

    ​I have decided to make custom 48" x 72" single-layer wood panels.  I plan to use a 1/4" plywood or MDF panel over a 2" plywood cradle with cross struts every 24" with corner bracing.  Is there an archival preference for plywood or MDF?  Could you would recommend a wood variety or brand of MFD?  Are plywood cradle struts better than a solid wood cradle, such as poplar?  I will apply two (2) coats of Acrylic Gel Medium.  I will then apply 1/4" to 1/2" of textured modeling paste before I apply acrylic paints.  Are there any issues I should consider with very thick modeling paste, such a reinforcement? thanks

  • Question asked 2018-04-04 00:24:09 ... Most recent comment 2018-04-23 19:18:45
    Oil Paint Studio Tools and Tips
    Question

    Dear MITRA,

    I love sable oil painting brushes but am looking for a animal-friendly alternative. Can anyone reccomend a high quality synthetic sable brush that handles similarly to the real thing?

    Thanks!
  • Question asked 2018-04-16 19:33:46 ... Most recent comment 2018-04-21 19:20:53
    Oil Paint Acrylic Watercolor Pigments
    Question

    ​Hi, I was wondering if any of the Moderators have had a chance to try this relatively new colour and if so, what they thought of its usefulness on the artists palette (current exhorbitant cost aside)?

  • Question asked 2018-04-11 20:05:35 ... Most recent comment 2018-04-17 13:39:30
    Acrylic Alkyd Egg Tempera Environment Rigid Supports
    Question

    Hi, 

    Either pigmented shellac or a solvent-based, alkyd house paint (from the hardware store) were recommended to me as good barrier coatings to apply to the back of wood-based panels to protect them from humidity.   A few questions: 

    - Would acrylic paint work as well as alkyd house paint to seal out moisture?  Would it make a difference whether it was an artist grade acrylic paint versus acrylic housepaint?

    - Is a solvent-based, alkyd paint recommended because it seals from moisture more thoroughly than acrylic paint?  Or does the alkyd not necessarily seal better, it's just more durable?

    Thanks,

    Koo

  • Question asked 2018-04-17 00:23:13 ... Most recent comment 2018-04-17 10:00:31
    Animal Glue Flexible Supports Rigid Supports
    Question

    ​Hello,

    Is it possible to safely mount a finished painting on linen (Rabbit skin glue, Lead oil ground) onto a rigid support in order to avoid potential problems caused by the hydroscopic properties of the glue? If so, how can this be done?

    Thank you!

  • Question asked 2018-04-14 06:56:30 ... Most recent comment 2018-04-16 16:40:35
    Question

    ​Can you please explain precisely what "Turpenoid" is, and how it should and shouldn't be used in painting?  


    Thanks,


    Koo

  • Question asked 2018-04-16 00:08:08 ... Most recent comment 2018-04-16 14:06:45
    Rigid Supports Flexible Supports
    Question

    I would like some advice on how to make an archival painting on a 48" x 48" x 2" two-layer hardboard or canvas support.  I plan to cut a symbol thru the top layer and fill the void back 1" to a back layer. 

    In the 2" framed canvas, I plan to polyurethane glue 1" thick Expanded Polystyrene Sheet (EPS) foam to the back of the canvas.  I would then cut the symbol thru the canvas and EPS.  I plan to polyurethane glue & SSTL staple a tempered hardboard backer to the back of the EPS.  Looking at the front of the canvas, you would see the canvas with cut-out symbol and hardboard backer. 

    In the hardboard support, the look would be the same, but the procedure would be the opposite.  I would polyurethane/staple a ¾" cradled hardboard surrounded by 2" plywood frame.  I would then polyurethane glue the 1" EPS foam and inset into the 1" cavity between the hardboard flush to the top edge of the 2" frame.  I would then cut out the symbol and polyurethane/staple the hardboard top to the 2" frame and over the EPS.  I would then wire-cut the EPS foam following the edge of the symbol down to the back hardboard and remove the EPS.  Looking at the front of the hardboard support, you would see the hardboard with cut-out symbol and hardboard backer. 

    I would prefer the canvas support, primarily for weight which would be about 32 lbs. over the hardboard support which could be about 50 lbs.  I would follow the best practices for sealing/priming all surfaces prior to applying acrylic paints.  They both present archival issues and need further development and testing.  I have seen canvas cut thru without back support and know that this will be future archival nightmare.

    Thank you for your advice.

  • Question asked 2018-04-15 14:35:32 ... Most recent comment 2018-04-16 13:56:49
    Oil Paint
    Question

    ​I have a  question regarding Alla Prima work in oil painting.

    Alla Prima is painting all at once, in one session.  However, if I take a break and come back and the paint on the panel is still wet (meaning comes off my finger like it is fresh, not tacky), can I paint into it or will this cause problems?  I am using M. Graham walnut oil paints which seem to be slow drying, unless I am using a lot of burnt umber (for example).  I am going to be working on a portrait that I expect will take 2-3 days working on and off during the day.  Is this okay, or do I need to wait for layers to dry before adding more paint to a section that has previously been painted?  I am not planning on glazing per se. I am using a limited palette of ivory black, titanium white, yellow ochre and cadmium red light.  My exerpience using these colors during life painting alla prima sessions is that the paint does take several days to be touch dry. I recently started mixing my M. Graham titanium/zinc white 50% with Wiliamsburg pure titanium white to cut the amount of zinc, and also to add a bit of linseed to the mix.  I haven't worked a lot with this mix yet and not sure how fast it will dry, but plan on using this mix in the portrait.

    Thanks.

  • Question asked 2018-04-04 13:13:45 ... Most recent comment 2018-04-16 13:21:37
    Alkyd Drying Oils Paint Mediums Oil Paint
    Question

    When painting in oils, it is necessary to avoid putting layers of "lean" (faster-drying) paint over "fat" (slower-drying) paint.​ However, I'm not quite sure how this relates to using alkyd mediums with regular oil paints. The problem is that alkyds dry faster than oils, even though the mediums themselves contain drying oils as well. Therefore, it would seem that layers containing more medium (drying faster) should be painted before the layers containing less medium (drying slower), which is the opposite of using regular linseed or walnut oil in traditional oil painting. Is this correct? Or does it not matter, so long as the previous layer is touch dry (since the solvents in the medium would "bite into" the previous layer)? Also, I remember reading that if alkyd mediums are used, they should be used throughout, in all layers. Is that so?

  • Question asked 2018-04-11 12:22:55 ... Most recent comment 2018-04-11 15:48:01
    Art Conservation Topics Industrial and Non-Traditional Products Other Sizes and Adhesives
    Question

    When working on various supports (paper, board, etc.), it's often convenient to use masking tape in order to produce sharp edges or just keep the work in place. However, I'm not sur​e whether this could have a negative effect on the supports. Most producers of masking tapes don't say anything about their content, and there's no concrete information I could find on the subject online.

    If I use tape during painting/drawing and remove it afterwards, what are the chances that enough substances could migrate from it onto the support to cause issues in the future? For example, would enough of acidic adhesives migrate onto the surface of paper to cause it to degrade or accelerate its degradation in the future?

  • Question asked 2018-03-27 11:24:41 ... Most recent comment 2018-04-11 13:10:45
    Question

    ​Are there any archival quality/acid free polyester (acetate) films suitable for use with inkjet printers?  Images printed on these will then be used as overlays over lithographs on acid free paper.  Is this assemblage process compatible - would it be best to fix the lithograph with a protective spray?  Grafix claim their acetate printable sheets are acid free - but they only produce A4 sheets for craft purposes.  There seems to be mixed data on the archival properties of acetate as it is not a common method for fine art use.

  • Question asked 2018-04-09 21:48:39 ... Most recent comment 2018-04-10 21:06:21
    Grounds / Priming Oil Paint Flexible Supports
    Question

    I would like to start using linen and prime my own canvas. I have a frame commercially made, with pre-stretched duck cotton canvas covered with acrylic ground and I would like to reuse the stretcher. What would be recommended as best practice? to stretch and size the linen over the commercial frame, or take off and toss the cotton canvas and just stretch and size the linen with rabbit skin glue following a traditional method?

    so my question is, streching linen over an existing cotton canvas would help or hinder the longevity?

  • Question asked 2018-04-06 14:42:52 ... Most recent comment 2018-04-09 12:57:28
    Oil Paint Alkyd Paint Making
    Question

    Good Morning.

    In 2005 I painted an oil painting on a wood panel, work that I did not finish. Now in 2018I would like to finish that paint (unfinished).

    I have read on the internet that it is not advisable to paint an old painting (in this case of the year 2005), for a subject of adhesion of the layers.

     

    From the point of view of good practices and good conservation, is there No problem painting that panel(unfinished) after 13 years?

    In the case that there is no problem in painting it, before painting it, I have to add some product so that there is good adhesion between layers (medium, oil, varnish, etc.)?. What should I do before painting?.

     

    This painting is on linen support stuck to wood, board. The support was primed with Gesso acrylic. I painted it years ago with white alkyd titanium Winsor & Newton Griffin brand, The only alkyd color that was used was titanium white, the other colors that were used were oil colors (Winsor Newton Artist). The Also use medium for oil made with turpentine, linseed oil, and shiny varnish.

     

    In relation to the above, and with the rule rule fat over lean:

    Is it possible, advisable (from the point of view of good

    conservation) to paint a panel using the lower layer Quick Drying

    Titanium White Alkyd resin Winsor & Newton Griffin, and in the upper layer use oil paint Lead white (PW1 basic lead carbonate)?.  (I started painting with titanium white alkyd, and after thirteen years, I want to finish the painting with lead white oil paint).

     

    I await your recommendations urgently.

    Thanks.

     

    Regards.

    Cristian A. (artist).

     

  • Question asked 2018-04-08 09:02:58 ... Most recent comment 2018-04-08 11:53:58
    Grounds / Priming
    Question

    ​When I was in college in the 1980's I did course on materials and were taught a recipe to make a primer called a half oil ground. It followed the same recipe as a tradirional gesso ground; rabbit skin glue, calcium carbonate, titanium white only we added half the volume with boiled linseed oil and a egg yolk to help emulsify the mixture. 

    Is this a safe recipe to use? I remember enjoying painting on it.

    Thanks Steven Lewis

  • Question asked 2018-04-04 00:01:56 ... Most recent comment 2018-04-04 16:58:31
    Health and Safety Oil Paint Solvents and Thinners
    Question

    ​Dear MITRA,

    After scraping down my glass palette I have been using rubbing alcohol on a paper towel to clean it. Are there any chemical interactions here that would be unsafe to breath or any residue on the palette that would cause painting problems? It seems to be working great but I want to make sure I'm not doing anything unsafe. I try to minimize my Gamsol use as much as possible because I'm concerned about the potential health problems it can cause.

    I also occassionally use baby wipes to clean off my pallette, which work shockingly well, but they have a fiberous texture that I've found creates more dust (which ends up in my paintings) than regular paper towls. 

    Could rubbing alcohol or other types of alcohol be used as a solvent to clean brushes (like one does with a jar of Gamsol) or as a paint thinner in oil paintings themselves? I had been using Spike Lavendar as a medium for a while with happy results, but learned from MITRA that it's actually not proven to be any safer than Gamsol. 

    Any insight into the use of alcohols in oil painting and cleanup would be much appreciated!

    Thank you!

  • Question asked 2018-02-02 16:51:49 ... Most recent comment 2018-04-04 00:16:14
    Oil Paint Studio Tools and Tips
    Question

    ​I don't think this question has been discussed here? Can anyone suggest a good studio practice to lessen exposure to dust on drying oil paintings? (Not newly-varnished paintings, but during the painting of multiple layers of oil paint.) I've seen cloth draped over paintings in movies, but not sure if that was just for theatrical effect...and how would one keep the cloth from sticking to wet paint anyway...?

  • Question asked 2018-03-31 21:27:03 ... Most recent comment 2018-04-01 21:09:24
    Flexible Supports Acrylic Animal Glue Art Conservation Topics Grounds / Priming
    Question

    ​Hello everyone, great forum :)
    I'm a student painter and nerd for art craft and science. As first question I wanted to ask about industrial canvases: what are the best according to your experience and what kind of materials have been used to be made? Do you trust some brands more than others? What kind of industrial pre primed canvas is the best in terms of durability?

    I'm curious about this because I've been told that some of the best industrial canvases are still seized with some sort of rabbit skin glue prior the white priming, is that true?

  • Question asked 2018-03-29 19:56:43 ... Most recent comment 2018-03-30 00:09:18
    Question

    ​Dear Mitra staff

    I have been experimenting with egg-oil emulsion mediums to add to oil paint (not as paint vehicles as such) and recently saw a reference to “gum tempera emulsion” (medium or vehicle) in Ralph Mayer’s Artist’s Handbook p.278. I was excited by this as I’d rather use a “vegan” emulsion medium if at all possible. The recipe is as follows: 5 parts gum (Arabic) solution; 1 part Stand oil; I part Damar varnish and 3/4 part glycerine. I’ve tried this on clay bird and it seems to be working OK. However I recently read a comment by one of your staff to the effect that gum Arabic is not a natural emulsifier. Does this mean this recipe is actually not really sound and that I should stick with egg oil emulsion mediums? I just want to reiterate that I’ll be using the mixture as a medium with commercial oil paints. I’m not trying to make my own paints. Kind regards, Jenny

  • Question asked 2017-11-28 01:27:08 ... Most recent comment 2018-03-29 23:16:57
    Oil Paint Drying Oils Paint Mediums
    Question

    ​Someone just stated in the "Painting Best Practices" facebook group that coldpressed linseed oil is mechanically superior to alkali refined linseed.
    Is there any truth to this?

    I'm not taking about yellowing, but film strength, flexibility and adhesiveness. (Maybe longevity too.)
    Have there been any studies about this?

  • Question asked 2018-03-15 13:20:14 ... Most recent comment 2018-03-28 21:50:55
    Casein Oil Paint
    Question

    ​I now know that it's not advisable to dilute oil paints with odorless mineral spirits or other solvents for a washy underpainting, as there may be problems with binding (among other issues). Some folks advocate just painting from the tube without solvents, and scrubbing the paints around, but I enjoy the fluidity of a more liquid underpainting.

    I've become interested in casein as an underpainting, and recently purchased and watched James Gurney's "Casein Painting in the Wild" video available from his wonderful blog, http://gurneyjourney.blogspot.com.  I noticed that with his casein plein air paintings, he starts out with a very watered down wash of casein mixed with water and then builds up with more opaque layers of casein. I'm wondering whether this very watery casein underpainting in itself (without the layers of opaque casein), painted on an panel primed with acrylic "gesso" would have sufficient binding power (both to the acrylic gesso and to subsequent layers of oil paint). 

  • Question asked 2018-03-26 09:43:45 ... Most recent comment 2018-03-27 11:28:58
    Flexible Supports Drawing Materials
    Question

    I have a large drawing which has a crease in it.  It is a charcoal drawing on Stonehenge.  The crease is in an area of white, which has no charcoal.  I'm looking for advice on how to repair or minimize the crease, without damaging the drawing.​

  • Question asked 2018-03-21 11:11:08 ... Most recent comment 2018-03-26 07:50:58
    Egg Tempera
    Question

    ​Hello Moderators,

    Last week there was an Egg Tempera Conference in Munich ("Tempera Painting Betwen 1800 and 1950").  Did any of you attend and, if so, can you report on any interesting findings or revelations?

    Thanks,

    Koo Schadler

  • Question asked 2018-03-21 17:28:03 ... Most recent comment 2018-03-22 12:19:39
    Question

    Dear:

    It is easy to find information on the internet about scientific research carried out on works by painters known as Van Gogh and Matisse. Cadmium yellow oil paint is undergoing chemical changes, turning the yellow paint into a pale compound, even changing the consistency of the paint in a salt. This seems to be concerns on the part of museums that see their capital degrade in a short time.

    In the Just Paint article "Will Cadmium Always Be On The Palette? You mention it already:

    "The difference between indoor and outdoor performance is thought to be due to the combination of environmental factors encountered outside; moisture, ultraviolet radiation and air. These cause bleaching induced by oxidation of the cadmium sulfide to cadmium sulfate. That is why the water permeable acrylic vehicle is prone to this effect, while cadmium pigments used in waterproof binders, such as rigid plastics, are not. "

    Without delving into more details as each person can on the internet find expanded information on this matter and the reasons for my query, I raise my concerns.

    1) What difference can there be between the pigments and the oil paints used in those art works and those that are commercialized today? PY 35 Cadmium Zinc Sulphide; and PY35: 1 with Barium according to the source. http://www.artiscreation.com.

    In addition, I have not found any clarification on whether this unexpected effect of cadmium yellow, is also affecting the PY37, PO20, PR108.

    2) Most artists are concerned about the permanence of their works, looking for materials and processes that allow their work to endure. From choosing the substrate, its preparation, the pigments resistant to light, etc. Why then, when mention is made of cadmium yellow, it is practically considered the best option because it is Highly lightfast, ... without taking into account that in a relatively short time it will be chemically transformed into something else.

    3) Regarding the paint manufacturers that include it in their color charts (all), no information or warning about this problem is found and they always assign it the best permanence. Yes, best lightfast, but possibly chemically unstable, reacting with the atmosphere to become a salt.

    In oil paint, the oil will not completely isolate the pigment from atmospheric factors, it will be less exposed than other paints, but even so light, air and environmental humidity will affect.

    For some time I have adopted the Py74 as my yellow, and PY65 as its dark version. 

    I take this place to turn my concern, for being a serious space and with professional people who care and occupy in these issues of art materials.

    Congratulations for the work you do.

    Best regards.

    PD. My native language is Spanish.

     

  • Question asked 2017-05-14 17:00:13 ... Most recent comment 2018-03-22 10:59:01
    Drawing Materials Grounds / Priming Egg Tempera
    Question

    I sometime expose my metal point drawings to sulphur (by placing them under a "tent" alongside an open jar of liver of sulphur) to speed up the oxidation and darkening of the drawing.  Does exposure to sulphur cause any detrimental affects to the materials of a metalpoint drawing (to either a paper or wood-based panel support; or to an acrylic or traditional gesso ground)?  Are there other recommended ways to speed up oxidation?  I had a cohort once tell me he sips whiskey while drawing and blows on his images - any truth to his claim that this speeds oxidation?  

    By the way, which is correct: metalpoint?

    Koo Schadler

  • Question asked 2018-03-18 12:52:13 ... Most recent comment 2018-03-19 10:16:26
    Oil Paint
    Question

    ​I just had the horrible news that a painting I did 12 years ago has started to crack. This is what I can tell you about my process with this painting. I stretched unprimed linen then used some PVA size (tho maybe not enough because you can see white seeping though on the back) and oil primed it using oil ground. I then did an open grisaille using raw umber and burnt sienna and mineral spirits. I then glazed about 4 passes on the painting. I have always felt I obeyed the fat over lean rule, but sometimes in the heat of paintings one can skew up. Though I'm sure I didn't add mineral sprits after the grisaille and I'm sure I used medium, to some degree, each time . I don't know which medium I used. It could have been liquin or a linseed oil, stand oil, mineral spirits mix. I'm wondering if maybe the culprit could be the W/N Paynes Grey I used as it is so slow to dry. At that time I may have been using zinc , I'm not sure when I learned about the evils of zinc. Although from where the cracks are it doesn't seem like I would have used zinc white, I'm also not sure what I used for a varnish, tho I don't think that would be the cause. Any ideas? I'm have nightmares over my paintings now.IMG_2132.JPG

  • Question asked 2018-03-10 13:41:23 ... Most recent comment 2018-03-12 22:17:18
    Casein
    Question

    Per the Richeson site, to make your own casein paints with your favorite pigments: "Mix Shiva Casein Emulsion with powdered pigments: Spray some water on your palette and scoop out the pigment with a palette knife. Mix thoroughly into a paste and add a few drops of Shiva Casein Emulsion. Mix again, and you're ready to paint."  http://www.richesonart.com/products/paints/richesoncasein/richcaseinfaq.html

    I'm wondering if, instead of mixing the casein emulsion with powdered pigments (which I don't have on hand), I can mix it with the array of tubed watercolors in my favorite pigments.  These tubed watercolors obviously contain other things besides pure pigment, such as gum arabic and glycol.

  • Question asked 2018-03-12 15:54:28 ... Most recent comment 2018-03-12 22:00:39
    Alkyd Oil Paint Paint Mediums
    Question

    ​Hello MITRA folks. My question is about the use of oil painting mediums that speed drying time, i.e. alkyd mediums. Does proceeding with each next layer when the previous layer is just "touch dry" (and all layers are relatively thin) mean that, essentially, the painting layers will all be drying at the same time, similar to an Alla Prima approach, and there will little likelihood of crazing, cracking or wrinkling in the topmost layer later on? I see oil painters who use Galkyd and similar mediums in many, many layers in relatively quick succession, and always wonder about drying and curing hazards... Thank you for your thoughts.

  • Question asked 2018-03-09 14:17:46 ... Most recent comment 2018-03-12 06:20:25
    Pigments Scientific Analysis Oil Paint
    Question

    ​Hi all,

    I've emailed several art manufacturers that I use here in the UK regarding the amount of zinc in their titanium white oil paint.

    Here are the results which may prove useful to you all:

    CompanyProportion of Zinc
    Winsor & Newton - Artist Oils"There is not enough to cause a brittle film--less than 2%."
    Royal Talens - Rembrandt"The percentage of zinc oxide for both products is between 5% and 10% … They both contain the same amount of Zinc. The Safflower oil makes sure it’s getting less yellow."
    Schminke - Norma"we can say that our #11114 titanium white have a content of PW4 lower than 10%."
    M Graham - Oil Color"I have been told that we use under 3% Zinc in our Titanium. We do have a zinc free oil 11-181 that I can recommend if there is a concern."
    Jacksons - Artist and Professional Oil RangeWon't reply after 2 mails
    Blockx"Paint made with Titanium Dioxide pigment is very hard and misses elasticity. So, we do add indeed a very little Zinc pigment. But the proportion is of course secret. And will defer from one manufacturer to another. " - Won't reply after 2 more chasing emails
    M Harding"It's about 10% of the overall volume."
    Williamsburg"We are happy to report that we do not use any zinc in our Titanium White oil paint." - 0%
    SennelierWon't reply after 2 mails
    Maimeri - ClassicoWe can declare that the proportion of Zinc in Classico Titanium White 018 is moreless 50%."


  • Question asked 2018-03-09 14:49:12 ... Most recent comment 2018-03-12 06:04:24
    Oil Paint
    Question

    Hi, I work in an istitution that provides art education. They wish to ban oil paints because they believe it to be toxic.

    Is there some facts or arguments I can provide them to dispell their belief?

    Thank You

    Steven Lewis

  • Question asked 2018-02-08 16:53:46 ... Most recent comment 2018-03-09 09:54:24
    Acrylic Oil Paint Industrial and Non-Traditional Products
    Question
    While preparing MDF boards, I used two coats of acrylic enamel paint on the back and around the edges to provide some moisture protection. However, a small amount accidentally ended up on the very edges on the front side of the boards. Assuming I cover the front with three layers of acrylic dispersion ground, should I expect future failures of paint? I know house and commercial paints are generally not formulated with archival qualities in mind, but I was wondering if having them in the bottom-most layers would affect subsequent layers of artist-quality acrylics and oils?

  • Question asked 2018-03-06 23:26:04 ... Most recent comment 2018-03-08 20:37:26
    Oil Paint
    Question

    ​I'd like to hear the opinions of the experts on this linseed oil developed by the University of Saskatchewan.  It sounds great, but I'm not sure if the peptides are necessary for long term for stability of paint films. The news release is here:

     https://news.usask.ca/media-release-pages/2017/u-of-s-basic-research-leads-to-non-yellowing-flax-based-oil-for-artists-paints.php

  • Question asked 2018-02-19 20:26:42 ... Most recent comment 2018-03-06 11:33:28
    Oil Paint Grounds / Priming
    Question

    ​I am interested in building an archivally sound painting. I have been told that a lead based ground will strengthen the oil paint all the way through the paint surface, and therefore is the most archivally sound way to build a painting. I would prefer to build it in other ways and am wondering if I can be effective in matching the performance of lead. Here are my methods: A rigid, cradled panel support behind an evenly stretched 16 oz tightly woven canvas, or a high grade linen, Gamblin PVA sizing, front and back of the fabric, Golden Acrylic Gesso, five coats (slightly diluted), underpaintings in undiluted Gamblin FastMatte Alkyd Safflower oil paints, a series glazes of Gamblin FastMatte paints, diuted to glaze consistance with Gamblin Solvent Free Fluid and applied with high paint spread.

  • Question asked 2018-02-23 08:50:27 ... Most recent comment 2018-03-04 14:27:38
    Question

    I've been trying to fix charcoal to the surface of my paintings, ie drawing on top of dry oil paint. The paintings are sometimes on linen and sometimes on hardboard/plywood, not large, about 30-40 cm. I want the charcoal to adhere permanently and remain on top, not be painted over. I know this is not seen as good practice but artists have done it and I wondered how it has been fixed. Obviously a charcoal line has a quality like nothing else and I want to retain that. 

    I've been using Schminke Universal-Fixitiv 50-401, which apparently contains Benzotriazol-Derivat, dimethyl ether, polyvinyl resin, n-butyl acetate, UV-absorber, alcohols.  It seems to stick the charcoal, anyway for a while, but after 10 days or so, when I wipe the surface very gently some charcoal comes off, which it hadn't at the start. Schminke say their fixative isn't meant to fix charcoal permanently as a top layer, just to paint over.

    I don't varnish my work because it may need to hang before it is totally dry and also I often return to a picture to rework something. I wondered whether the best way of keeping the charcoal fixed might be to wipe stand oil, or perhaps poppy-seed or some other oil, lightly  over the charcoal after fixing it first with the Schminke fixative? Would it in effect incorporate the charcoal into the oil paint?  I have tried it on one picture and it didn't smear but I wondered about permanence?



  • Question asked 2018-02-19 20:09:44 ... Most recent comment 2018-02-25 14:35:54
    Rigid Supports
    Question

    I am trying to build an archivally sound canvas substrate. How much chance is there of a 16 oz tightly woven canvas fabric slackening over time if tautly and very evenly stretched on a cradled panel with the strong fibre being placed in a vertical direction? Does the fact that it is a rigid support lessen the chances? If the fabric is tacked, and therefore quite adjustable, can this perform as well as a keyed stretcher for adjustments in the instance where it might need any adjustment? Over such a panel, is use of linen necessary to prevent destabilizing the substrate by slackening, or is it overkill?

  • Question asked 2018-02-16 16:04:02 ... Most recent comment 2018-02-19 18:39:00
    Oil Paint Grounds / Priming Alkyd
    Question

    I have an oil painting in progress that has a quite-dry, scrubbed-on Imprimatura layer of M. Graham Rapid Dry Titanium -- an alkyd oil paint which *does* have a small percentage of Zinc in it, according to the company, and which I used as an oil-based 'ground' alternative to something like a solvent-based ground because an acrylic-primed canvas is so dang absorbant and 'draggy' -- that was then painted over with a very thin raw umber layer with a small amount of alkyd medium. It's been a month now, the raw umber appears quite dry, but a fingernail can scratch off the paint on the high points of the canvas weave. I'm wondering if this is just happening within the normal curing and bonding time between layers of oil paint, or if the Rapid Dry used as a Ground was not a good idea, or there's some other red-flag reason not to proceed with this approach? Any thoughts would be much appreciated!

  • Question asked 2018-02-16 16:14:36 ... Most recent comment 2018-02-17 05:06:45
    Question

    ​This may not be news to our conservation experts, but this researcher found me via Utrecht's social media presence when I posted about herringbone canvas. I think this is fascinating! https://handwovencanvas.blogspot.pt/

  • Question asked 2018-02-13 11:34:04 ... Most recent comment 2018-02-13 21:07:21
    Industrial and Non-Traditional Products
    Question

    ​I know this is probably a too vague question... From what I've studied so far, it seems that ACM panels are an almost perfect surface to paint on (after being properly prepared for that).

    Then a friend questioned my belief and told me that copper was actually superior to ACM panels, at least for oil painting. I have some doubts yet I couldn't fail to notice that the paintings on copper  that I've seen are much better preserved than the ones on other traditional supports.

    What is the very best support for oil paints currently available?


    Thank you!

  • Question asked 2018-01-31 10:35:37 ... Most recent comment 2018-02-11 19:01:19
    Drying Oils Oil Paint
    Question

    ​Hello all,

    I hope you can help advise me on a problem I have. I painted a portrait 6 weeks ago using tubed paints (mostly W&N Artist Oils and Rembrandt) mixed with walnut oil and clove oil - no solvents used. It is painted in one thin fluid (but opaque) layer on a rigid support with two layers of acrylic primer with a strong tooth.

    I have done many of these kind of paintings with no issue as the extended drying time is very useful. However on this painting once it was done I stored it in a cardboard box with ventiliation with 4 open areas covered with dust meshes (the kind you see on PC computers cases over the fans) to let out the evaporating vapours of the clove oil and to let in fresh oxygen.

    I had no problem with the previous painting I painted and stored in this manner. However on this portrait I find that some sections are still not dry after 6 weeks (now outside the box in warm air for 2 weeks). It's not the whole paint film, it's almost like just the surface of the paint, and it's a thin (but opaque) paint layer I use anyway. Not all of the painting is affected, but the parts that are don't seem to be affected.

    I can only thing I could think of as to what has happened is that the vapours of clove oil stayed in the box too long from this and the previous painting and degraded the polymers enough that the paint now will not oxidise.

    I was thinking about my options, and I have come up with these so far:

    1. Continue to store in a well ventilated and warm environment and see if it oxidises (not sure it ever will).

    2. Try a spray siccative like Krylon Quick Dry Spray (and hope the paint does start to cross-link).

    3. Wipe off what damaged paint I can and repaint.

    4. Try to apply a thin layer of walnut / linseed oil to the affected areas (staying within each hue/value area as best I can) to try to add a drying oil onto that section and bond with the pigments remaining.

    5. Nothing can be done. Redo the painting on another panel.


    Does anyone here have any suggestions on how best to proceed?

    Thank you!
    Richard

  • Question asked 2018-02-08 09:22:35 ... Most recent comment 2018-02-08 11:52:24
    Industrial and Non-Traditional Products Storage Sizes and Adhesives
    Question

    ​An artist recently contacted me to ask for a recommendation for a type of adhesive. They are using latex to create cast forms (think Eva Hesse) and would like to adhere panels of latex together. They are unconcerned with the inherant vice of the latex itself, but they are concerened about the compatability of the adhesive with the latex, its flexibility, comparative aging and of course its efficacy. Does anyone have any experience in this area and could they also recommend some basic and easy to implement storage ideas for when the work is not on display? Many thanks in advance.

  • Question asked 2018-02-05 22:36:01 ... Most recent comment 2018-02-07 17:05:54
    Art Conservation Topics Flexible Supports
    Question

    ​When AMIEN was active, there was a consensus that cotton was fairly equal to linen as far as longevity is concerned.
    It makes sense to me that linen would be stronger because of the longer thread length.
    Is there any evidence from older paintings that there is a significant difference in longevity?

  • Question asked 2018-02-06 19:21:16 ... Most recent comment 2018-02-07 12:28:41
    Acrylic
    Question

    ​I am planning a number of works that involve painting in acrylic on papers prepared with acrylic gesso with 2 coats on each side.  These papers will be mounted to a sealed plywood panel when finished. My question is with the mounting and sealing, will 100% rag papers perform drastically differently than acid free alpha cellulose papers? Or can I treat acid free alpha cellulose papers as I might treat an extremely thin piece of tempered hardboard?

  • Question asked 2018-02-01 08:27:20 ... Most recent comment 2018-02-06 10:36:50
    Paint Making Acrylic Other
    Question

    ​Hi,

    At the moment I am testing Chroma Color from a Spanish factory called La Pajarita. It seems Artists like Dali have made use of their paint. I am trying to find out if it would be suitable for our Shop in School, of my Art Academy.

    The one thing I am concerned about is that it is made with vinyl in stead of acrylic. I was under the impression that acrylics are superior to vinyls. As far as I know the plastcisers in acrylics are internal and often in pva's external, am I right?

    According to them, however, when they were considering transition from vinyl to acrylic as a binder, their vinyl tested better then most of the acrylics from their competitors. And that is why they stayed with vinyl.

    My knowledge is too limited, here. So I hope you people can help me out.


    Thanks


  • Question asked 2018-02-05 11:11:56 ... Most recent comment 2018-02-06 02:30:19
    Question

    ​Hi all,

    I was wondering whether anyone had any thoughts on using Frixion pens for underpainting? The idea being that even under transparant paint the drawing can be made transparent with the application of heat..

    I know that the ink they use becomes transparent at 65C and then stays that way until the temperature is lowered to -15C. 

    I don't know if subjecting oil & acrylic paint on top of the ink to temperatures that high for enough time to activate the fading process in the ink would cause damage to the paint films?

    Has anyone done any tests or studies on this, or seen artists using them for underdrawing?

    Thank you,
    Richard

  • Question asked 2018-02-02 21:55:38 ... Most recent comment 2018-02-03 12:27:44
    Rigid Supports Sizes and Adhesives
    Question

    Hello. I had a very large linen stretched, because I like the tooth ofl linen. However, having never done anything this large, I did what I could but after sizing (1 coat GAC 400 and one coat GAC 100), the linen is VERY loose.

    Two options: Re-stretch, or mount on Birch ACM.

    I would prefer to mount on ACM, but I want to double check what the right process is here.

    Is BEVA the approppriate adhesive to use? Does it matter what variety I use? Is there a better adhesive?

    Are there any considerations when choosing an ACM? I would probably use Omni-bond, not sure if that brand is one you recognize or if BEVA on it's own will give me adequate adhesion.

    Would it be wiser or easier to simply use a birch panel?​

    Any help is very appreciated. I did search, but couldn't find an answer. 

  • Question asked 2018-01-25 14:02:29 ... Most recent comment 2018-02-03 11:27:02
    Other
    Question
    I have read that vinyl-based paints suffer some degradation when subjected to variable and harsh atmospheric conditions, and that they perform overall worse than acrylic-based paints. However, I couldn't find any information about works that are only meant to be kept inside. Would there be any significant difference? As an additional question, would applying a layer of acrylic medium over the vinyl paint add some protection?

  • Question asked 2018-02-02 15:09:04 ... Most recent comment 2018-02-02 16:58:22
    Oil Paint Industrial and Non-Traditional Products
    Question
    I have read that non-drying oils (baby oil, sunflower oil, other cooking oils) can be used for brush cleaning at the end of a painting session, so long as they are then cleaned with soap to remove the non-drying residue. However, from my experience it's usually not possible to remove absolutely all of the substance that was on a brush. I would like to know if the usage of non-drying oils as a cheap (and healthier) alternative to solvents is advisable? Wouldn't it be better to use linseed oil and soap, or just soap?
    I also remember another suggestion, which was to keep the brush tips submerged in oil (walnut or linseed) in a tray instead of washing them with soap and letting them dry. Would that be advisable?
  • Question asked 2018-01-30 17:25:17 ... Most recent comment 2018-01-31 17:31:55
    Health and Safety Oil Paint Solvents and Thinners
    Question

    ​It's fairly easy to find information regarding Chronic Solvent-induced Encephalopathy/Chronic Painter's Syndrome. CSE is a nervous system disorder that is characterized by cognitive impairment and other psychological changes following long-term exposure to organic solvents, even below threshold levels.

    A question that comes to my mind is: how much at risk are artists? All CSE studies I've read involved industrial painters/cleaners who inhaled a lot of xylene, toluene, mineral spirits, and other substances as a part of their daily work routine. However, most oil painters nowadays would likely be exposed to at least one kind of organic solvent on a daily basis as well. I was wondering if there is any information regarding the following products:

    • Odorless Mineral Spirits (the regular mineral spirits are already known to most likely cause CSE)
    • Turpentine
    • Oil of spike lavender
    • Naphtha

    and other solvents likely to be found in the studio, with regards to the neurological damage they can cause? How much turpentine/OMS/etc. can I inhale on a daily basis without risking health damage? Is there any substance on the list which is safe given chronic exposure? (I read that oil of spike lavender is supposedly safe, but retain some scepticism, given its solvent strength)

  • Question asked 2018-01-27 21:42:19 ... Most recent comment 2018-01-29 20:48:11
    Drying Oils Solvents and Thinners Oil Paint
    Question

    ​Referring to your article about paint mediums and additives.
    Link https://www.artcons.udel.edu/mitra/Documents/MITRA_Mediums_and_Additives.pdf

    [quote]"Consider painting without using solvents. If you are using solvents, use smaller and smaller additions of solvent as you continue to paint subsequent layers to follow the “fat over lean” rule of thumb."[/quote]
    I define the fattness of a paint film as the oil to pigment ratio, as does George O'Hanlon I believe. (PVC, Pigment Volume Concentration.)
    In this respect, adding solvent to oil paint won't make it any leaner as the paint film with end up with the same PVC as it had originally before the solvent was added.
    Granted, it does allow one to paint more thinly and therefore dry more quickly, but I can easily demonstrate that one can spread neat paint very thinnly and solvent added paint thickly.
    So with this in mind, I question the premise that adding less and less solvent is adhering to the fat over lean rule.
    I mention this because the text above is being quoted as proof that adding solvent makes paint leaner.
    Is there any other rational that would give the argument more credibility?

  • Question asked 2018-01-28 15:16:11 ... Most recent comment 2018-01-29 10:18:29
    Oil Paint
    Question

    ​After an oil  painting was stored in climate controlled facility for 8 years, yellow patches appeared in areas of the painting. The medium was alkyd based like Winsor Newton Oleopasto. The painting was stored in styrofoam and corrugated cardboard. Was there off gassing of the storage materials causing some yellow passages? Or, the effects of total darkness? Is there a way to correct without removing varnish and paint layers?

  • Question asked 2018-01-27 16:25:15 ... Most recent comment 2018-01-27 22:42:29
    Varnishes
    Question

    ​Hello Mitra,

    I would like to first say thank you everyone from Mitra  for their continual help.  

    I recently heard of teachers at an academy, that I will not name, telling their students that they could place a final varnish of a polymerized oil like a stand oil.   They are told that this is actually what many of the old masters did and that other varnishes are not necessary.  Is a polymerized oil, like a stand oil, suitable for this?  During your experiences have you ran across any masters that did this? 


    Best Regards,

    Hector



  • Question asked 2018-01-26 08:31:50 ... Most recent comment 2018-01-26 09:08:55
    Acrylic Animal Glue Grounds / Priming
    Question

    Hi,

    I have a friend who applies traditional gesso using a spray gun.  In recent batches she's been getting an especially large number of pinholes.  I've suggested various things that, in my experience, address pinholes (such as: letting the gesso sit overnight, once it's made, to let bubbles dissipate, then rewarming and applying it; not having too great a temperature differential between the gesso and support; applying the gesso very thinly; not waiting long between layers) but she is still having problems.  I don't use a spray gun and get no pinholes in my gesso, so I'm not sure what further to suggest.  

    I'm wondering if adding a small amount of Golden's Flow Aid might help, but I'm not sure how acrylic polymers (albeit a very minimal amount) work within traditional gesso.  When I first began making gesso (25 years ago) I read about adding sugar (1 tea. sugar to 2 cups gesso) to help with pinholes, and I tried doing that a couple of times - it seemed to work fine but was so many years ago I can't really remember.  What about that idea?

    Any other suggestions for how to address pinholes?

    Thanks,

    Koo Schadler

  • Question asked 2018-01-11 19:49:01 ... Most recent comment 2018-01-23 01:13:28
    Paint Making
    Question

    ​Brian and George, I was totally blown away by your fast, and thourough response. Thank you so much.

    I limited my questions to two per visit like I have to at my family physician, but I actually have one more, also about Lead-White.

    After repeated levigating, and grinding the Lead-Carbonate flakes, (in a ball mill with ceramic media), I start doing the rinses, usually about ten.  Residual Lead-Acetate is found to be present in at least the first four rinses when tested for with Sulfuric Acid.

    I precipitate the Lead-Acetate out with Sulfuric Acid, or Sodium Bicarbonate, to end up with Lead-Sulfate and Acetic Acid, or Lead-Carbonate and Sodium Sulfate (environmentally safe concrete sealer).

    The Lead-Sulfate is re-combined later with the Lead-Carbonate through a last grinding, followed by distilled water rinses. I read somewhere that this makes a better (oil) paint then if either one was used alone. 

    I would very much appreciate your opinion on this.  BTW I will now also return the pigment from the foam to it`s respective Carbonate.

    Thanks, Niq

  • Question asked 2018-01-17 11:40:07 ... Most recent comment 2018-01-17 20:00:28
    Rigid Supports Sizes and Adhesives
    Question

    Would a pva glue with a ph of 4 be suitable to mount primed linen to hardboard?​

  • Question asked 2018-01-10 18:07:22 ... Most recent comment 2018-01-11 15:57:50
    Varnishes Art Conservation Topics
    Question

    ​I would like to know if I need to prepare an acrylic painted surface for oil crayons to make it stable over time, and the best medium to seal the final surface.

      Also, is clear gesso the best medium to use over acrylic to prepare the surface for cold wax, what do I need to add to a low ratio of paint to wax? Do I understand correctly that using less than 2/3 paint to 1/3 wax is inadvisable without adding other mediums? I have found recipes online but no consensus.

    Thank you


  • Question asked 2018-01-11 10:46:55 ... Most recent comment 2018-01-11 12:51:04
    Paint Mediums Oil Paint Solvents and Thinners
    Question

    ​I glaze using oil paint. I need to know if I have used Gamblin solvent free gel or fluid can I then use walnut alkyd oil on the same painting? I prefer walnut oil, but am not always allowed to use it if the venue is nut free. 

  • Question asked 2018-01-11 00:13:39 ... Most recent comment 2018-01-11 10:42:19
    Paint Making
    Question

    ​Does a "good" lead white need to have some lead-acetate left in it, or should it all be removed by repeated  and thourough washing ? Alvah H. Sabin in "White Lead its use in paint" 1920, questions this and proposes that up to as much as 5% acetate of lead should be left in, or added, to make a better paint. I am aware that he is talking about house paint, but has this merrit ?

    In " Mannel des jeunes Artistes et amateurs en peinture" 1831 , M.P.L. Bouvier writes that to use lead-white for watercolour we must take a twig from white wood, peel the bark off, then whip up the lead-white pigment while in water, and only use the froth/foam. After testing the foam/froth from five different batches of lead-white paint I produced, I found no traces of lead acetate while the supernatant had the usual acetate content. Is the foam/froth a different make up then ?


  • Question asked 2017-12-16 03:20:42 ... Most recent comment 2018-01-09 14:27:42
    Gilding
    Question

    ​Three questions:

    1. I would like to add portions of burnished gold leaf to my oil paintings. I have oil gilded on canvas before and though the results were fine I much prefer the look of burnished gold. Which support would be best suited for this? Gessoed ACM? Gessoed Panel?  

    2. I have read you cannot burnish oil gilding but have never seen the reason why. Why can't you burnish oil gilding?

    3. I would also like to gild a ram skull. Archivailibity is less inmportant in this case but I would still be pleased to do it in an archival manner. Which mordant should I use and should I prepare the bone in any particular way?

  • Question asked 2018-01-03 18:14:30 ... Most recent comment 2018-01-04 15:57:49
    Rigid Supports Grounds / Priming
    Question

    ​I plan to seal some panels of 1/4" premium, tempered hardboard (Alpena hardboard from DPI, not the big box store variety) in preparation for mounting 140 lb, wc paper to it with acrylic dispersion medium.  

    The liquid shellac comes usually in a 3 lb cut (3 lbs shellac per gallon denatured alcohol).

    How far should I dilute it with denatured alsohol?  50-50 ? 33-66? other?


    Thanks for your help.

    Richard

    PS  I'm going back to shellac as a sealant rather than acrylic dispersion medium in order to minimize water and the warping of the 10 x 20", uncradled panels. 

  • Question asked 2018-01-02 23:10:06 ... Most recent comment 2018-01-03 20:41:30
    Drying Oils Paint Mediums
    Question

    ​Hello Mitra,

    I wish to bleach my linseed oils by letting the sun hit them.  I was curious to know if i could do this to an already polymerized oil like Stand Oil?  If not, I take it a cold press linseed oil is the best to use for starting.

    My goal is to have a viscous clear oil which if need be I can then make it more fluid with a clear cold press oil.

     I know traditionally artist would wash their cold press oil and then thicken it and bleach it through exposure of the sun.  Should I do this? Is my Stand Oil a lost cause then? 




  • Question asked 2018-01-02 07:41:09 ... Most recent comment 2018-01-02 10:03:21
    Oil Paint Acrylic
    Question

    ​Do all paints have surfactants in them?

  • Question asked 2017-12-31 09:23:24 ... Most recent comment 2018-01-01 06:35:36
    Flexible Supports
    Question

    ​Happy New Year dear Mitra people

    I have been struggling to find a way to glue primed polyester canvas to Masonite (Hardboard) panels. My problem is that the canvas is fairly lightweight and very prone to deformation/ wrinkles. My attempts to glue it to panel so far havent been very successful. I keep getting little air pockets under the polyester canvas, despite using a roller to push the fabric down and weighting it with heavy books etc. I’ve tried PVA, acrylic matte medium gel, solvent based contact adhesive and acrylic based contact adhesive. So far, the  best results have been with the solvent based contact adhesive—but the fumes are dreadful. (I am aware of the measures I must take to avoid hazardous exposure to them by the way) and I’m not too sure about it’s soundness from a conservation POV. I thought it might help to stretch the canvas on a stretcher, then stiffen it with rabbit skin glue, then remove it and glue it to a panel. Unfortunately it’s almost as difficult to stretch as it is to glue down. So I’ve given up on that idea. My next plan is to use rabbit skin glue to glue it to the panel. I am aware of all the problems associated with rabbit skin glue but still feel (or should I say hope) it will work better than anything else for my purposes. It also has the advantage of being reversible. My questions are : what ratio of RSG to water would you recommend? My old Painters Handbook (like all art technique books) contradicts itself. On one page it recommends the same ratio as normal RSG size (1 part rsg to 10 parts water). But then tucked away on another page, the suggested ratio for RSG as an adhesive is given as 3 parts to 10 parts water. I seem to remember that Ralph Mayer recommended a recipe that was similarly stronger for RSG as an adhesive as opposed to as a size, But I can’t find that reference currently despite looking for it in my old book.

  • Question asked 2017-12-31 00:11:06 ... Most recent comment 2017-12-31 01:18:22
    Oil Paint Acrylic
    Question

    ​What are the ingredients in making the "vehicle" for oil and acrylic paints? What are the chemicals in making acrylic and oil paints? I understand that the colors are made from differing chemicals and this is a complex question.

  • Question asked 2017-12-30 20:46:36 ... Most recent comment 2017-12-30 20:59:18
    Technical Art History
    Question

    Hello Mitra Conservators,

    Could you so kindly list technical/technique books that you would highly recommend?  

    For example the N.G. Technical Buletins, and Sir Charles Eastlakes book come to mind, but im sure there are others and maybe even better ones that Mitra could recommend.

    I recently heard of one by Mary Merrifield titled, "Medieval and Renaissance Treatises on the Arts of Painting,"  but im not sure if this is something Mitra Conservators would put on their list.  

    Thanks you and Take care

  • Question asked 2017-12-28 21:01:06 ... Most recent comment 2017-12-30 11:07:45
    Oil Paint Acrylic
    Question

    Are paint fumes bad for your health? If so how and why?​

  • Question asked 2017-12-27 16:15:15 ... Most recent comment 2017-12-29 21:22:07
    Oil Paint
    Question

    ​Hello Everyone, I am seeking advice about old dried mold stains on stretched gesso-primed canvas.

    A few points:

    • The canvas is one I began 20 years ago and has been in storage since. When I retrieved it recently from storage, there were mold patches on both front and back of the canvas. (the front is gesso priming on cotton duck. The back is not primed; just raw cotton)
    • The mold is not extensive, only in the corners near the edge.
    • The moldy patches are on both the front and back side.
    • The mold is not heavy, it just appears as a light stain behind the image.
    • The mold appears to have dried years ago. It does not appear to be advancing, but the stains remain.
    • This painting is an underpainting, a single color of very thin paint (washes with oil paint & turpentine)
    • There's no heavy layer of paint on this canvas yet, just the thin wash drawingwhich is quite transparent. The mold stain appears behind the transparent underpainting. I could easily finish the painting which will cover the mold.

    Questions:

    1. If the mold is fully dried, is it safe to go ahead and paint on this canvas, as is?
    2. Or should I try to remove the stains before I resume painting on this canvas?
    3. If I do finish this painting, will there be subsequent damage from the mold being 'trapped' beneath new paint?

    Thanks in advance to anyone to offer me some guidance with this.

    Cheers.

  • Question asked 2017-12-24 04:45:25 ... Most recent comment 2017-12-24 16:28:57
    Question

    Just want to say Merry Christmas and a great big thank you for everyone's help here. It's really reassuring for artists to have your help and advice (especially when it's out of your own time)!

    Thank you!!​

  • Question asked 2017-12-20 17:05:50 ... Most recent comment 2017-12-20 17:48:37
    Oil Paint Acrylic
    Question

    ​I would like to know what is in them when we buy them. The medium(s) that turn them from a pile of chemicals to a liquid paint in a tube or jar etc.

  • Question asked 2017-12-17 17:47:56 ... Most recent comment 2017-12-19 16:25:05
    Ink
    Question

    ​Will Indoor air exposure reduce a Moisture buildup and greasy film on the exposed duralar surface of an Acylic ink painting? Moisture and film develped on a painting within a frame when the duralar moved towards and pressed against the glass inside the frame. Is there something safe to use to remove the film.

    Kremer Primal AC35 was used on the ink area.

  • Question asked 2017-12-15 19:44:40 ... Most recent comment 2017-12-18 22:39:48
    Acrylic Grounds / Priming Other Paint Mediums
    Question

    ​I am making some “ Calder like” Mobiles but instead of just spray painting them I’m interested in painting them using Acrylic paint.  Has anyone had experience with this and if so what is your experience/ pitfalls etc.? As well, I would like to know what kind of Primer or Ground that I would have to apply as a first protective coat ...I.e. once the metal is cleaned can I just spray on an off the shelf rust free Primer paint  or is there a material that I could use that would work better...e.g. gesso, medium etc?

    Thx. Hy

  • Question asked 2017-12-15 23:09:45 ... Most recent comment 2017-12-18 10:25:41
    Oil Paint Grounds / Priming
    Question

    ​Hello,

    I've been working on a soapstone carving and have produced a ton of dust in the process. I was wondering if I can use it in place of marble dust to make gesso? Would it be a stable ground for oil painting?

  • Question asked 2017-12-14 21:23:38 ... Most recent comment 2017-12-17 12:28:47
    Gouache Matting, Framing, and Glazing Oil Paint Watercolor
    Question

    ​Hello MITRA folks ~ From a conservator's standpoint, can you tell me if there is justification for the wide-spread perception that watercolors are "fragile" and a "poor long-term investment" relative to an oil painting? I've always reasoned that an oil painting is *far* more prone to damage and degradation in both the short and the long term compared to a well-framed watercolor (modern lightfast paints, acid-free materials and UV glazing), since there is, at best, only a thin varnish to protect the oil's surface. Thanks for your thoughts.

  • Question asked 2017-12-14 10:47:16 ... Most recent comment 2017-12-16 19:04:32
    Paint Mediums
    Question

    ​Has there been any modern improvement upon casein secco painting media after buon fresco (lime plaster) wall painting. Specifically, are there synthetic media (acrylics or alkyds etc.) that work well with lime? I was curious to know if anyone may have tried Zecchis "secco" paint that indeed contains an acrylic binder, however I am not sure what else may be in it. and i am not sure that it was intended for lime plaster buon fresco.

  • Question asked 2017-12-13 11:04:29 ... Most recent comment 2017-12-16 18:32:52
    Flexible Supports
    Question

    ​I have been researching commercial, cotton, oil painting papers by D'Arches, Canson, etc, for detailed, preparatory studies that I may or may not mount and sell.  

    Do you forsee any problems with 100% cotton papers by these or other companies?

    The paper fibers are protected, according to their literature, but the OMS and oil can be drawn down below that surface somewhat, unlke the pH neutral PVA size layer tha I put on my papers before use.   Perhaps this affords more tooth for the paint layer to attach to.

    Any thoughts?

    Thank you.

    PS   I avoid priming papers as I will thereby lose the very texture that I like in the paper, and have been sizing only.   Also, the investment in time and material makes them so "precious" that I may not be as likely to experiment with them.   I have followed the directions sent by Robert Gamblin some 15 years ago.

  • Question asked 2017-07-09 17:43:58 ... Most recent comment 2017-12-15 20:04:20
    Acrylic Rigid Supports Sizes and Adhesives
    Question

    ​I want to try using thick, solid cardboard as a surface for acrylic painting, but I can't get any information about its archival properties (lignin, acidity) from the manufacturer. I found a recipe on an acrylic paint manufacturer's website that calls for coating the entire sheet with a couple of layers of gloss acrylic medium-varnish so as to make a layer onto which one can paint. Supposedly, if any problems arise in the future (from what I know, it's inevitable with cellulose), a conservator will simply be able to dissolve the cardboard and reline the acrylic painting.

    I would like to ask how viable this idea is.

    Also, I thought about whether it would be more likely to work if I:

    1. saturated the cardboard with something (gelatin/methylcellulose/PVA/wall paint primer?), then
    2. gave it three layers of gloss medium (first diluted 1:1), then
    3. put on two layers of acrylic ground

    and then painted on it? I'm not sure if three layers of medium plus two layers of ground wouldn't be too excessive.

  • Question asked 2017-11-30 13:09:30 ... Most recent comment 2017-12-10 10:30:58
    Oil Paint Pencil Drawing Materials
    Question

    ​From a durable standpoint, can you tell me if drawing lines into wet oil paint with a graphite pencil is a sound practice? (On both stretched canvas and on panel.) Ultimately, the finished paintings would be varnished. I've Googled this question and come up with nothing...thank you!

  • Question asked 2017-06-15 16:48:30 ... Most recent comment 2017-12-09 22:02:38
    Oil Paint Paint Additives Paint Making
    Question

    ​GReetings, 

    When making oil paint or modifiying oil paint with additives, how do you determine the ratio of pigment to oil, say titanium white with marble powder to linseed oil? 

    There is a point when the paint becomes very thick and will even roll off of the mixing plate glass, and this is obviously too much pigment to oil. Are oil absorbtion rates needed, if so are these online?


    Thank You

  • Question asked 2017-12-08 17:31:10 ... Most recent comment 2017-12-09 19:18:03
    Technical Art History Oil Paint Paint Mediums
    Question

    Hi-

     

    I'm rather old school and I can't afford to switch to walnut oil and lavender I have to keep it simple.  I paint a lot and on a large scale. I would say my application of paint is on the wet loose side and most likely too much vehicle and medium is slapped around by your standards

    As I get older I am concerned with my health, if it is not too late, so I  have begun to rethink my formula of 40 years:

     1:1:1

    Turp- Dammar -Linseed oil

    I begin with gum turp and progress to a fatter medium.

    Occasionally I add stand oil to the brew.

    I have experimented with adding egg yolk, using liquin and alkyd mediums. I'm happy with my old "go to" but for the fumes. I occasional remove dammar from the mix. Any ideas of a formula or medium that would suit me. Any big issues with the 1/3, 1/3, 1/3 mixture I use?

    Thanks

  • Question asked 2017-12-08 18:53:25 ... Most recent comment 2017-12-08 22:05:00
    Flexible Supports Studio Tools and Tips
    Question

    ​I recently had occassion to remove several less-than-satisfactory paintings from their stretcher bars (in preparation for attaching new canvas) and discovered that these brand-name, pre-stretched canvases had been stapled on the corners of the bars on the front side. Am I understanding that this practice of stapling the corners of stretcher bars totally defeats the function of "wedges" for adjusting loose canvases? Thanks for your thoughts.

  • Question asked 2017-12-08 05:34:33 ... Most recent comment 2017-12-08 16:32:06
    Oil Paint
    Question

    ​Can anyone please point me towards a scanning electron microscope image of the surface of a sunken in oil paint swatch, and preferably an image of a glossy swatch for comparison, that I could use for a teaching slide? Thank you.

  • Question asked 2017-12-05 22:08:25 ... Most recent comment 2017-12-06 12:45:58
    Sizes and Adhesives
    Question

    In 2015 I contacted Gamblin asking for directions on a substitute product to RSG for sizing canvas.  The recommendation I received were instructions, developed by Robert Gamblin and Ross Merrill, former head of Conservation at the National Gallery, in point form.  After a few steps on how to glue canvas to a wood panel, Step 6:  Apply Gamblin PVA size to protect the surface of the canvas with one penetrating coat.

    I decided to purchase the PVA Size and after a few tests, and problems with the ground being too absorbent, I decided to apply 3 coats instead of 1, sanding and scraping before applying the last coat.

    On a Facebook forum I was informed that Gamblin PVA size had been tested by Sarah Sands (article dated 2013, Preparing a Canvas for Oil Painting | Just Paint,)  She tested the PVA size along with other products, and her findings showed that Gamblin PVA Size performed poorly, both in terms of flexibility and strikethrough.

    I am a bit puzzled by this:  Gamblin is providing me with instructions with big names undersigning them, plus "National Gallery" and the "Canadian Conservation Institute" are mentioned on the labels and online.   But then you have Sarah Sands, doing an honest test, showing that the Gamblin PVA size should not even have the name 'size' on it.  I am no expert, but I can read a chart.

    My question is, what is going on here? 

  • Question asked 2017-12-05 14:05:54 ... Most recent comment 2017-12-05 23:03:50
    Pigments Oil Paint
    Question

    ​Hello all,

    I have long wondered about certain pigments still used in quality artist paints that are rated as less than excellent in terms of lightfastness: in what situations will they tend to fail, and how might we best use them to achieve lasting results? Some of the pigments I have in mind are PR112 (Napthol red), PY3 (Arylide Yellow),   or even  NR9 (Madder Lake). It's my understanding that pigments such as these are much more prone to fade in tints, but I'm wondering if there are any applications that are considered truly lightfast, such as in glazed top coats etc..

    This question is primarily about these pigments in oil paints but i'd welcome any insights regardless of medium.

    Thank you very much in advance for any advice you can offer, and thank you all for the work that you do!

    Bob

  • Question asked 2017-11-19 11:56:20 ... Most recent comment 2017-12-02 17:17:43
    Acrylic Grounds / Priming Oil Paint Rigid Supports Flexible Supports
    Question

    ​In the Resource section (Grounds & Primers) MITRA states that, "Even though acrylic grounds/paints appear to dry within 24 hours, moisture continues to evaporate from these materials over an approximate 30-day period." Does this mean that supports (both canvas and panel) primed with Acrylic "Gesso" should not actually be painted on (this would be for oils) until *after* this 30-day period has passed...?

  • Question asked 2017-01-03 15:41:54 ... Most recent comment 2017-11-30 09:04:46
    Paint Additives Paint Mediums
    Question
    I don't know what to make of the claims of a medium made of copal resin that is modified with heat  and mimics the charactoristics of the older fossil forms of copal or so says its makers. It is relatively new and is a gel. Is this possible? I have read about the more desired effects of the older (fossill ) forms of this resin and would like to know about the virtues and shortcomings of copal in general.
  • Question asked 2017-11-23 19:22:07 ... Most recent comment 2017-11-26 21:00:27
    Oil Paint Rigid Supports Grounds / Priming Acrylic
    Question

    ​Greetings MITRA folks. Can you tell me if oil painting directly on a shellaced panel is an accepted and durable practice? I know of at least one company which sell panels that have been "sanded and shellaced on both both sides and edges with a wax-free shellac," and they are advertised as a "ready-to-use painting support." I know of both acrylic and oil painters who use these particular panels, but I do not know if they are adding an oil or acrylic ground over the shellaced surface before proceeding with oils. Knowing only of shellac from a furniture sort of standpoint, I would have thought that shellac as a surface for oil paints *directly* would be too slippery and would have poor long-term adhesion. Would you kindly set me straight on this subject? Thank you! 

  • Question asked 2017-11-22 14:19:04 ... Most recent comment 2017-11-26 19:14:00
    Chalk Paint Mediums
    Question

    ​Hello Mitra,

    I wish to mix calcium carbonate to my paints to give them more body and also to maintain them a bit more transparent. Is their a specific calcium carbonate that I should purchase for what i want to do? Or is it all the same?  Chalk? Marble dust? etc?

    Can I mix it directly to paint from tubes ,or should I start from scratch with powder pigment?  

    Thank you ,

    Hector



  • Question asked 2017-03-13 10:36:30 ... Most recent comment 2017-11-26 13:20:53
    Alkyd
    Question

    I looked at previous posts but still find the advice I've seen on using alkyd mediums a bit confusing and contradictory. On one hand I've read that it is best to use alkyd mediums only in lower layers because you want faster drying layers under slower drying layers. This makes sense to me. However, I've also seen recommendations from manufacturers to increase the amounts of alkyd medium in subsequent layers to maintain fat over lean (more flexible over less flexible?) but that seems to contradict the slow over fast drying concept. Ultimately, I would like to use M. Graham solvent free  walnut akyd medium in the underpainting/blocking in and then straight oils in subsequent layers. Would I need to worry about a) adhesion between the first and second layers or b) violating fat over lean/ more flexible over less flexible? 

  • Question asked 2017-11-25 11:39:09 ... Most recent comment 2017-11-26 11:31:44
    Sizes and Adhesives
    Question

    ​Hi! Im an art student at the National academy of fine art Oslo, Norway.   

    I'm interested in using raw linen canvas in my painting, I've previously bought white  grounded linen and stretchid it the unprimed back as the front. Recently, I received unprimed linen from artist store.

    I have experience with rabbit skin glue but since i want to use oilpaint directly on the "size" this is not on option?. I started using artist grade PVA, and a professor tought me how to dilute it with water, ca 1/5 pva to water. it worked well with two coats on cotton but when i started priming the linen the result was really horrible.

    i stretched the raw canvas nicely and tight on a stretcherframe and started brushing on pva/water.  while wet the linen got really firm and tight but after drying overnight the canvas was completely slacking.  after yet another coat the canvas was tight (wet) and later turned slacking but hard as the pva dried.  i made tests where i put on the pva undiluted and the result was good but the pva layer dried almost instant, it was uneven and slighly milky plastic looking.  

    I also started pva priming the canvas unstretched and later had to really struggle to force the canvas to get tight on the frame with canvas pliers, as it did not get really stretched i made the huge mistake to brush some water on the canvas, it get really bad after drying, untight and full of ripples. i have made alot of searching for answers, my proffessors just told me that the key is to dilute with water, and restretch the canvas and give it more glue coats. wich i did, and every time the same thing, tight when wet and loose dry.     

    after i while i found this article,  its the same problem i encountered with pictures 

    http://dianamosesbotkin.blogspot.no/2013/10/pva-horror-tale.html?m=1  


    i read that professional canvas maker like cleassens of belgium use acrylic glue to their canvases and coating both sides, is this a better option?   can you dilute pva with something other than water?

    I know about the Golden products but now i ended up with having alot of PVA and trying to make it work.     




     

        

  • Question asked 2017-11-18 16:16:32 ... Most recent comment 2017-11-25 08:49:15
    Paint Additives Paint Mediums
    Question

    ​I usse oil glazes over a monochromatic egg tempera underpainting.tand Oil (1part Sstand Oil and 6 parts english turpentine) is not satisfactory. Normally my woerk requires 3- to 40 very, very thin oil glazes. Can you recommend a workable reciepe? Alklyd and other such "synthetic materials" are not satisfactory for me.

  • Question asked 2017-11-11 11:19:05 ... Most recent comment 2017-11-20 22:07:03
    Oil Paint Varnishes
    Question

    What did the old masters use to paint whisker thin long lines with oils? I have seen work by several Dutch masters but also the French Academics like Jerome and company who were able to manipulate paint and produce incredible details in a miniature scale, as if they were using a micron pen loaded with paint. I am trying to keep it simple, and I don't want to get into resins or magic media. I have found so far the best combo is to paint over a couch of linseed oil with paint + stand oil. The best brush so far is the size 0 spectre by W&N, but I am sure that are better brushes out there that work best for this purpose.  I know from trying that a lot of the success is in the manipulation of the paint and having a steady hand.  Correcting the shape of the paint with another paint, working in layers. Smaller brushes may produce better results + practice.  I am able and have produced similar details in my still lifes but the scale is not the same. It gets to a point where the detail is so small that I am not able to do in oils.  But if it is a resin, which one would you use.  My friend uses Amber from Donald Fels and Venice turps by Kremer pigments. Thank you.

  • Question asked 2017-11-19 11:16:06 ... Most recent comment 2017-11-20 13:57:41
    Paint Mediums
    Question

    ​ I was trained in a 15th century glazing technique that tries to mimick the process of the Van Eyck brothers. Sir Charles Eastlake alongside with the technical bulletins from the National Gallery mentíon the usage of resins in their mediums. The National Gallery bulletin particularly mentions pine resin, not just for the Van Eyck brothers but also for later flemish painters like Rubens and Van Dyck. Do you happen to know specifically what pine resin is? I currently use dammar but i'm not sure what pine resin actually is.

  • Question asked 2017-10-25 10:54:17 ... Most recent comment 2017-11-18 12:35:57
    Flexible Supports Oil Paint
    Question

    ​I've read that cotton canvas shouldn't be stretched at larger sizes for oil because it's too flexible, but that a heavier cotton can make up for what it lacks in strength. How does 15oz cotton compare to linen at sizes 8ft and above?

    Thanks!

  • Question asked 2017-04-25 14:20:23 ... Most recent comment 2017-11-18 12:30:08
    Paint Additives Oil Paint Paint Mediums Scientific Analysis Art Conservation Topics
    Question

    I have a query regarding the section in the MITRA documentation on Solvents about Clove Oil for Oil painting:

    "Essential Oil of Cloves or Clove Oil has been used as a preservative in emulsions and as an additive to mediums to substantially slow down their drying rate. There are far better preservatives available today. The use of clove oil as a drying retarder is greatly discouraged as its addition tends to substantially weaken the dried paint film.

    Other Essential Oils and Extracts are also periodically used in art making. Oil of rosemary sometimes served as a substitute for clove oil and as a component in the creation of complex oil-hard resin mediums. Like clove oil, artists should forgo the use of these materials as their dangers far outweigh and perceived benefits."

    I and many other painters I know use Clove Oil to extend the drying time and I have never read anything negative about using it before.

    Please can you tell me what evidence led to the conclusion that clove oil weakened dried paint film.

    What were the numbers for the control, clove and rosemary in the studies that were done?

  • Question asked 2017-11-16 13:20:58 ... Most recent comment 2017-11-16 15:45:16
    Rigid Supports
    Question

    Is it true that the hardboard used for the museum grade clayboard used for scratchboard is acid-free? Do I need to worry about outgassing? When I painted an "X" across the back to help prevent warpage, the Golden Titanium White acrylic paint immediately turned yellowish in hue. Why? As a precaution, should I coat the sides and back with GAC 100+500 (since it's chily in the house)?​

  • Question asked 2017-11-15 19:19:37 ... Most recent comment 2017-11-16 12:26:50
    Acrylic Rigid Supports Oil Paint
    Question

    ​This question is directed mainly at Sarah Sands (though anyone can feel free to weigh in): 

    Are there any particular concerns with using GAC 200 to seal the back and sides of unbraced Hardbord panels? I've tested a lot of different finishes for this purpose, and consistently find that GAC 200 performs better than just about anything else in this role. My criteria are two-fold: I'm looking for a coating that will provide some moisture resistance, and also one that will act as a sort of consolidant to strengthen the Hardbord (particularly the edges, which when damaged are prone to fraying). 

    Strengthening the Hardbord is probably the most important concern for me; in general, I don't find Hardbord to be all that reactive to humidity changes, but it can be vulnerable to physical damage, especially when dropped. With a couple of coats of GAC 200 on the back and sides, it seems much more durable. The cured GAC makes the edges very hard and, well, solid. I can drop a panel from eye level onto a hard floor--on a corner!--and it suffers no visible damage. An unsealed panel dropped in the same manner invariably ends up with a dented corner that imediately starts to fray. 

    The fact that the GAC dries relatively quickly is also a plus. I've gotten similar results with oil-based polyurethanes, but they require at least four coats to build to a film on Hardbord (which is very absorbent), and so drying time becomes an issue. Being able to seal the back of a panel in a day (rather than several) is helpful. I've also tried GAC 100, but it dries to a somewhat tacky surface, and does not harden the edges of the panel to the same degree that GAC 200 does. I know that GAC 200 is supposed to be more brittle, but it held up well to my impact tests. 

    So I guess the question is whether or not this is an acceptable use for GAC 200. Also, will it remain stable as a surface coating on the back and sides of a Hardbord panel, or should I top-coat it with something else?

  • Question asked 2017-11-08 11:25:44 ... Most recent comment 2017-11-08 15:11:26
    Oil Paint Rigid Supports Grounds / Priming
    Question

    ​I've searched here on the topic, and also read the "rigid supports" document in Resources (which is a wonderful reference), but I have a few additional questions about working on copper. 

    1. I'm using relatively thick copper (14-gauge etching plates) and working fairly small (maybe 11x14" or so, down to 5x7"). Is it necessary to brace supports of this size, or would it be sufficient to put a lightweight (floating) backing board behind the plate in the frame--perhaps Gatorfoam, or a layer or two of museum board? 

    2. My process to prepare the surface of the plate: degrease with denatured alcohol, thoroughly abrade the surface with sandpaper or steel wool (with the aim of completely stripping the surface to expose fresh metal), vacuum off any copper dust, then degrease again, making sure that all dust and residue gets removed. Then allow to dry, and prime. Does that sound about right?

    3. How about where the copper is not covered by primer/paint? Like the back and sides? Can I just let that oxidize, or should I seal it with something? Renaissance Wax, maybe? 

    4. I assume any oil-based primer will work? How about an alkyd primer, like Winsor & Newton's Oil Primer? I have a few small test sheets on which I tested some straight lead carbonate in linseed oil (RGH), a lead painting primer that contains some titanium white and driers (Rublev), and the Winsor & Newton primer. All three dried very quickly (the W&N primer was touch dry in a matter of hours). I'm guessing that the copper is a drying catalyst? The Rublev primer turned very green upon drying; I don't think that it was a matter of surface prep, because the RGH lead primer is right next to it on the same sheet of copper, and it didn't change color at all. The Winsor & Newton primer took on a slight green tint, but it's barely noticeable. Is this sort of thing common? Something to worry about? I don't think I'd use the Rublev primer, since the color change in that case was considerable. 

    5. I skipped the oft-recommended garlic step, just on the basis that I have been able to find a consistent or empirically supported reason for its use. Some sources say that it helps to "etch" the metal (though it is unclear how, since garlic is not acidic). Some sources say that it might serve as a wetting agent (which makes more sense, except for the fact that copper doesn't seem to need a wetting agent--it takes oil paint really well, with no beading). Some sources say that it helps the paint bind to the surface chemically, rather than just mechanically, but I don't think that's correct. Don't oil films exchange ions with copper? In any event, the idea of putting an aqueous paste between the metal and primer seems like a bad one to me, but perhaps there is a purpose for this step that I haven't considered?

    Thanks!


    -Ben



  • Question asked 2017-11-06 14:54:53 ... Most recent comment 2017-11-07 20:05:12
    Drying Oils Varnishes Oil Paint
    Question

    ​Could you please talk a little about the practice of using isolating varnishes between layers of paint?
    Personally I don't do it, but some advocate it so it would be good to have some authoritive documentation to refer to.

  • Question asked 2017-11-02 15:35:27 ... Most recent comment 2017-11-03 18:10:01
    Art Conservation Topics Gouache Matting, Framing, and Glazing Studio Tools and Tips Varnishes Watercolor
    Question

    ​Hello MITRA folks...Would you speak to the issues from a conservator's point of view (especially concerning long-term cleaning, repair and UV protection) for the growing trend to varnish, wax and resin-coat finished watercolors as ways to avoid the cost and biases against "works under glass?" Your perspectives are much appreciated.

  • Question asked 2017-10-28 15:55:13 ... Most recent comment 2017-10-30 10:11:35
    Art Conservation Topics Other Scientific Analysis
    Question

    Hello, im a MA student currently working on some research projects. I would like to ask you for some advice (if this is not the place just tell me).

    One of the research im beggining with is about 'new digital technology uses in conservation of art' (3D scanning, ink-jet transfer reintegration, 3D reproductions, etc) . I was looking in to related bibliography or other information but there is not much of it, so I would be gradefull if you suggest some information or examples of new digital technology used in conservation, or if you know any book or institution (i.e. factum-arte) regarding this topic.

    Thank you.

  • Question asked 2017-09-27 15:45:45 ... Most recent comment 2017-10-28 16:40:30
    Photo-Documentation / Digital Printing Pigments Technical Art History
    Question

    An interesting question for you!

    ​I would like to do a reproduction of one of my favourite paintings, Vermeer's 'Girl with a Pearl Earring'.

    I have found the excellent close up scanned image that the Mauritshuis have in their collection:
    https://www.mauritshuis.nl/en/discover/mauritshuis/masterpieces-from-the-mauritshuis/girl-with-a-pearl-earring-670/

    I can see that there is a lot more detail in the darks than I've seen in other images. However I understood that the blue of the turban was made with natural Ultramarine and Lead White, yet the blue in the turban looks a little blue green to me, rather than blue red.

    Other images I've seen have the painting with more of a blue-red cast on the turban and on other parts of the painting: 
    https://upload.wikimedia.org/wikipedia/commons/6/66/Johannes_Vermeer_%281632-1675%29_-_The_Girl_With_The_Pearl_Earring_%281665%29.jpg

    I was wondering if any of you knew if the colours in the real painting are more accurately shown in the mauritshuis scan, or in the second link from wikimedia.

    Thank you!
    Richard

  • Question asked 2017-10-24 16:52:44 ... Most recent comment 2017-10-25 15:51:53
    Drying Oils
    Question

    ​I have always worked under the stricture that linseed oil based paints and mediums, with at least some lead white in the paint layer, produced the the toughest, most flexible paint layer possible.

    However, considering that I work on rigid panel, not on stretched linen when this advice was likely first made... 

    Q #1  Would it be adviseable to switch to safflower or walnut based oils and mediums instead, considering that they yellow less, or at least more slowly?

    Q #2  How important is a flexible paint layer on a rigid support?


    For people who are concerned with the slower drying rate of safflower and walnut, I have found that the slower drying rate can be mitigated by placing the painting into an enclosure with incandescent bulbs, which will bring the temperature up to F 90-100.

    Q #3   Do you see any problems with placing the wet paintings in a warmer environment for more rapid drying?   


    No added driers are needed. 


    Thanks for your thoughts.  

  • Question asked 2017-10-24 17:05:07 ... Most recent comment 2017-10-25 14:46:59
    Grounds / Priming Rigid Supports
    Question

    ​Q #1   Are there any advantages to oil primers over acrylic dispersion ones for creating the best adhesion to the paint layer on a rigid support?

    The oil primer, I suspect, would create both a mechanical  and chemical adhesion to the paint layer, whereas the acrylic dispersion primer would create only a mechanical one...or is the mechanical adhesion great enough that it would easily suffice on a rigid panel?


    Q #2  If using oil primers on rigid panels, would the primer need to cure for several months to a year before using?

    Information in your "Resource" section suggested that the dried primer merely needed to resist the fingernail before using.


    Thanks for your thoughts.

  • Question asked 2017-10-14 15:13:18 ... Most recent comment 2017-10-25 13:33:58
    Oil Paint
    Question

    ​Is Arches Oil Paper an acceptable support for an oil painting with a long life? Alternatively, do we know what makes this oil ready, in a way that is different enough from what you usually call paper, which is not oil ready due to the rot attack of oil to the paper fiber? (Perhaps this paper is a synthetic polymer?) I am aware of some other common problems associated with painting on non rigid supports, but am interested in using marouflage techniques to adhere to panels for greater stability. Is adhesion of paint on paper-in general- for impasto technique problematic?

    If oil was the medium usually used for hand touching photos, do these have acidic oil rotting issues?


    Sorry for the host of inquiry, I am a curious person:) Thanks for any ingith into the oil paper etc.

  • Question asked 2017-10-23 13:29:21 ... Most recent comment 2017-10-24 00:17:23
    Technical Art History
    Question

    ​I have studied art materials off and on since 1990 and own copies of several of A. P. Laurie's books and those of D.V. Thompson, Ralph Mayer, Cennino Cennini, etc.   I am still interested in the historical development of art materials and practices over the centuries but do not take them seriously as sound, modern studio art practices.   No search for the elusive "secret mediums" of the old master here.

    Q #1   Except as a study of the history of art conservation/art materials, how useful are these books to the art student wishing to use the most permanent materials and practices?  


    So many of the materials discussed are either discontinued, replaced with more permanent ones, changed in chemical composition but with the same name, etc,  or altogether unavailable, that it seems as if it would only serve to confuse the new artist.   I know that it did years ago when I first started studying them and my mind often swam with conflicting advice.  


    Q #2   With more recent research and knowledge of art conservation and materials, how far back can we depend on books on art materials and practices?   20 years, 40 years, more?


    Q #3   Ralph Mayer died ca 1980, so how reliable are updates to his books?


    Its a shame that we do not have more authors who are well versed in chemistry to help with the technical aspects like A.P.Laurie but The Artist's Assistant , by Leslie Carlyle, Archetype Publications, 2001, while not a painting methods book, has a lot of useful, modern  information on many older practices and art materials.


    Thanks for your thoughts.



  • Question asked 2017-10-05 20:11:57 ... Most recent comment 2017-10-19 11:47:31
    Oil Paint Other Paint Additives Paint Making Scientific Analysis Studio Tools and Tips Technical Art History
    Question

    I am in the copyist program at The Met, copying The Flight into Egypt by Tanner, link below:

    https://www.metmuseum.org/art/collection/search/16947 

    In searching for more information about Tanner's techniques, I came across this 2011 presentation:

    https://www.youtube.com/watch?v=hWxErF_nzd4

    My questions are specifically about the content from 33:20-34:46. 

    I'm trying to figure out two key techniques. First- the dragged paint technique. Brian Baade mentioned this briefly in the presentation for the Near East Scene-Mosque in Tangier painting. In trying to achieve the same effect, I can't seem to get my paint to break. I buy my pigments, not make my own. Do commercial pigments come with too much oil? Is there some way of getting a dryer paint? Second- the impasto texture of the paint in The Good Shepherd. Brian Baade mentions that he doesn't know what method was used to apply paint, but I thought I'd ask about what tools/techniques were found to produce the most similar result.

    Thanks,

    Karri

  • Question asked 2017-10-16 16:16:57 ... Most recent comment 2017-10-17 13:11:47
    Varnishes Oil Paint
    Question

    ​I want to do a painting (on canvas or on acrylic-gessoed paper) in charcoal and oil but I'm unsure how to "fix" it or varnish it.  I love charcoal and usually just use it for the sketch underneath the oil and then paint over it but what happens if I do a painting that has a combination of areas with only charcoal on it, some areas that are paint only, some areas that are paint and charcoal together, and some areas with charcoal over the paint? The oil would be very thinly applied. Would I use a spray varnish at the end to "fix" it because a brushed-on varnish would lift the charcoal? If on paper, should I frame it with a good space between the glass and artwork? If y'all think that charcoal and acrylic paint would be better for this type of art, what would I use in that case to seal it? Thank you for this helpful site. 

  • Question asked 2017-10-13 10:35:14 ... Most recent comment 2017-10-13 12:06:29
    Pigments
    Question

    Do you have an exact recipe for extracting Fra Angelico blue from lapis lazuli? A student of mine needs the recipe for his conservation degree, but his professor also wants more scientific quantities. Cennino cennini's recipe for natural ultramarine is too vague for their MA classroom. Ex: how strong should the lye solution be and it's ideal ph? How much ashes to water? How much lazuli to resin, wax and oil? Etc. Thanks

  • Question asked 2017-10-11 21:18:05 ... Most recent comment 2017-10-12 21:52:33
    Grounds / Priming Oil Paint Studio Tools and Tips
    Question

    ​🍁 Fall Greetings, MITRA folks ~ Can you tell me if there is any technical reason to NOT paint light-to-dark in thin layers of oil with an alkyd walnut medium over a thin Titanium White (no Zinc) first layer on the acrylic gessoed surface? 'Durable' is my concern. Any thoughts would be much appreciated. 🍂

  • Question asked 2017-10-12 15:58:50 ... Most recent comment 2017-10-12 20:22:58
    Flexible Supports
    Question

    Is it safe to wash unused canvas in the washing machine? If not, can it be washed by hand? I came across a lot of 15 oz. cotton but it has some dirt in spots and deep creases that can't be ironed out.


  • Question asked 2017-10-10 15:33:41 ... Most recent comment 2017-10-12 11:55:38
    Egg Tempera
    Question

    ​My understanding was that Andrew Wyeth used a traditional chalk and glue gesso, learned from his brother-in-law Peter Hurd, under his egg temperas paintings.  I presumed this from various articles I've read; also from a Mr. McNeil (I think his name was), an older gent (he was in his 90s when I met him 20 years ago) who used to run a company called Permacolors and told me he made traditional chalk and glue gesso panels for "Andy".   However someone else recently told that Wyeth worked on caesin gesso. Can Dr. Joyce Stoner (or anyone who knows) corroborate what ground Wyeth worked on?  

    Thanks,  Koo Schadler

  • Question asked 2017-10-10 12:35:23 ... Most recent comment 2017-10-11 17:51:41
    Egg Tempera
    Question

    ​​Many years ago I bought a product called Disponil from, I think, Kremer Pigment in NYC - it worked great at combining hard to wet pigments with water.  I haven't been able to find Disponil again.  I now use Golden Paint's Universal Dispersant.  Am I safe in presuming that the Golden's product is compatible with egg tempera (for pigments that resist wetting)?  Any other comments on dispersants and egg tempera?  

  • Question asked 2017-10-10 11:04:40 ... Most recent comment 2017-10-10 18:26:00
    Acrylic
    Question

    ​I've heard that  a little 4F pumice, added to  acrylic primer, creates a smooth oil painting surface on rigid panels but with a little more tooth to grab onto the paint.   Acrylic primer alone seems a little slick for me, but I do not necessarily need great absorbancy.  

    Any problems?

    Would this surface be too abrasive for bristle or sable brushes?

    Would the pumice increase absobancy? 

    Thanks for your thoughts.

  • Question asked 2017-10-10 11:46:05 ... Most recent comment 2017-10-10 16:39:02
    Flexible Supports
    Question

    ​Do you see any delamination or other problems with oil paintings made  directly on PVA sized, 140 lb, cotton wc paper, rather than on an acrylic primed paper?


    I've been using sized, 140 lb,  cotton wc paper for oil studies and small paintings for for 18 years without problem.   The paper has a texture that I enjoy and I size them on one side with 2 coats pH neutral PVA size, (75% water-25% PVA glue), as suggested by Robert Gamblin.   The size is allowed to dry in between coats. 

    I do not apply an oil or acrylic primer as it tends to smooth the very texture that I like and I can collect hundreds of small plein air studies and sketches on paper, for reference, without the massive weight and volume that mounting on hardboard or dibond would entail.   The paper is stiffer than the same on unstretched linen so that studies can be more easily be handled.

    On occaision, I mount them on panel for sale.   Again, no problem in the years that I have had paintings on paper mounted on panel, but I thought that I would check with you anyway.    

    I realize that the primer would likely be more absorbent and may create a better mechanical bond with the paint layer, but I've seen so many plein air studies of 18th - 19th C masters painted and/or mounted on a lot worse supports and often without sizing.

  • Question asked 2017-10-08 04:40:02 ... Most recent comment 2017-10-10 15:50:19
    Grounds / Priming
    Question

    ​Dear Moderator

    I am trying to find a way of working that produces the best possible combination of characteristics for my way of working I currently have a thin linen which I want to adhere to panel once I do a decent painting on it Because it's fairly thin it's not taking the acrylic size well despite using a good acrylic matte medium in two coats which I've previously tested and used without problems With this linen however I'm getting strikethrough of oil paint on tests I've made Consequently I thought I'd try sizing it with the same medium then applying a couple of layers of good quality acrylic primer to prevent this strikethrough and then a final coat or two of my preferred lead oil primer Does this seem a reasonably sound given that ultimately it will be adhered to a panel? PS sorry most of my punctuation keys are refusing to work! 



  • Question asked 2017-10-06 19:28:03 ... Most recent comment 2017-10-06 22:12:49
    Sizes and Adhesives
    Question

    Dear Moderator. I am trying to find a way to get a smoother surface for portrait painting in oils as I'm regularly encountering lumps and bumps in my lead oil primed linen. I've tried gently abrading the raw linen, pre sizing,  with a pumice stone, which did help, but now find the acrylic size I've applied is quite rough to the touch. I'm using Liquitex matte medium diluted 1:1 with water and plan to apply 2 coats. I know about the need for a size to penetrate the fabric rather than act as a distinct layer. I'm not trying to achaieve a glassy surface just a smooth one. By the way, I intend to glue the painting to a panel once it's finished. I'm concerned that using sandpaper or pumice stone on the size will actually remove the size to the point hat it no longer performs its function of sealing the canvas. Is this a legitimate concern and if so what can I do about it?  

  • Question asked 2017-10-06 11:18:16 ... Most recent comment 2017-10-06 13:00:52
    Rigid Supports
    Question

    ​Hello, 

    I found a great source for copper supports and am familiar with how to prepare them.  I was curious though, as metal supports become a bit more pliable at larger sizes, what sort of glue would be recommended for mounting them?  I wouldnt want one to get accidentally dented from the front or back once framed and finished

    If mounting to wood, should I glue 100% of the surface to take into account the woods hygroscopy?  Or would it be better to 'hang' the mounting from the top, as one would when framing a drawing? I imagine it would be an easier process to mount to ACM panel.

  • Question asked 2017-10-06 11:37:19 ... Most recent comment 2017-10-06 12:17:19
    Varnishes Ink Oil Paint
    Question

    I have an oil painting that was signed in ink.  the written text was done with a micron colorfast brush pen/marker (recommended by one of the conservators here).  

    It is now time to varnish that painting, just got it back, though completed in 2014.  I usually use regalrez (gamvar) to varnish these days- though I am slightly concerned that brushing over the ink portion will cause it to run/bleed?  I would like to make sure to varnish over the signature to protect it as well.

    My current plan is to put a light aerosol spray varnish over the part in ink, perhaps two lightly sprayed coats, and let it cure for a couple of days before brushing varnish over the entire picture.  How does that sound to the mods here?  

  • Question asked 2017-10-01 21:45:08 ... Most recent comment 2017-10-05 19:49:39
    Flexible Supports
    Question
    My paintings tend to be larger (7',8',9') and can be quite fragile. To help protect them, I have typically stretched the unprimed canvas over a cradled wood panel. My first question is whether or not this is actually beneficial, or whether the panel is unnecessary? The canvas rests over the wooden panel but is not glued down.

    Recently I've been considering going back to stretcher bars (probably aluminum) and inserting a lightweight foam into the stretchers attached only to the cross bars, so the perimeter could still be stretched if necessary. My second question is whether or not this is a more permanent solution?

    I do not have access to gator board, because I can't  find single sheets and the shipping is outrageously pricey. I do have access to foam core and 1/2" and 1" sturdy construction insulation foam (which seems more rigid and doesn't have a paper veneer).  My third question is whether foam core or the construction foam is worth using/and or dangerous in terms of off gassing etc. to the back of the canvas? 

    My fourth question would be if you all have any better solution/suggestions I hadn't considered.

    Thanks!
  • Question asked 2017-09-27 14:12:45 ... Most recent comment 2017-09-28 16:50:52
    Rigid Supports
    Question

    I would like to mount some 10" x 20", oil studies on pH neutral PVA sized, 140 lb wc paper, onto 4 mm dibond using acrylic dispersion medium.   I suspect that this is not optimal, but wish to frame the studies.

    Will a water based "adhesive", such as acrylic dipersion medium, take hold of a roughened, non absorbent, dibond surface?

    Am I headed for trouble?

    Have done the same on gatorfoam, in  smaller sizes, without problem in the past.   The wc paper is stiffer than linen and doesn't seem to buckle or bubble in these small sizes, unlike linen.

    Read the pertinent posts and information in the resources section, but it did not specifically address finished oil studies, on paper, being mounted onto dibond, hence the above question.   

    As dibond is not absorbant, coating both sides of the panel should not be necessary, correct?

    Thanks for your help.

  • Question asked 2017-09-13 05:33:23 ... Most recent comment 2017-09-26 23:14:56
    Alkyd Drying Oils Grounds / Priming Industrial and Non-Traditional Products Paint Mediums Oil Paint Solvents and Thinners Rigid Supports Scientific Analysis Varnishes
    Question

    Hello MITRA,

    I might win the prize for bringing the most problematic query to the forum. The reason being that my methods of using oil paint are unorthodox, and I don't have the most scientific of minds. But please don't be too hasty to judge my methods. I have spent years of time and money getting to the point I have, and I am approaching you now seeking a little reassurance/guidance, but also knowing that you may not be able to give it.

    Where to begin. Essentially, I dilute oil paint to the extent of being able to pour apply it (alarm bells ringing already, I know). I mix oil paint in different concentrations, with a combination of solvent and medium, that when poured onto a flat laid rigid support (these days a primed Aluminium Composite board), they interact and react against each other in desirable and unpredictable ways as they meet and combine- natural forms, even fractal patterns, appear within the very dilute paint. detail.jpg Once this layer is dry, after a few weeks, I paint glazes on top in a more controlled manner. 

    What I seek in pouring oils, is a contradiction really: Stable instability.

    I know the basics...that if you just dilute oil paint with solvent it can't bind properly and will chalk off.. so I've alwyas been careful to add oil/alkyd medium of some kind. I also know the fat over lean rule. But when I am throwing it all on together in one liquid layer- I can't really apply it that rule in the same way... 

    The first year I was making paintings like this I used just solutions made of Turpentine and Linseed Oil, but I encountered drying and yellowing problems which I since have understood… I then adapted my method and started using drying mediums instead of linseed oil.

    The main successful recipe I have used is:

    - Liquin mixed with Zest it solvent, and Oil paint.

    I think and hope I am using enough of each, for the paint to be just strong enough to cure and not peel off. It has has made many successful dry and even paintings over the last 3 years. It gives a very thin, flat surface, almost like watercolour, once dry. It has had and almost enamel surface which succesffully took glaze on top. But I do find that it has sunk in significantly since I changed primer to Thixtropic alkyd primer (which i thought would be better on Aluminium panels) but I have read that some primers make sinking in worse.  I used to use an oil primer, which I think I will return to. 

    Q: Does it matter if a painting surface is sunk in... if I don't mind the look of it being uneven? Is the worry that any varnish will bond with the paint and not be able to be removed? – does this even matter? Can I use a few thin coats of spray retouching varnish to seal it and then later a proper varnish on top? Would that top layer of varnish be able to be removed if I did that? Is there a big danger of the painting yellowing /darkening a lot like this, even if I use thin layers of spray varnish? (winsor and newton).

    The only problem with the Liquin is that it darkens over time, and actually has over quite a short period of time in recent paintings: compare detail (liquin) early 2017.jpg with detail (liquin) late 2017.jpg . I don't mind how it has changed and darkened.. but I would like to know if you think it will continue to darken more and more..

     Because of this darkening issue, but still wanting to avoid yellowing oil.. The second and most recent recipe I am trying is :

    -'Drying Poppy Oil' with Zest it solvent and the oil paint. 

    I have started experimenting with this because poppy oil is supposed to be good for pale colours… and I use a lot of white, very pale and muted colour fields. (which is another issue.. finding the best white for using large amounts..currently using Permalba Original. But thinking of trying lead white?! As if I hadn't already made like hard enough for myself!). drying poppy oil detail.jpg  I knew poppy oil itself would be far too slow drying for what I do, but thought the one with driers added to it might work? The early stages of the experiment and I have managed to achieve a dry and even surface.. glossier than the liquin ones. But I have yet to try painting glazes on top of this layer. Q: I have heard that poppy oil is more likely to crack, is this true also of drying poppy oil? In which case, would you say the surface I have now that seems smooth and slippery, will eventually crack over time?

    So there you have it.

    I don't know of any oil painters historically to employ methods like these, I do know artists that have done this kind of thing using Acrylic or resins. I can only find one other artist online that claims to be using a similar technique in oil: 

    https://mauricesapiro.com/viscosity-series-poured-paintings/

    But other than his comparative technique, I have not found any other information to help me navigate this process. I suspect that would be because it is unadvised to be diluting and pouring oil paint in such a way for all the potential instabilities it causes..  But it is partly the instability that makes me want to paint in this way in the first place! You see the dilemma!

    I am happy with the paintings currently as they are.. in the short term, they seem stable. But I am concerned with the long term. I would obviously like to avoid Extreme yellowing and and peeling off of any paintings in the future! It is not the end of the world if they change and crack a little bit. But if it is going to be a lot, then I would feel unethical in selling the works. OR I do you think I should include a clause when selling that says I can not vouch for the archival quality of the work?

    I am aware that what I am trying to achieve would be probably be far easier and perhaps more straightforward if I used acrylics instead- (it would sure be a lot cheaper!)… but I am not quite ready to give up on the beautiful effects I can achieve using oil paint, everything I have invested in experimenting. 

    Any tips, or even educated guesses, on ways I could be doing this better - mediums that are good for making a strong but pourable paint film?! Ratios I should keep to? or other ways to keep the work stable for as long as possible... would be greatly appreciated. Thank you! sorry this has been such a long and confused essay...

     

  • Question asked 2017-09-26 13:51:45 ... Most recent comment 2017-09-26 17:59:21
    Rigid Supports Paint Mediums
    Question

    ​I have been warned about the dangers of using Resins in mediums.  My understanding is that the issue is twofold:  on is in cracking of the paint layer itself ( possibly yellowing as well) and then also in conservation as the removal of the resinous varnish layer would also affect/remove a portion of the paint layer.  
     I want to be very specific to the Resin and meidum that I use becuase  the answer may not apply to all resins and mediums equally.   I use 2 parts sun-thickened linseed oil, 1 part turpentine and 1 part Canada Balsam.
     I have a number of questions. 1. With respect to yellowing, would that not be mitigated by the varnish layer which would protect the paint. If the varnish yellows, it can be removed and a fresh varnish put on, so that yellowing is not an issue for the paint layers themselves?
    2.  To what degree is the cracking attributed to the rigidity of the painting surface and to what degree the resin in the medium?  Are the caveats for using Canada Balsam in the medium significantly reduced is the painting surface is a stable one?  Many thanks.



  • Question asked 2017-04-30 18:12:23 ... Most recent comment 2017-09-25 21:21:15
    Acrylic Health and Safety Paint Additives
    Question

    I am exploring the technique of acrylic pouring / flow acrylic / liquid acrylic art, and am looking for suggestions on cell creation. Many of the artists I have found online share assorted techniques such as using a silicone additive or floetrol, often in addition to using a heat torch of some kind. (A good reference would be the YouTuber Annemarie Ridderhof.)

    My question is this: is there an additive or process that I can use in place of some of the above additives, that are odorless (I have medical complications that make me very sensitive to smells) and are safe to be used? I fear that applying direct heat to acrylic and whatever additives being used, can potentially cause fumes with dangerous effects.

    For context, I generally use basic liquitex student grade acrylic paint with water on assorted sizes of stretched canvas.

    Many thanks in advanced for any tips or suggestions!


  • Question asked 2017-09-19 19:10:46 ... Most recent comment 2017-09-20 16:11:02
    Egg Tempera
    Question

    I'm planning some paintings in tempera grassa.  I've worked before in the medium, using an emulsion of egg yolk and sun-thickened linseed, almost equal parts each but a bit more yolk so it's water-soluble. The paint had good working properties, but I'd like a bit more hardness and shine, as one would get by adding dammar (which many tempera grassa recipes call for) but which I don't want to add (because of the negative attributes of dammar).  Is there another resin I could incorporate for a similar affect?  Would any of the modern synthetic resins be a possibility?

    Thanks,

    Koo Schadler

  • Question asked 2017-09-19 15:24:31 ... Most recent comment 2017-09-19 21:34:59
    Oil Paint Sizes and Adhesives Rigid Supports
    Question

    ​I've mentioned this in another thread, but haven't actually phrased it as a question, and I am curious what the MITRA folks think about using a thin sizing of Paraloid B-72 to reduce the absorbency of either Claybord or traditional gesso, prior to painting with oils. I mean, I know that it works, from a process standpoint, but is it a sound practice? 

    My own research on Paraloid B-72 suggests that it is one of the more stable synthetic resins and is not prone to yellowing, but like all acrylics, it is somewhat sensitive to solvents. Then again, it's incorporated into the ground (which in the case of Claybord, already contains acrylic resin), so is it really any worse than painting on an acrylic primer? 

  • Question asked 2017-08-30 05:17:59 ... Most recent comment 2017-09-18 15:37:19
    Pigments
    Question

    ​As some of you work for (or have close links with artist paint companies), I wonder if you were aware of any new paint pigments that are being tested by paint manufacturers at the moment? :)

  • Question asked 2017-09-16 10:41:07 ... Most recent comment 2017-09-18 11:34:42
    Acrylic
    Question

    ​Hello,

    I like using copper panels with oil paint. Do you know if copper panels and acrylic paint are compatible as well?

    Thank you

  • Question asked 2017-09-09 22:42:34 ... Most recent comment 2017-09-18 09:57:01
    Flexible Supports Grounds / Priming Oil Paint Sizes and Adhesives
    Question

    ​The store-bought stretched heavyweight canvases that I've used before have, it turns out, no sizing underneath their three factory-applied acrylic gesso layers. I am concerned about oil paint strike-through, and wonder if two (or more) additional layers of high-quality acrylic gesso would insure the canvas durability? I've read somewhere that acrylic gesso, being formulated for absorbancy, will always remain susceptible to oil strike-through. I'd love to hear your professional thoughts on the subject. Also, would you explain materials and technique for attaching a rigid covering to protect the back of a stretched canvas? Thank you so much.

  • Question asked 2017-09-14 09:41:01 ... Most recent comment 2017-09-14 19:35:53
    Art Conservation Topics Flexible Supports Grounds / Priming Oil Paint Pigments
    Question

    I've read all of the references here regarding Zinc White (PW4), and it seems that the current opinion is that it is best to avoid all applications of Zinc White (PW4) for oil painting due to durability issues, at least until further clarification from new research studies is available. Am I understanding correctly? Thank you for the clarification. Susan

  • Question asked 2017-09-05 18:12:26 ... Most recent comment 2017-09-11 15:15:23
    Acrylic Oil Paint Rigid Supports Industrial and Non-Traditional Products
    Question

    I have read that Polyethylene terephthalate is a good support for painting with acrylics, and decided to try painting on the sheet version of it. However, there are different variants of plastic sold under the general name "PET". I can buy:

    • APET (amorphous PET)
    • PETG (Polyethylene terephthalate glycol-modified)​
    • other variants with additions that claim to enhance UV-resistance, etc.

    My question is: are all of these equally fine as painting substrates? From what I've read, the glycol-modified version doesn't become hazy or brittle when heat-treated, but I don't know what type of heat would be required to be relevant for painting. Also, I'm not sure whether any of them would be more likely to leach anything (glycol?), or be more susceptible to propylene glycol present in paints.

    As a side question: is sheet PET compatible with oil paints?

  • Question asked 2017-09-06 18:35:00 ... Most recent comment 2017-09-06 19:12:08
    Oil Paint Paint Making Pigments
    Question

    ​Hi, I recently purchased some azurite pigment and I want to mull it into paint, I have never done this, It is my first time and I am wondering what is the right way to do it? should I wet the pigment first in water, or should I just add oil to the dry pigment. Also what oil is recomended with azurite

  • Question asked 2017-09-05 11:13:55 ... Most recent comment 2017-09-06 13:28:23
    Varnishes
    Question

    ​Daer MITRA 

    I have a painting that I finished recently which I wish to photograph for online entry to a competition. I had a fair bit of sinking in which I've tried to correct with oiling out, with reasonable results but there is still a certain dullness I would like to correct. I am planning to apply a good quality retouch varnish as a temporary varnish to my touch-dry painting as I feel it will bring out the colours etc. I couldn't find much information about using retouch varnish in this way (i.e. as a temporary varnish) in the resources section of MITRA. Apart from careful application technique etc, which I can read about here or in my Gottsegan book, is there anything I need to know or any reason to avoid retouch varnish? 

  • Question asked 2017-08-21 04:03:00 ... Most recent comment 2017-09-05 10:16:48
    Oil Paint
    Question

    ​Dear MiTRA person

    I recently purchased some oil paints by a reputable German manufacturer who sadly is not explicit about the oils used as binder. They admit to using a combination of oils but the feeling on online forums is that there is probably a preponderance of safflower or perhaps even sunflower oil. I have some concerns about using them because inevitably they must have added some driers and I am given to understand that some metallic driers like manganese can cause darkening in the paint film over time.  As is noted here in the resources articles, most paint manufacturers do add driers to one degree or another but the devil is of course in the detail ie how much? I've emailed them to enquire as to whether they have done any testing or have any reassuring information on this front but the response was a bit confusing as they kept directing me to information regarding the lightfastness of these paints. (And by the way they use the Blue Wool scale to assess lightfastness which as far as I know is very outdated!). Do I need to be concerned regarding darkening when using paints of this type? 

  • Question asked 2017-08-03 15:19:27 ... Most recent comment 2017-09-04 17:19:32
    Oil Paint Drying Oils Paint Mediums
    Question

    Dear MITRA,

    I encounter a lot of sinking-in due to the large fields of dark colors I use. I’ve been oiling out with straight walnut oil as a final layer in some cases despite the warnings for several reasons: 1) The brushwork is sucessful and seems a shame to repaint. 2) I don't have six months to wait for varnishing. 3) Even when I do oil out, then reapint, I often get more sinking it. 4) It solves the problem in the short term.

    I have read all of the posts relating to this topic (which have given me some good advise about other ways to mitigate the probelm) but still have several quesitons–

    If oil is rubbed into an acrylic ground to deter sinking-in, how does this affect the “fat over lean rule”? If a canvas is prepared this way, can one still paint with a medium that has solvent in it?

    If a layer of paint is oiled out with straight oil, does this mean one shouldn’t use any solvent in their next painted layer?

    I prefer to use straight walnut oil for oiling-out because it is thin and adding solvent can lift the paint, but I have read on this forum that more bodied oils thinned with solvent are better for oiling out. Why is a bodied oil thinned with solvent superior to a thinner straight oil?

    Can a black area of a painting be oiled out as a final layer? Is the inability for a conservator to remove this layer later on the only issue, since I assume true black won’t develop a yellow cast?

    How long does the yellowing process take to appear if a painting has been oiled out as a final layer?

    If cold wax is used in a medium to create a more even color field (i.e. less variation in shine), can the painting still be oiled out?

    Thank you so much.

  • Question asked 2017-08-31 01:46:50 ... Most recent comment 2017-09-01 17:51:00
    Oil Paint
    Question

    ​Hello,

    I am in the process of gluing earth magnets (and /or metal strips) to the backside (at the top) of both paper and canvas based paintings as a way to hang the works from metal screws. Is there an adhesive that you can recommend that could be both secure, and removable without damaging the support? 

    In the future I'd like the option to remove the magnets/ metal strips for more traditional framing options, and am looking for an adhesive that has these properties.

    (The paintings are oil on canvas, and oil on arches oil ready paper.)

    Thanks!

  • Question asked 2017-08-29 16:07:20 ... Most recent comment 2017-08-30 16:44:26
    Egg Tempera Oil Paint
    Question

    ​Have a great question that came in response to an article on Dark Yellowing we put out:

    "I realize that this is outside the scope of your study, but I am curious to know if the egg tempera medium undergoes yellowing when it is placed in a dark invironment."

    Any knowledge of dark yellowing being an issue in egg tempera? Curious minds want to know.

    Sarah Sands
    Senior Technical Specialist
    Golden Artist Colors

  • Question asked 2017-08-25 23:45:53 ... Most recent comment 2017-08-26 16:03:34
    Art Conservation Topics Oil Paint
    Question

    ​I am wondering if there is a way to protect copper resinate from changing colors and turning brown, would an UV varnish help?

  • Question asked 2017-08-15 16:50:47 ... Most recent comment 2017-08-25 14:34:21
    Egg Tempera
    Question

    ​Hello MITRA,

    This question is a bit complicated, so please bear with me.  I have a fellow tempera painter who's experiencing cracking in the uppermost layers of her paintings. It starts out as very faint, fine lines that gradually increase with successive paint layers; the lines grow and evolve into fine "craquelure", and eventually tiny bits of paint flake off (within a few weeks of application).  

    Over the years I've heard from a handful of other tempera painters who've seen similar cracking, often (tho' not always) reported in areas of tianium white.  In general cracking (or craquelure) in tempera is rare, but with this most recent instance I'm recogninzing it as a problem for some painters and trying to understand it better.  I've come up with 5 reasons why cracking may appear in tempera paint:

     1. Excess binder. Too much yolk can create stresses as the protein molecules shrink with water evaporation.  

    2. Too thick a layer of paint. Tempera initially dries through relatively rapid evaporation of its water content, so if too dense a layer is applied it can crack as it shrinks (akin to a dried-out lake bed). 

    3. Adding too much water to tempered paint.  Once the paint is properly "tempered" it's possible to thin it significantly with water. However with TOO much water at some point the various components of the paint become so attenuated that it can create a weak paint film.   

    4. Over saturating underlying paint layers with water.  Research I've read on the effects of various solvents (both spirit and water) on egg tempera indicates that they can induce swelling in the paint films. If a curing paint film is compelled to repeatedly expand and shrink, this stress can weaken the bonds being formed in the polymerization process and create cracks (at least this is how I understand it; I'm not sure about this one...  By the way, none of the other reasons I suggest for cracking apply to the painter with the current craquelure problem; however she really saturates her surface with watery tempera paint, so much that the ground stays cool when her paint layeras are dry to the touch, suggesting there is residual mositure within - this is why I suspect this reason for her cracking problem, but I'm not sure). 

    5. Stresses in the ground and/or support. Cracks in the gesso and/or movement in the panel can telegraph up through paint layers.  

    My questions to the forum are:

    1. Has anyone else seen cracking in egg tempera paint layers? 

    2. What do you think of the above reasons?  Do they make sense?  

    3. Are their other potential causes of cracking?

    Thanks, Koo Schadler

  • Question asked 2017-08-19 11:48:53 ... Most recent comment 2017-08-22 21:59:14
    Ink Oil Paint
    Question

    ​I've read somewhere that shellac-based India Ink can be used for underdrawing before proceeding with an oil painting. Is that durable? Would the ink have to be full-strength, not diluted? I'm looking for an alternative to a solvent-thinned underdrawing that would still show through an Imprimatura. Would an ink underdrawing have to be completely covered by oil paint to be durable? I've seen Golden's article (Just Paint, Oct. 1, 2015) on underpainting alternatives (acrylics, watercolors, safflower oil-thinned paint and egg-oil-water thinned paint) and always wondered if those solvent-free alternatives needed to be completely covered with oil paint in order to be durable? For example, would a perimeter line in a solvent-free underdrawing need to be restated with full-bodied oil paint in order to be durable? Thank you for any thoughts.

  • Question asked 2017-08-19 16:30:15 ... Most recent comment 2017-08-20 01:54:54
    Oil Paint Art Conservation Topics
    Question

    ​Greetings,

    Perhaps this is out of the scope of the conservator, but I was looking at some very high res scans of a Caravaggio and looking for some professional insight into his working methods. Here is the scan: http://www.haltadefinizione.com/en/gallery/caravaggio-bacchus

    I know that reverse engineering a painting is difficult, but perhaps you have come across some convincing interpretations of how caaravaggio built his paintings- questions of source and optical devices aside, and I've read about the ambiguity of the incised lines- but can we speculate or measure his choice of grounds, layering process, glazing, mediums, working dark to light, etc? And this is obviously subject to change across works, but in this Bacchus, can you tell how he laid down paint to get to this end?

    His modelling of flesh tone seems 'ponced' or stippled on with a glaze, it is so delicate and doesn't seem to have any of the brush marks the lights have. 

    I've been reading V. Elliot´s Traditional Oil Painting, and he does some scholarly recreations of paintings, such as Bouguereau. Is there anyone that has does a similar analysis and receation of Caravaggio, that is accepted (I've seen some bad ones, and the work doesn't seem based on a grisaille to me)?


    Thank YOU!

  • Question asked 2017-08-17 22:02:15 ... Most recent comment 2017-08-18 23:23:30
    Grounds / Priming Other
    Question

    ​This may win the prize for the weirdest question... I have five maple panels that I sized and then later gessoed and left out on my porch to air dry. It's possible that a cat (or squirrel?) may have sprinkled them with their "marking fluid" while they were drying. (I've heard that cats are attracted to the smell of amonia.) There are a dozen or more shiny specs on each of the boards, which were laid end-to-end. And the peculiar and unpleasant odor is only slightly diminishing after a week and a half. I had thought maybe there was a reaction between the sizing and the gesso, but I think that would have resolved by now. So...if the panels have been sprayed, do you think it's a reasonable approach to clean them with vinegar and water 1:2? That's one of the home remedies that is suggested for spray on interior walls. I can wipe the specs off with straight water, but the odor seems to remain. I'm concerned about adhesion problems when I proceed with oil paint, or de-laminating further down the line. Alternatively, I could put another coat of gesso (water-based) on the boards, or an imprimatura of oil paint...? Any suggestions would be greatly appreciated!  :-(

  • Question asked 2017-07-13 10:14:14 ... Most recent comment 2017-08-18 12:41:36
    Watercolor
    Question

    A student recently showed me some watercolors of his that have a problem, hoping I could decipher it, but I don't know what's going on. Throughout several paintings there are areas where the paint is  (in his words) "disappearing" - initially the paint went on fine, but over time there are patches of paint loss that look a bit like a bug has been nibbling; or, another way to describe it, looks like someone pressed a paper towel with a squirrely pattern to areas of the paint while it was wet, lifting the paint (although, as mentioned, this problem didn't occur until after the paint had dried). Neither of these are the best description of the problem…I have photos, if there is a way to share images.  The paint loss is not limited to a single color and has occurred on several paintings with different types of supports.  All I could think of was minerals or salts in the water, precipitating out?  Any other ideas?

     

    Thanks,

     

    Koo Schadler

  • Question asked 2017-08-16 23:05:01 ... Most recent comment 2017-08-17 17:46:37
    Sizes and Adhesives Grounds / Priming Oil Paint
    Question

    ​Wondering about a couple different sizing options
    1. Gac 400 then two coats of Gac 100 then Rublev lead oil ground
    2. 2 layers of Gac 100 then Rublev oil ground

    How much of a difference will there be? Will the only difference really be in the canvas stiffness (with 1. being a stiffer canvas and 2. being more flexible)?

    Will there be any difference in how the oil paint sits on the surface?
    (For example) I do not like slick surfaces to paint on. I would like a semi absorbant surface. If I go with option 1, will the surface be too slick? Or will the overall surface be pretty much the same between the two?

    Thank you so much for any help!!



  • Question asked 2017-08-11 18:33:34 ... Most recent comment 2017-08-13 14:09:17
    Grounds / Priming Health and Safety
    Question

    Hello MITRA folks,

    Do you know if there are any alternatives to rabbit skin-based, solvent-based and acrylic-based grounds for both canvas and panels? I have read that methylcellulose can be subsituted, and a reference to shellac, but have read nothing definitive and scientific. This would be for oil painting, and I am looking for a low VOC, solvent-free, easy-to-use solution that would also be archival (or a support for oil painting that needs no ground (and no solvents to clean it) at all. 

    Thanks so much for any thoughts!

    Susan

  • Question asked 2017-08-09 14:26:38 ... Most recent comment 2017-08-11 19:14:16
    Oil Paint
    Question

    I was wondering if you have any advice/ways of testing adhesion between oil painting layers?  I have done a diy cross cut test with a razor blade and masking tape, but if I go by that thicker passages and impasto pretty much always fail, so it seems like overkill. On the other hand, a fingernail seems kind of weak, because I've not been able to scratch layers that I otherwise can peel or sand off relatively easily. 

    Thanks

  • Question asked 2017-08-08 17:06:40 ... Most recent comment 2017-08-09 15:19:08
    Health and Safety
    Question

    I will be mulling pigment and making paint for the first time and I want to be safe, what mask do you recommend me to buy (pigments might include vermilion, lead tin yellow, and azurite)

  • Question asked 2017-08-06 08:08:18 ... Most recent comment 2017-08-06 12:04:35
    Paint Additives Oil Paint Paint Mediums
    Question

    ​I have over some years been able to extend the life of oil paint on the palette and in small storage containers by the use of (Mark Carder's) Slow Dry Medium, in combination with the exclusion of air (oxygen). Mixed stock color is useable for two years and premixed values for two months in airtight glass jars.

    If I were to place a wet oil painting in an oxygen rich tent (storage bag) would I be able to accelerate drying to the point I could varnish earlier than the recommended six months?

    I were to place a wet painting and/or a wet palette in a carbon dioxide or argon rich tent would I be able to postpone the formation of a drying skin, thereby extending the open time of the paint and canvas?

    Thanks Denis


  • Question asked 2017-08-03 21:34:36 ... Most recent comment 2017-08-04 12:13:01
    Oil Paint Sizes and Adhesives
    Question

    ​How archival is oil painting on birch panels that are sized with a few coats of shellac? The panels are only 1/8inch thin and prone to warping as they are not cradled. Would shellac be alright to oil paint directly on top of if they were 1/4inch and cradled? If shellac isn't archival can you recommend a way to prepare panels that gives a similar feel when applying paint?

  • Question asked 2017-08-02 22:36:10 ... Most recent comment 2017-08-03 20:53:52
    Industrial and Non-Traditional Products
    Question

    ​I want to paint directly on Aluminum with Acrylic paint and also collage on the aluminum using Acrylic Matt Medium as the adhesive. I was told I should use a degreaser on the aluminum and than could directly paint on it. Would a solution of distilled vinegar, baking soda and water work as the degreaser. Do you have any other recommendations. I want the aluminum in places to show throught so I don't want to prime the aluminum.

  • Question asked 2017-08-02 19:22:20 ... Most recent comment 2017-08-03 20:46:07
    Oil Paint Solvents and Thinners Paint Mediums Drying Oils
    Question

    I am an oil painter and replaced Gamsol with oil of spike lavender about a year ago in an effort to make my studio less toxic. I've been mixing about one part spike lavender to two parts walnut oil for my medium, and adding a bit more walnut oil to the mix for subsequent layers. (I clean up with saflower oil and Murphy's oil soap). This medium has been working fairly working well but I've had a hard time finding concrete information on the stability of spike lavender in paintings over time. I found a post on this forum that explained "Painting with large amounts of any essential oil can lead to the formation of a weakened paint film." I was wondering if anyone could please elaborate on this? For instance, what would a safe amount of spike lavender be? Further, I know that walnut oil forms a less ideal film than linseed oil, but I prefer it for its less-yellowing nature over time. Are there conservation concerns about using walnut oil and spike lavender in conjunction?

  • Question asked 2017-08-03 10:55:12 ... Most recent comment 2017-08-03 12:29:42
    Oil Paint Scientific Analysis Varnishes Paint Additives Paint Mediums Art Conservation Topics
    Question

    ​I know that some varnishes such as Gamblin's GamVar and Golden MSA varnish have UV protection due to ultraviolet light stabilizer and filters. I presume that these are close to being transparent as it's used in a very thin layer of varnish.

    Do you know of any process or product where similar light stabilizers and filters can be added to the oil paint itself via additions to a medium? Would this compromise the paint film? I was wondering if it would work to increase the lightfastness of the pigments and potentially could be present in greater concentrations than in varnish?

  • Question asked 2017-07-29 02:22:43 ... Most recent comment 2017-07-30 13:22:28
    Varnishes Industrial and Non-Traditional Products
    Question

    ​I am interested in exploring the full range of sheen that can be obtained in art, from the mattest to the glossiest. I am painting on Dibond panels (currently with acrylics, but occasionally with oils). I am not particularly impressed by the usual gloss look of fine art varnishes. More and more I'm interested in this type of finish:

    https://www.youtube.com/watch?v=K0pXjV4zGDM

    But it seems that the best results are achieved by polishing with buffing compounds on top of 'super coating' varnishes (usually alkyd based?). The manufacturers claim that these super coatings are non-yellowing and flexible, chemically resistant etc. Here is an article:
    http://www.woodworkingnetwork.com/articles/tips_for_using_super_coatings_127702208.html

    I am aware that these varnishes will eventually scratch (or age) during the lifetime of a painting.
    How can I achieve the highest possible gloss while still keeping up with the good practices of painting?
    Are there any removable fine art varnishes that can be buffed up to this level of finish?

    Cheers

  • Question asked 2017-07-28 09:38:44 ... Most recent comment 2017-07-28 12:31:03
    Drawing Materials Grounds / Priming
    Question

    ​Hi,

    A friend who is an experienced metalpoint artist recommends Golden's Pastel Ground for metalpoint; he says it has more tooth, he's able to get richer darks, and thus prefers it to Golden's Silverpoint Ground.  I got some of the Pastel Ground to try and discovered it's transparent, not opaque - and I need opacity to cover the MDF support I'm applying the ground too.  Any considerations to combining equal parts Golden's Pastel Ground with either Golden's Sandable Hard Gesso, or Golden's Absorbent Gesso (both of which work well for silverpoint and I already have in the studio)? 

    I don't have Golden's Silverpoint Ground on hand, but may order to experiment with if it's sandable - can you get a readily sandable, perfectly smooth surface with that ground?

    Thanks,

    Koo Schadler

     

  • Question asked 2017-07-25 16:30:58 ... Most recent comment 2017-07-27 22:48:04
    Oil Paint
    Question

    ​Hello,

    I am working on some portraits where the accuracy of value is critical and for areas that have sunken in from previous sessions I have been oiling out by rubbing thin layers of linseed oil (I've tried raw, stand, refined, 50/50 linseed and Gamsol OMS) on the surface. I have read mixed reviews of putting an isolated layer of oil into the paint film structure, for fear of disrupting fat over lean, cracking, darkening, etc. It seems retouch varnish has similar concerns.

    Is this oiling out (or painting into a couch) a problematic practice, and if so, how can the color be restored in a more structural way while working? 

    Are there best practices to oiling out? Oil, technique ,etc.

    Grazie Mille

  • Question asked 2017-07-20 15:38:21 ... Most recent comment 2017-07-23 16:04:58
    Oil Paint
    Question

    ​Greetings,

    I came back to the studio today and some piles mixed tube colors of oil paint from yesterday have now 'skinned over,' though the paint below stil seems fresh and usable.

    Is it problematic to use this paint, removing the dried skin, and painting with as usual? 

    Does the paint below have the same properties as paint left on the palette without the skinning, or has the complexity of the oxidation of the oil now made this paint different somehow and less desirable, perhpas more lean...?

    Gracias


  • Question asked 2017-07-19 16:31:15 ... Most recent comment 2017-07-20 19:15:29
    Watercolor Ink Gouache Flexible Supports
    Question
    I would like to protect ink and watercolor paintings on thin rice paper (unsized Xuan paper) by mounting them. They are quite big - around 100x70 cm each. I'm not sure how to proceed with this - should I dry or wet mount? Is it better to use thicker paper (bristol) as backing, or maybe a fabric like polyester? Would methylcellulose glue be sufficient?
  • Question asked 2017-07-19 19:16:11 ... Most recent comment 2017-07-19 20:24:46
    Grounds / Priming Oil Paint Flexible Supports
    Question

    ​Hi. I have a roll of oil primed linen from a company that describe their production process like this -  "For an ‘oil canvas’, zinc white is used as the primer, bound with linseed oil."

    Given the issues associated with the use of Zinc what are your recommendations - use this product or not?

    Many thanks.

  • Question asked 2017-07-15 13:53:10 ... Most recent comment 2017-07-19 11:45:11
    Egg Tempera Grounds / Priming Oil Paint Technical Art History
    Question

    Oil paints become increasingly transparent with age, due to changes in the refractive index of the binder, I believe.  For this reason, I've seen white grounds recommended as generally preferable to dark toned grounds (so as the paint grows more transparent, the light values in a painting aren't darkened by an underlying dark ground).  A few questions relative to this:

    1.  I believe the same is true for egg tempera paints - they become more transparent with age, yes?  

    2. Is it true of other paints?

    3. Is there concern or evidence to show that the converse is true;  that paintings on white grounds, as they age, lose some of the depth in their dark values (because the white ground shows through the increasingly transparent paint), to the detriment of the painting's value pattern?

    Thanks,

    Koo Schadler

  • Question asked 2017-07-14 13:05:41 ... Most recent comment 2017-07-14 19:13:05
    Flexible Supports Industrial and Non-Traditional Products Scientific Analysis
    Question

    ​Hello,

    Does anyone know of or have access to tests of flexible supports that include synthetic canvases? I clearly remember mention of an ongoing test comparing flexible supports on the no longer available AMIEN forums. The thread was a discussion on synthetic canvas and indicated that at least some synthetics greatly out-performed traditional canvas.

    I was so impressed that I eventually asked a textile designer for help producing a heavier-weight synthetic canvas that is wider and more affordable than I could find on my own. I've been working with this canvas for a few years, and recently interviewed the designer (Scott Bodenner) about the project. Talking to someone with a textile industry point of view was fascinating. There are differences in how testing is done for commercial textiles and also a concern for recycling and sustainability that I don't encounter much in reading about artist materials. The interview is posted on my own website at: 

    http://sloweye.net/scott-bodenner-recycled-synthetic-canvas/

    But I'd still really like to know how the test I saw mentioned on AMIEN turned out! Fingers crossed someone remembers what that was...

  • Question asked 2017-07-12 16:12:41 ... Most recent comment 2017-07-14 16:35:36
    Oil Paint
    Question

    What is the opinion on the usage of non-traditional drying oils? I have read about the usage of candlenut, perilla or tung oil in some art works, but there's not much I could find in terms of conservation issues regarding these.

  • Question asked 2017-07-11 17:21:59 ... Most recent comment 2017-07-14 12:36:41
    Oil Paint Solvents and Thinners Paint Additives
    Question

    ​Hola Mitra,

    I have been looking for more information about the safe or recommended amount acceptable to thin oil paint with solvent. I'm using tube paint and odorless mineral spirits. In the past I have sketched in a drawing on top of the ground of acrylic gesso on canvas with a brown earth and liberally diluted the paint near watercolor consistency so that it really flows. (I then add straight tube paint or progressively less oms with the paint, and sometimes fatter glazes on that.) But recently I've read oil paint shouldn't be thinned beyond a whole cream milk consistency to avoid problems such as future delamination and breaking down the oil paint film (and polymers?). Personally I haven't seen problems in my paint films, not yet anyway, though sometimes it seems some tinted solvent has seeped through and is visible on the reverse side of the painting- like some stained spots...

    More information surrounding this topic would be appreciated.

    Specifically, are there established guidelines for how much oil paint can be thinned with oms?  Is oms even a good diluent for oil paint, or are other solvents preferred (Essential Oils, Turps, mediums with stand oil, alkyds) especially in this lower layers? If this thinned layer leaves the ground with much tooth available for thicker paint to adhere to, would delamination problems persist. And I've come across the idea that oms evaporates fully and thus doesn't alter the lean-ness of the paint once it's gone, is this true?

    Thank you for any time you can space on this topic!


  • Question asked 2017-07-03 13:45:56 ... Most recent comment 2017-07-08 18:20:28
    Oil Paint Paint Additives
    Question

    ​Greetings,

    I would like to apply oil paint on canvas (large scale) in thick smears similar to Richter, but am looking for some insight into the best practices for this approach to avoid problems such as wrinkling, cracking, excessive drying times, etc. 

    Do we know if he is altering his paint from tube consistency? Would this be recommended and if so what additives/ amendments? 

    (Implict question: I know you recommend rigid supports for thick paint, but is there a practical solution for large paintings, say 4 x 6 feet?)

    Mille Grazie

  • Question asked 2017-07-03 12:49:24 ... Most recent comment 2017-07-08 18:11:40
    Sizes and Adhesives Rigid Supports Industrial and Non-Traditional Products
    Question

    "Artist quality" PVAs and other such sizing products are too expensive and hard to obtain for me. There is no BEVA/MSA Varnish/B-I-N either. What I can obtain are various acrylic primers made for porous surfaces, regular PVA glue (the manufacturer states that the pH is 6-7), as well as methylcellulose wallpaper glue and boiled linseed oil.

    The acrylic primers are basically watery liquids that smell just like acrylic mediums. Their manufacturers typically state that they are made from acrylic dispersions, and that they are made for priming porous surfaces, unifying them and decreasing their absorbency - some add that they still let water vapor pass through after drying.

    I was wondering which one of these would work the best for sizing before laying down a layer of (artist quality this time) acrylic ground. The acrylic primers seem to be the best option, but I read differing opinions about the properties of hardware store products. I know methylcellulose is a good size, but I don't know how well it would perform on surfaces like hardboards and fiberboards.

    As for the boiled linseed oil, I'm not sure whether it wouldn't reduce the adhesion of the acrylic ground.

    I'm open to suggestions if there's something else I could try.

  • Question asked 2017-07-06 03:10:50 ... Most recent comment 2017-07-06 18:28:16
    Oil Paint
    Question

    ​Greetings,

    I've recently read on another forum (NP) a great article that said oil paintings when possible should be made by using the most opaque colors in the lower layers and layered up toward more transparent pigments. However, it seems many paintings from the past used brown grounds or thinned brown (umber or sienna?) as a drawing color in the lower paint layer. (Another recommendation that was surprising to read was to paint from light to dark, and thus moving from light and opaque lower to dark and transparent upper layers.) 

    Which pigments do you recommend "blocking in" a drawing in the underpainting, and is the opaque to transparent layering order generally accepted?

    Is my read of many historical painting practice off, or do we just understand the chemistry better and have new best practices?

    Thank You for this amazing resource!

  • Question asked 2017-06-29 05:56:17 ... Most recent comment 2017-06-30 08:26:07
    Health and Safety
    Question

    Looking through Safety Data Sheets for various art supplies, I have noticed a strange discrepancy between the information provided by various manufacturers. A good example is "naphtha (petroleum), hydrotreated heavy", with CAS number 64742-48-9. A basic search through toxicology databases shows that it is considered both mutagenic and possibly carcinogenic (1B), with numerous reported adverse health effects (https://echa.europa.eu/information-on-chemicals/cl-inventory-database/-/discli/details/115111). Yet, looking at the SDS for Gamblin's Galkyd mediums (https://www.gamblincolors.com/wp-content/uploads/2016/05/SDS-Galkyd-Galkyd-Slow-Dry.pdf), there seems to be only information about them being flammable, a skin irritant, toxic to aquatic life and causing drowsiness. My question is then: which information should I go by? Am I risking cancer or chronic painter's syndrome by using these mediums? It seems like the exact same substance that, in other manufacturers' products, causes cancer is safe here. How is that possible?

  • Question asked 2017-06-29 10:42:26 ... Most recent comment 2017-06-30 07:13:07
    Egg Tempera Flexible Supports Grounds / Priming Scientific Analysis Technical Art History
    Question

    Yesterday I went to the Boston Museum of Fine Arts to see the show of Botticelli and his contemporaries.  It's a beautiful collection of work, and I marvel that the museum was able to get 500 year old paintings from Italy to Boston - a real treat. Given that the 15th c. was a transitional time for paint (egg tempera to oil) I was curious to see the labeling.  Most pieces were simply "tempera on panel"; several were "tempera on canvas"; a few were either "tempera and oil" or "oil". 

    I wish labeling in museums was more consistent and specific.  However I appreciate that museums are generally challenged by finances, resources, time.  My guess is that different museums have different approaches and philosophies to analyzing mediums (it's not necessarily every museum's priority); a lender has to accept what the lendee says about a piece; there is not enough money for conservators to definitively analyze ever work in a collection; it's still difficult to say for sure what a 500 year old painting is composed of (especially if mediums are mixed, i.e. tempera and oil).  My questions are...

    1. Any other thoughts on way medium labeling can be vague?  

    2.  Some works (as evidenced by the brushwork and finish) were clearly egg tempera.   Other works looked so rich and painterly it was hard to believe they were just tempera; hints of tempera brushstroke were evident, but other areas were smoothly and thickly painted. Is it possible there’s some oil paint in the mix and the works  aren't accurately labeled?  Or would the varnish that was apparent on most of the paintings be sufficient to give these egg temperas an oil look?  Or maybe it's that the Renaissance masters were capable of a much greater range of effects in tempera than they’re generally credited with (i.e. they did more than just hatchstroke, as is often claimed)?  I’m trying to better understand what’s going on in these “quintessentially egg tempera" masterpieces (that, in fact, often don’t look like “quintessential” egg tempera). 

    3.  A traditional chalk and glue ground lacks flexibility, and egg tempera paint become brittle with age – so I don’t understood how a 500 year-old egg tempera survives on canvas (i.e. Botticelli’s Birth of Venus).  Could there be some oil emulsified into the ground or paint?  I know the Birth of Venus is painted thinly (you can practically see the weave of the canvas in parts, it seems to me) – would the thinness of the paint layers be sufficient to deal with the flexibility in canvas?  Or are most temperas on canvas backed by a solid panel (tho’ I don’t think the Birth of Venus is….).  In short, how to explain egg tempera on canvas?

    4.  As mentioned, much (most?) of the work appeared varnished.  Is there a way to determine which of the varnishes are original, which added in later centuries?  How do conservators address a Renaissance painting that enters their collection and has a varnish?

    Thanks for your help in better understanding this wonderful but complex period in art history.  

    Koo Schadler

  • Question asked 2017-06-28 20:07:54 ... Most recent comment 2017-06-28 21:48:42
    Oil Paint Varnishes
    Question

    ​Hi everyone,

    I have a problem and hope to get some advice from the collective wisdom here. I finished a painting about 2 months ago, and let it sit for a few weeks before spraying it with retouch varnish so that I could refresh the colours and get a decent photo. I then moved the painting into a spare room that is seldom used, and left it there to cure. Today I discovered that my husband went into the room a few days ago and moved the painting . . . he leaned it *face down* against a sofa. When I moved it today, it actually made a faint sound as I pulled it away from the sofa, something like pulling low-tack tape off a wall. :( It looks now like there is a spot where the paint looks a bit flat, and otherwise there is lint/dust that I cannot brush off with my fingers. Do I need to use mineral spirits and strip off the retouch? Or is there something else that I can use to clean the surface without disturbing the retouch? Thoughts? Advice?

    BTW, in case it helps: I painted this one in layers, using a thin layer oleogel as a couch between layers. The retouch varnish is Winsor & Newton, because I've found that other brands (particularly Krylon) don't get along well with the oleogel.

    Thanks in advance.

     

    Jennifer

  • Question asked 2017-06-26 03:39:20 ... Most recent comment 2017-06-28 18:42:30
    Oil Paint Pigments Scientific Analysis
    Question

    ​Hello,

    I'm interested in using PBr33 due to it's very dark opaque nature.. It's used by Sennelier and Schmincke in a few of their oil paints. However as it's made using Zinc I'm just concerned it could make the resulting paint film brittle in the same way zinc white can.

    But I don't know if the combination with the iron and chromite would avoid this issue.

    Does anyone have any opinions on this?

  • Question asked 2017-06-05 05:50:42 ... Most recent comment 2017-06-28 17:32:02
    Rigid Supports Oil Paint Acrylic Sizes and Adhesives
    Question

    I have recently read that the outgassing of formaldehyde from urea-formaldehyde used to manufacture HDF and MDF is a problem when it comes to conservation, since it can influence the acidity of both the work and the environment, leading ​to possible degradation of the artwork. I also read (Getty's "Facing Challenges of Panel Paintings Conservation", part 3 by Paul van Duin) that urea-formaldehyde itself degrades over time and the author estimates its longevity (when protected from light) to be a couple of decades. In light of this, I was wondering if hardboard (wet process board) wouldn't be a better choice, since it doesn't contain UF?

    On the other hand, I used to coat the panels I paint on with a water solution of PVA with a pH of 6-7 (according to manufacturer), and I read that PVA can be a source of acetic acid, but I'm not sure if this is relevant.

  • Question asked 2017-06-28 10:17:57 ... Most recent comment 2017-06-28 15:18:39
    Flexible Supports
    Question

    ​how best to repair torn painting on canvas

  • Question asked 2017-06-25 01:04:07 ... Most recent comment 2017-06-26 18:58:10
    Sizes and Adhesives Rigid Supports
    Question

    ​I am wondering if it is okay to use a heat press to mount linen to a panel using Beva 371 film after the painting has been completed. I like to glue it afterwards because not every painting works out, and I'd like only glue the ones that I (or a buyer) determines a success. I heat it at 150 degrees for 6 minutes twice, once to attatch the glue film to the board, and a second time to adhere the linen to it.  I am painting with oil paints using Gamsol and linseed oil as a medium, and painting without a lot of texture (which I have found that the heat press flattens), and gluing them to boards of MDF or hardboard. I have not noticed any issues, but am concerned that somewhere down the line the fact that the painting has been heated up might pose a problem. Additionally, I am wondering if I need to seal or size the support before I adhere the linen to it.  Thanks so much. This is a great forum. 

  • Question asked 2017-06-25 21:15:17 ... Most recent comment 2017-06-25 21:53:43
    Rigid Supports
    Question

    ​It is recommended to size and/or prime a wood panel (eg. birch plywood) adequately to prevent oil penetration. What exacly would happen to the panel if a substantial amount of oil was absorbed into it due to inadequate or no panel preparation (bare wood).  Would the acid in the oil damage the wood?

  • Question asked 2017-06-18 13:00:16 ... Most recent comment 2017-06-19 10:30:50
    Gilding
    Question

    ​Best recommendations for an oil mordant for use to gild an icon?

  • Question asked 2017-06-09 16:12:21 ... Most recent comment 2017-06-15 20:32:09
    Sizes and Adhesives Paint Mediums Oil Paint Drying Oils
    Question

    I’m hoping someone can help me with two issues I’m having with painting:

    1. I am using oil sticks to paint on muslin fabric or even a polyester for my canvas, and I'm trying to see if there is a way to avoid the fabric from breaking down over time because of the oil based paint. Because of the type of painting I am doing, I wet the canvas first with a spray bottle and therefore I can’t seize the canvas prior to applying the paint to the canvas using traditional methods such as jesso. 
    2. Because I am applying the oil sticks to a damp fabric, the drying time is extended significantly.  

    Any advicde would be greatly appreciated. Than you.

  • Question asked 2017-06-02 14:48:33 ... Most recent comment 2017-06-15 16:36:18
    Paint Additives Oil Paint
    Question

    ​Greetings,

    I have been trying to modify oil paint for textural effect and my goal is to make the paint thick sticky and ropey/ stringy. Auerbach sometimes seems to have gotten a similar paint quality where the rheology of the paint is highly thixotropic alla Lead White. I've also been thinking of the quality of silicon caulk as the texture I am after. 

    I have expeirmented with adding stand oil, dammar, clay made into paste, alkyd, etc but these tend to 'shorten' the oil, lowering the viscocity (with the exception of the clay). My next step is to see what marble or glass powder does. I have a (Daniel Smith) tube of transparent blender made with alumina hydrate that is perhaps the closest I've found for the texture I am after.

    Any suggetions for this type if paint modification would be helpful. 


    Thank you!

  • Question asked 2017-06-14 13:40:09 ... Most recent comment 2017-06-14 23:20:40
    Oil Paint
    Question

    ​I used an aluminum panel for a painting support for an oil painting for the first time. A month after the painting dried to the touch, I wrapped it unvarnished  in acid-free tissue, wrapped in foam, then in bubble wrap in a cardboard box on a flight. It was wrapped this way for about 1 week. When I hung it for my exhibition I noticed strange splotches that resemble mold. They are not uniform and were not there before packing. The aluminum was purchased at an art store with plastic vacuum sealed to both sides. I took off the plastic and primed it with 4-6 layers of Grumbacher Gesso for oils, sanding between each layer. I used Rublev Raw French Umber thinned with Rublesol for the underpainting, followed by Rublev paint straight from the tube with no medium added. The main colors I used were Lamp Black and Lead white. Is there some reason you can imagine that would cause this type of reaction? Will it go away when I varnish? I've read that using denatured alcohol and lead primer would help prevent this in the future (whatever this is), but wouldn't so many layers of gesso be good enough? Thank you!

  • Question asked 2017-06-09 23:14:16 ... Most recent comment 2017-06-10 09:16:00
    Varnishes Technical Art History
    Question

    ​Hello. I'm not sure if this question really belongs with the Varnish questions, but I couldn't find any better matches. I was reading an abstract from the journal Nature in which some Tate Modern conservators described their research into Rothko murals.* In their words, "Rothko [...] applied phenol formaldehyde to prevent layers from blending into one another." I imagine this working something like workable fixative between paint layers. Is that correct? Are there other documented uses of phenol formaldehyde for this purpose? How would the use of it affect paint adhesion in layers above? 

    I'm not aware of too many companies selling anything like this, although Lefranc & Bourgeois offers "Harlem Duroziez drying medium"** which they say contains phenol formaldehyd resin. Are there other manufacturers which offer it in a liquid or spray form?

    * https://www.nature.com/nature/journal/v456/n7221/full/456447a.html

    ** http://www.lefranc-bourgeois.com/beaux-arts/telechargement/A_TELPDF_2010092817171362.PDF

  • Question asked 2017-06-07 13:25:41 ... Most recent comment 2017-06-09 12:31:01
    Industrial and Non-Traditional Products
    Question

    ​I am looking for an adhesive to adhere tar paper to a masonite panel. Any suggestions? Thank You!

  • Question asked 2017-06-07 18:20:51 ... Most recent comment 2017-06-08 23:23:36
    Rigid Supports Sizes and Adhesives
    Question

    I want to attach unprimed linen to Gessobord and then prime with lead oil ground. I want to use cradled and sealed Gessobord to skip steps of sealing/cradling even though a bit more expensive. My question is which adhesive is better – Lineco Neutral PH Adhesive or Beva Adhesive? Note: I don't want to deal with the Beva in a film form. it sounds too tricky. Thank you for this site! 

  • Question asked 2017-06-07 10:57:25 ... Most recent comment 2017-06-07 11:25:28
    Health and Safety Oil Paint Paint Mediums
    Question

    I sometimes use Black Oil ( linseed oil boiled with lead) to speed up the drying time of the oil paints. Once the paint is dry if you sand or scrape the surface does the presence of Black Oil in the paint present a health issue with the airborne particles ?

    Many thanks

    Jim G

  • Question asked 2017-05-31 11:56:54 ... Most recent comment 2017-06-01 22:19:28
    Acrylic Paint Additives Paint Mediums
    Question

    My acrylic paintings sometimes show a noticeable amount of color lifting (particularly when using a relatively large amount of retarder) - rubbing a wet cotton swab causes a small amount of color to be left on the cotton. There seem to be no major adhesion failures, even in cases where I might have used more than the recommended amount of retarder. I was wondering if I should secure such layers of paint by brushing a layer of medium on top? I remember reading that it's generally a good idea to provide such a protective layer in practically all cases.

    And in case this ever happens, what would be the best course of action if the paint remained "tacky" due to too much retarder?

  • Question asked 2017-05-26 18:39:48 ... Most recent comment 2017-05-26 19:27:30
    Grounds / Priming Acrylic Oil Paint
    Question

    ​I know that the sensitivity that acrylic polymer films have to solvents presents challenges when it comes to the cleaning of acrylic paintings. Is there a similar concern for oil paintings executed on an acrylic ground? Or do the layers of oil paint (assuming that the ground is well covered) provide an adequate barrier against the action of sovents used in cleaning?

    -Ben

  • Question asked 2017-05-14 17:05:44 ... Most recent comment 2017-05-21 02:21:32
    Rigid Supports Oil Paint Flexible Supports
    Question

    ​I know that historically, linen with a close, tight weave was prefered for its strength. If one is mounting (pre-primed) linen to a rigid panel rather than stretching it, is there any particular reason to worry about using a loose-weave linen similar to what would have been called an "Étude" canvas in the 19th century? "Loose" meaning that there is enough space between the yarns that you can see tiny squares of the ground from the back of the linen. 

    ArtFix L21C and Fredrix Paris #908 HP are modern examples of this type of linen. I like the texture a lot on both, but am not sure if the loose weave is likely to be an issue in mounted linen. 

  • Question asked 2017-05-02 07:32:24 ... Most recent comment 2017-05-17 23:25:55
    Sizes and Adhesives Studio Tools and Tips Oil Paint Flexible Supports
    Question

    ​I like to use Beva 371 film to mount oil-primed linen to tempered hardboard. It usually works great, but sometimes I'll have a spot or two right on the edge of the panel where the linen just doesn't want to adhere, and remains loose. Going back over these spots with my tacking iron never seems to help. 

    I always adhere the Beva film to the panel first, and then mount the linen. Would it be better to start by attaching the film to the linen? Or, could I take out some "insurance" by attaching a layer of film to *both* the linen and the panel? 





  • Question asked 2017-05-09 09:23:46 ... Most recent comment 2017-05-15 11:04:12
    Oil Paint
    Question

    ​There has been some discussion on another forum regarding colour matching for touch-ups to sections of oil paintings. The problems seem to be related to adding mediums - especially mediums containing solvents (such as alkyd mediums).  Colours sometimes dry lighter or darker than expected - depending on the medium used and whether medium was added before or after colour matching. I was wondering if there are any pointers from how conservators handle matching colours for inpainting that would help artists in matching colours for tehri own touch-ups.  Do you use just straight paint? Add medium before or after mixing the right colour?  What medium do typically you use? Any insights into your typical in-painting process would be helpful.

  • Question asked 2017-05-08 10:26:21 ... Most recent comment 2017-05-08 11:11:24
    Oil Paint Drying Oils
    Question

    ​Is it OK to put an oil painting out in the sun to dry to speed up drying?

  • Question asked 2017-05-02 13:49:43 ... Most recent comment 2017-05-02 21:04:28
    Question

    ​Hi.  I'm an oil painter considering using KILZ 2, (latex water-based primer, sealer and stain blocker composed of  Titanium dioxide, Nepheline Syenite, Limestone) as a sealer for maple panels.  I will use 4 or more coats of acrylic gesso (either Golden or Art Board) after the KILZ.  I hear that KILZ is a good seal for panels but also know that industrial grade materials aren't always tested/recommended if the intention is to build an archival surface.  Do you recommend KILZ or should I stick with GAC 100?  Thank you. 

  • Question asked 2017-04-21 23:45:13 ... Most recent comment 2017-05-02 07:24:45
    Rigid Supports
    Question

    ​Dear Moderators


    Thank you for this wonderful website. So glad to see AMIEN has a successor.

    I plan to paint on some RSG sized canvas and then (if the painting works out) to glue it to a rigid support. I had hoped to use my untempered Masonite as substrate to glue the textile to but recently read here that tempered is far better (however I don't hold out much hope of getting that product here in Australia). I am very much aware of all the disadvantages of using RSG (have been reading about them for decades) but I strongly prefer the working qualities it imparts to the surface I paint on. Also I understand that RSG is much less problematic when used on a rigid support, if all precautions are taken (such as sizing and priming both sides and also varnishing both sides at the proper time etc). I had planned to just go ahead and glue the linen to the Masonite and then do the painting (much more straightforward) rather than size a stretched canvas, paint on it and then glue it on to the Masonite. However I can't do this till I find a source of tempered Masonite. In the meantime I want to paint. My question is: is it unwise to use hot RSG to glue a finished painting to a substrate? Is it likely that the hot glue would damage the painting? 

  • Question asked 2017-04-29 02:59:41 ... Most recent comment 2017-05-02 07:21:30
    Art Conservation Topics Oil Paint Scientific Analysis Technical Art History
    Question

    ​Will all oil paintings eventually crack, even if painted on a rigid surface with a good oil binder in the correct ratio and avoiding pigments like Zinc?

    Do these good practices only extend the time it takes before cracking occurs?

  • Question asked 2017-04-20 12:46:55 ... Most recent comment 2017-05-01 14:21:42
    Acrylic Grounds / Priming Rigid Supports Flexible Supports Art Conservation Topics
    Question

    ​Debating whether to use pigmented Shellac BIN or GAC 100 as sealer.  From what I've been told, Shellac BIN is a sealer, GAC 100 is not.  (regular Shellac can dissolve acrylic paint due to alkaline sensitivity to ammonia but Shellac BIN seems to be ok)

    GAC 100 reduces SID, but so can Shellac BIN.  

    It seems like Shellac BIN is winning out here... I plan to put a couple layers of Gesso on top of either Shellac BIN or GAC 100 before painting of course.  If Shellac can do what GAC 100 can do but it is a true sealer wouldn't Shellac BIN be a better choice?  

    Regarding WARPING: Someone told me that shellac also can prevent warping due to blocking moisture.. is this true?

    I'd like to eventually work bigger than 48" at some point and use the thinnest plywood possible (prob birch) to keep it light and of course cradle and brace it with supports.  But what are your thoughts as to warping at this size?  Would getting 1/4" be too thin?  What if I put 3 layers of Shellac BIN?

  • Question asked 2017-04-30 16:40:25 ... Most recent comment 2017-05-01 09:16:29
    Varnishes
    Question

    ​On Dec 2015 I finished a painting which later I varnished with Gumbacher Matte Dammar in Spray (4 months later).

    Last October the owner asked me to give it another coat of varnished (which I didn't know is not recommended).  Then I gave a coat with a cheap liquid matte varnish becayse I didn't find a good brand).  While I was applying it, the painting started to dilute a little bit.  I don't know if that was due the thin sprayed former coat or another reason. I could handle to eliminate marks and had a very good finish. However spots as if sinking in are appearing now.

    I have to fix it, but I don't know how.  I've never removed varnish before, so I'm afraid of doing so. Some solutions come to my mind.

    1. Varnish again (I know it's not good to use gloss over matte so I thin ther painting could  maybe stand another matte coat)

    2. Buff with cold wax to get an even surface.

  • Question asked 2017-04-28 07:57:35 ... Most recent comment 2017-04-28 22:18:57
    Varnishes Oil Paint
    Question

    ​Does anyone know if MS2A resin is still being produced? I've been looking for a source online, but haven't had any luck finding one.

  • Question asked 2017-04-27 07:01:42 ... Most recent comment 2017-04-28 21:17:05
    Rigid Supports
    Question

    ​Dear moderator


    Could you please advise how one might go about removing a painting done on linen from a panel (to which it has been adhered using acrylic medium) in the event that the panel has proven to be an unsuitable support or become damaged in some way? Or simply because the painting done originally didn't work out and one wants to glue a new piece of linen to the panel? I have tried removing linen from panel under the latter circumstances (when the painting didn't work out and was destined for the rubbish bin) , simply by pulling it off but found it virtually impossible. What solvents might a conservator use to achieve detachment in the event of a painting that needs to be saved?

  • Question asked 2017-04-16 16:43:34 ... Most recent comment 2017-04-24 14:30:11
    Oil Paint Art Conservation Topics
    Question

    ​Hello, 

       Someone on another forum (who lives in a warm climate) recently mentioned deliberately placing paintings in the sun to speed drying. They do it  both when finished and between layers. They mentioned that paint dried to the touch in a matter of hours. It made me curious. It sound convenient but I suspect that there are some inherent dangers to this approach.  I looked through the resource documents and there were hints that it was not a best pratcice but I couldn't find any explicit information. Any insights into potential problems with this practice?

       Thanks in advance.

  • Question asked 2017-04-20 20:05:55 ... Most recent comment 2017-04-24 11:01:00
    Acrylic Watercolor Gouache Egg Tempera
    Question

    ​From what I know, there is no limit to how much watercolors can be diluted when painted on paper. I was wondering if the same can be said of all the other water-soluble paints. Is it okay (in terms of durability of the finished work) to dilute:

    1. Acrylics
    2. Gouache
    3. Tempera (egg and non-egg)
    4. Inks

    as much as one wants if painting on an absorbent support, like paper? I read that the absorbency of the fibers ensures that the pigments are trapped within the piper, so there should be no conservation issue in that regard. Is that true?

    Also, should such works be varnished, and if so - with what?

  • Question asked 2017-04-09 12:32:20 ... Most recent comment 2017-04-11 20:18:00
    Acrylic Paint Additives Art Conservation Topics
    Question

    I know that acrylics can be made less durable by adding too much water or extender/retarder to them. I was wondering if this could be remedied later on by either

    a) coating the weakened layer with medium

    b) overpainting the weakened layer with acrylics that haven't been overextended or oils

    ?

    Would sealing the overextended layer with medium/paint have a similar protective effect as painting over tempera with oil?

  • Question asked 2017-04-09 11:54:22 ... Most recent comment 2017-04-11 18:23:00
    Rigid Supports
    Question

    ​I recently found online a kind of artist ACM panel with an anodized surface. The store that makes the panels claims the surface is porous enough to paint on directly with oils and acrylics, although I'd personally want to prime the panels first. Anodized aluminium as a painting support seems quite uncommon - however I did find at least one well-known artist, David Dunlop, who regularly uses it. And so I was wondering, are there any problems associated with priming then painting on anodized aluminium? As always, any advice would would be appreciated. Many thanks, J.

  • Question asked 2017-04-11 07:01:58 ... Most recent comment 2017-04-11 11:17:00
    Oil Paint
    Question

    Hello MITRA,

    On one of your resource handouts you say, "Some artists choose to place their paintings in direct sunlight for a certain period of time as UV light can break up some of the chemical bonds that are responsible for yellowing."  What length of time, more or less, is it suggested that an oil painting be exposed to sunlight to counteract yellowing?  Any caveats, besides being aware of fugitive pigments? 

    Thanks 

  • Question asked 2017-04-08 22:00:47 ... Most recent comment 2017-04-09 20:54:00
    Art Conservation Topics
    Question

    ​Hi there

    I've arrived here from the Wet Canvas forums, following a thread I was interested in, regarding damage to the acrylic "gesso" of a canvas, and subsequent oil strikethrough. Many respondents, in their answers, referred to the danger of "oil rotting the canvas", and indeed, searching this forum, found similar references. The problem I have is: I've never seen oil rotting a canvas. I've searched the internet of course, but may just be looking in the wrong places.

    I have some student canvases, they are about 25 years old, with paint stains on the side of the stretched canvas. There is no sign of degradation of the weave.

    oil-stains.jpg


    I have also read (I don't have a reference) that oil could be getting the blame from damage bry damp and mold in some cases. Is it possible that the fatty acids in Linseed Oil become effectively neutralized in the polymerization process, or simply locked up in the mass of fillers and pigment, and do little damage to the weave? I'm wondering what the evidence is to support the case for "oil rotting", and if there are photographs?


    Thanks!




  • Question asked 2017-04-09 18:53:54 ... Most recent comment 2017-04-09 19:36:00
    Flexible Supports Acrylic
    Question

    ​In the summer of 2016, I painted a 9-inch by 12-inch painting on 7/8-inch-deep Masterpiece "Vincent Sausalito" all-cotton stretched canvas. I added two coats of Golden acrylic gesso on top of the manufacturer's gesso, and then the painting was done in Golden acrylics. I framed it with a Nielsen aluminum canvas-depth sectional frame. It hung through the fall and winter in a winterized cottage in  northern Michigan, with the central heating system turned off.

    In early April of 2017 I found the painting in below freezing temps, in order to retrieve and varnish it. It apparently had undergone "planar" warping of the canvas surface, to use a term I've picked up on this forum. Over the course of a couple weeks in a separate year-round heated home, the warping has disappeared and the painting now looks fine. Ideally, I wanted to leave the painting year-round at the cottage, and am wondering if I should cut the painted canvas from the stretcher bars and glue it to 1/8-inch-thick Ampersand Hardbord with acrylic medium? First sizing the board on both faces and all four edges with acrylic medium. Was this sagging likely caused by the temperature change? Thanks for any insights and/or suggestions.

  • Question asked 2017-04-07 07:32:49 ... Most recent comment 2017-04-08 22:42:00
    Flexible Supports Grounds / Priming Art Conservation Topics
    Question

    ​Hi Mitra friends, 

    I originally posted this question on WetCanvas and they suggested I would ask it here to get a more in depth response. 

    I found many topics covering cracks in painting, but I promise this is not exactly related. 

    I spent many hours on a painting for which I stretched out the canvas myself, two layers of pva size and oil priming on top. 

    The painting itself has been built with many thin layers of oil paint with a little liquin to thin and accelerate drying of oils.

    Everything was going fine, but a few days back, the canvas fell from the easel and hit a chair corner. The fabric is absolutely fine, not even stretched out, but the area of the painting which hit the chair cracked a bit. 

    I was very upset and in hopes that the priming was intact, I tried to cover the crack with another layer of oil painting. 

    It seems to me that the sizing and priming were damaged due to the fall as the paint I applied afterwards went through and appeared on a cracking shape on the backside of the canvas. I'll try and post a picture with this for observation. 

    I was always told that oils will rot the canvas if it gets in contact with it (even though it might take years) but I wanted to know if there's any way I can avoid that from happening making the area "healthy" again? 

    Some people also said that the thin layers of oil will not damage the canvas if I apply acrylic primer on the back of the affected area? 

    I hope you'll be so kind to share any solid information you have on this issue?

    Thanks for reading! 

    CrackedPriming.JPG            

  • Question asked 2017-04-05 21:27:04 ... Most recent comment 2017-04-05 21:58:00
    Oil Paint Animal Glue Varnishes Flexible Supports
    Question

    ​I have had to withdraw a20170304_085913 - Copy.jpg painting for sale because of something that went wrong in its structure, sadly. This started on raw linen, rabbitskin glue (I don't use that anymore) I used oil priming- titanium with a heaping tablespoon of quality lead white paint and a small amount of quality turps. It dried several months and I used universal varnish on it. I don't heavy varnish, but a gallery in a different (dry) climate thought it needed more varnish. I bought the same brand etc and sent it to them and a respected artist with the same training added another coat. When I got the painting back, I loved it! It looked glassy and I preferred the look. However, this painting has always been the worst reactor to humidity changes of all my work. It's got crossbar supports, yes. It's now 13 years old and 2 years ago began to dimple.

  • Question asked 2017-04-05 04:29:19 ... Most recent comment 2017-04-05 15:56:00
    Flexible Supports Oil Paint
    Question

    ​Hello,  

    I have a few  questions about polyester canvas as a stretched support for oil paint.  I intend on buying a a roll of 100% polyester canvas from a very ubiquitous company.  It is "universally-primed".

    From what I've read, polyester canvas may be less susceptible to some of the humidity/moisture/movement related issues that linen and cotton enact upon an oil paint film.

    Then I read this entry by a moderator:

    Two things first. What is the attraction to polyester as a substrate for you and what type of paint are you planning to use on the polyester? I generally worry about the the overly flexible of polyester for any paint media other than acrylic dispersion paints. Let is know that and in the meantime I will ask some of the other moderators their opinions.

    Baade, Brian

    2016-12-13 21:23:01

    I intended to put a thin coat of lead white ground on top of the acrylic dispersion primer, then paint on it with oil paint.  I thought that if one were to forego panels, then this would be the "best practice" second choice ( with a vented matte- board backing).

    Am I wrong? Is linen or cotton a better, or indifferent, choice?

    I did email the company and they stated no zinc white is used in the priming.

    Thanks for your time and consideration.

    Kevin

  • Question asked 2017-02-24 09:55:55 ... Most recent comment 2017-04-05 10:28:00
    Art Conservation Topics Other Flexible Supports Industrial and Non-Traditional Products
    Question
    How can I make old newspapers less acid for use in my collages.
  • Question asked 2017-04-04 13:42:45 ... Most recent comment 2017-04-04 13:52:00
    Storage
    Question

    ​Do you have any suggestions on how to roll a 10' x 10' oil on muslin painting for storage? My friend acquired the large picture and cannot immediately stretch or hang it and was going to line with glassine and roll over plastic tubing, it had been folded in 10 inch sections. I thought the glassine was a bad idea and wasn't sure about plastic tubing.

  • Question asked 2017-03-31 03:29:55 ... Most recent comment 2017-04-03 16:50:00
    Acrylic Paint Mediums
    Question

    ​I am applying artist acrylic paint diluted approx. 10% with water onto a gesso prepared surface, with a small fine foam roller. The paint is foaming and although I can remedy this eventually, is there a way to prevent the initial foaming? Thanks.

  • Question asked 2017-03-28 08:55:03 ... Most recent comment 2017-04-01 22:02:00
    Acrylic
    Question

    For the underpainting on many of my acrylic paintings, I would like to use more opaque paints​ than most regular acrylic lines provide. 

    There are several products that I've come across -- mostly online but occasionally in the big art stores -- that are described sometimes as acrylic and sometimes as "vinyl." Examples include Lefranc & Bourgeois Flashe Vinyl Paint or Maimeri Polycolor Vinyl Paints. It's hard to tell from the online literature whether whatever it is that makes them "vinyl" would make them incompatible with "regular" acrylics.

    Are these safe to use: (1) as an underpainting for a more traditional acrylic paint (e.g., Golden Heavy Body); and, (2) inter-mixed with those same paints (e.g., to modify opacity)? I'm more interested in (1) but curious about (2).

    Thanks.

  • Question asked 2017-03-14 12:45:43 ... Most recent comment 2017-03-31 16:43:00
    Rigid Supports Sizes and Adhesives Oil Paint
    Question

    ​I'd like to know the accepted, archivally safe way to mount an oil painting created on paper (140 lb 100% cotton) onto a cradled birch panel. Specifically, how to seal the birch so acid cannot migrate to paper, and what no-acid glue to use for mounting.  

  • Question asked 2017-03-31 13:42:04 ... Most recent comment 2017-03-31 14:22:00
    Acrylic Sizes and Adhesives Flexible Supports Industrial and Non-Traditional Products
    Question
    When making things like collages, reliefs or textured paintings, would it be okay to use non-artist paper (for example, tissue paper) if it's first thoroughly coated with acrylic medium? I read that it can be used to preserve things like leaves, so I was wondering whether (aside from being an adhesive) it would stop paper that could be acidic from becoming brittle.

  • Question asked 2017-03-28 15:19:31 ... Most recent comment 2017-03-30 10:12:00
    Health and Safety Oil Paint Pigments
    Question

    ​I have a large oily waste can that contains rags contaminated with lead and mercury (vermilion) based pigments. In order to dispose of them, I will need to dump the waste into a large bag and bring it to a Hazardous waste disposal facility. The can I use has been sitting outside covered for around 6 months, and contains water for combustion concerns. Should I be concerned about any potential metabolic processes that may occur from mold or microbes growing within the rags that could potentially turn Mercuric Sulfide, into a more toxic form of mercury, or any other heavy metal based pigment? If so, what process should I take so that I can dispose of it safetly and not expose myself to these compounds. 

  • Question asked 2017-03-24 18:01:28 ... Most recent comment 2017-03-29 13:35:00
    Acrylic
    Question

    ​Hello! I observed a strange separation of paint/color after leaving the Golden Fluid Acrylic Iridescent Bronze (Fine) in a wet palette overnight. This could be just a colorant added to the mica? It was suggested by a supervisor that I contact you fine folks with this concern! Thank you!! (please see attached photo)

  • Question asked 2017-03-26 13:56:10 ... Most recent comment 2017-03-28 14:18:00
    Oil Paint
    Question

     My usual practice is to start with fresh paint every day - squeezing out just enough of the colours I think i will use for the section of the painting I am working on.  However, there has been discussion recently on several FaceBook forums about saving paint on the palette overnight or even longer - sometimes weeks. The two most common methods seem to be either a) putting the palette in a freezer or b) putting it in a sealed contained each night with a few drops of clove oil on a cloth in that container.  The freezer method seems to be prone to introducing condensation if not handled properly. Both methods will lead to using progressively dried paint over several days or longer. Are these approaches to reducing paint "wastage"  potentially problematic?

  • Question asked 2017-03-23 15:38:06 ... Most recent comment 2017-03-23 16:51:00
    Oil Paint
    Question

    ​Hello,

    I have a bit of dust dried into the top layer of an oil painting I'm working on and would like to lightly sand the surface, remove the dust and sanded particles, then continue with another layer of oil paint.  Should I be concerned with weaking the sublayer?  Thank you!  

  • Question asked 2017-02-11 12:21:09 ... Most recent comment 2017-03-20 16:56:00
    Grounds / Priming Industrial and Non-Traditional Products Rigid Supports Sizes and Adhesives
    Question
    As far as preparing rigid engineered wood surfaces for painting goes, the consensus seems to be that they should ideally be 1. cleaned 2. sanded 3. sized 4. primed. While various websites advise sanding according to preference between subsequent applications of ground to achieve a very smooth surface, what I usually found lacking is the advice of sanding before sizing.
    My questions are as follows:
    1. To clean the surface before sanding, I would use 95% ethanol applied with a rag/kitchen towel. Is this alright? Other options that come to mind are methylated spirits, mineral spirits or hardware store soap, all advertised as pre-paint cleaning agents, but I'm not sure whether they would make a difference and concerned about breathing in the methylated/mineral spirits fumes.
    2. There is generally no information about how hard the surfaces should be sanded - only that they should be sanded "lightly" so that they are lose gloss. The problem is that in order to really remove all visible gloss one has to sand much harder than lightly, so I sometimes have fibers sticking out of my boards after sanding them, which is apparently a sign of sanding too hard. Is there any way of judging how lightly one should press while "lightly sanding"?  Any way of checking other than just running a finger across the surface (possible health risk?)? Also, I understand that a 150 grit sandpaper is a bit too rough and something in the range of 200-250 would be better?
    Finally, is it worth buying an electric sander? I think it might give me a more uniform result, but I'm not sure if it won't be sanding too much even with the lightest touch given the speeds involved.
  • Question asked 2017-02-25 09:41:10 ... Most recent comment 2017-03-20 14:26:00
    Solvents and Thinners Varnishes
    Question
    I forgot to ask in my previous question: in addition to shellac not fully dissolving in a weak formulation, are there other consequences to using a denatured alcohol with a less than optimal percentage of ethanol?
  • Question asked 2017-03-18 22:34:27 ... Most recent comment 2017-03-19 03:41:00
    Sizes and Adhesives Flexible Supports
    Question

    ​Hi,

    I know it is better not to seal the back of your canvas. But what will happen if you stretch reversed primed linen onto you stretcher bars? Is that equally bad?

  • Question asked 2017-03-08 11:44:47 ... Most recent comment 2017-03-15 21:04:00
    Egg Tempera Grounds / Priming Rigid Supports
    Question

    ​i have read the descriptions for how to make real ET paint (fairly easy) and real ET panels with rabbit skin glue and whiting (very laborious).

    I cannot believe that lazy people like me who buy ET in tubes still have to make a panel. Panels with true gesso on are availale from few retailers and are expensive. Sennelier make passing reference to use on canvas with acrylic gesso, but their information is very poor.

    Are you able to offer advice on using these tubed ET paints with commercially available wood panels with acrylic gesso, please?


  • Question asked 2017-02-14 13:09:24 ... Most recent comment 2017-03-08 17:26:00
    Acrylic Industrial and Non-Traditional Products Scientific Analysis
    Question
    I am interested in finding a list of Golden Paints  acrylic fluid color density, both fluid and high-Flow, as compared to one another and not to oil or a lacquer based paint. Can you help?
  • Question asked 2017-02-25 09:31:58 ... Most recent comment 2017-03-03 14:52:00
    Solvents and Thinners
    Question
    I make a point of searching out and buying a 190 proof (95% ethanol) denatured alcohol for making shellac.  However many of the denatured alcohols sold at hardware stores contain lesser percentages of ethanol (i.e. a student just asked me about "Sunnyside" brand; the MSDS reveals it is only 86% ethanol).  If someone prefers to buy whatever denatured alcohol is available at their local hardware store, at what percentage number does the ethanol in the formulation become too low to be suitable as a thinner for shellac?

    Also, the MSDS for Sunnyside's denatured alcohol lists "hazardous ingredients", which add up to about 94%.  What is the other 6% or so percent composed of?

    Thanks
  • Question asked 2017-02-27 22:04:58 ... Most recent comment 2017-03-02 11:11:00
    Animal Glue Chalk Grounds / Priming Oil Paint
    Question

    I’m student at an academy of fine arts in Europe. I used to paint on Wood and primed with acrylic gesso from Golden. I recently made the change to canvas and home made ground and that’s where the nightmare began. The priming recipe for oil painting on canvas given by my teacher consists of Rabbit Skin glue, Champagne Chalk (with optional titanium white) and Lindseed oil varnish. I made the first 5 with him and got excellent results but since I have had to make them by myself, I lost a month of painting and so much material because all my primed canvas cracked, I cannot understand why…

    1) I mix 55g of RSG with1L of water overnight in the fridge2)Take one part of that with 2.5 Part of water and do one layer of sizing3) Take on part with 2 part Champagne Chalk with 1 Part water with 1/3 Lindseed oil varnish and use an electric mixer. Then I apply 3-4 coats

    The next day I arrive and everything show mini cracks. I can hear them if I press gentle on the back of the canvas

    I have asked 50 times my teacher and I swear I’m doing what I think he tells me, but obviously something I do is wrong… Do you have any idea what the problem is? do you recommend another method specifically

    I use cotton duck canvas which I stretch. It is for oil painting. I like firm tension but that can take some rough cloth rubbing and handling. Longevity and quality are very important to me.

  • Question asked 2017-02-28 08:31:01 ... Most recent comment 2017-02-28 10:55:00
    Oil Paint Pigments
    Question

    ​I stopped using a newly opened large tube of Windsor and Newton titanium white that I had on hand because it contained "a small amount of zinc" according to the manufacturer. I suspect there is a growing amount of zinc containing paint being abandoned. Obviously, pure zinc white is disocuraegd but it would be great if there was some sort of guidance as to how much zinc is acceptable in a multi-pigment colour. In medicine there is an expression that goes something like "the dose makes the poison". Similarly, I expect that a very small amount of zinc isn't going to cause a problem but I haven't seen any research or guidance as to just what that maximum tolerance for zinc is. Is there any current guidance on this or research that you know of under way to clarify this issue? 

  • Question asked 2017-02-23 12:53:15 ... Most recent comment 2017-02-24 11:51:00
    Rigid Supports Sizes and Adhesives Grounds / Priming
    Question
    When applying a glue size to a fibreboard (MDF) panel, does the strength of the glue need to be stronger than the quantity of glue mix used in gesso?  I have been advised by my supplier to use a stronger formula for the inital sizing (1:10) but I haven't found this advice anywhere else.
  • Question asked 2017-02-21 17:04:22 ... Most recent comment 2017-02-21 17:48:00
    Drawing Materials Dyes Environment Ink Paint Making Pigments
    Question
    Hello! I'm a painting and drawing senior BFA student at the School of the Art Institute of Chicago and was wondering if you have any information or insight on residencies, workshops, or any opportunities that will allow me to engage in foraging and collecting my own materials, extracting organic pigments, making my own inks and paints, etc. Anywhere in the world! I hope to turn this into a fulbright scholarship application, so anywhere you suggest will help!

    I am interested in organic material, traditional processes, smaller communities and working in the natural environment... And of course, something very immersive. Even paper-making and natural dye techniques are helpful suggestions, but I'd love to just make materials from scratch. Thank you so much for your help!!
  • Question asked 2017-02-21 14:07:43 ... Most recent comment 2017-02-21 15:36:00
    Egg Tempera Rigid Supports
    Question
    To minimise warping when painting with ET on large panels 2ft x 3ft  (12mm MDF), I have previously gessoed both sides (8 layers or so) of my panels after a coat or two of rabbit skin size.  However this is a laborious technique owing to the drag of the gesso on such large panels.  Can I apply rabbit skin glue instead (8-10 layers) which glides on much more easily.  I am not inclined to brace/bracket my panels so any advice on alternative methods of stabilising large panels would be most welcome.
  • Question asked 2017-02-16 16:34:18 ... Most recent comment 2017-02-16 17:47:00
    Flexible Supports Acrylic
    Question
    Is Tyvek a sustainable surface for an acrylic painting?
  • Question asked 2017-02-16 16:36:53 ... Most recent comment 2017-02-16 17:47:00
    Drawing Materials Varnishes
    Question
    What's the best brand/material to fix a pencil on Canson drawing paper? I've used sprays before, just interested in what others are using. Thanks.  
  • Question asked 2017-02-14 22:43:54 ... Most recent comment 2017-02-15 10:41:00
    Oil Paint Paint Mediums
    Question
    I was wondering how much medium one could safely add to glaze layers.I remember the question being asked years ago on the old AMIEN forum, and there didn't seem to be a clear-cut consensus. One reply suggested that the ratio almost didn't matter, as long as the glaze was applied thinly enough. In the opinion of the moderators, how much leeway do we have regarding the amount of medium in very thin glazes? Let's say we have a glaze which is half paint, half medium, brushed on then patted down with a sponge - basically tonked - leaving more or less a residual stain of colour. In a glaze layer this thin, is the high amount of medium likely to cause any problems? I'm assuming if yellowing is a problem with oiling out, it might be something to worry about here too. And could we expect several ( similarly extra-thin ) layers of glaze, applied over each other, to develop the same problems that a single, thicker layer of medium-heavy glaze might, yellowing or even wrinkling? As always, any advice would be greatly appreciated.
  • Question asked 2017-02-15 08:19:14 ... Most recent comment 2017-02-15 10:40:00
    Egg Tempera Matting, Framing, and Glazing
    Question
    Egg Tempera artists are sometimes told to frame work under glass, to protect the initially vulnerable surface of tempera from scratches.  Both tempera's ground (traditional gesso) and support (wood-based panel) are hygroscopic.  Does framing egg tempera under glass protect the work from ambient moisture, or is glazing more likely to trap moisture, potentially leading to mold, delamination, etc.? 

    Thanks,

    Koo Schadler
  • Question asked 2017-02-14 14:53:57 ... Most recent comment 2017-02-14 15:01:00
    Art Conservation Topics Gilding Matting, Framing, and Glazing
    Question
    I gild the bevels of my archival mat boards, and I am wondering if this affects their archival-ness.  I use acrylic paint, water-based size, and 23K or other genuine gold leaf.
  • Question asked 2017-02-14 13:19:10 ... Most recent comment 2017-02-14 14:22:00
    Acrylic Industrial and Non-Traditional Products Scientific Analysis
    Question
    Regarding my question about a comparison of the Density of The fluid paints, I am mixed media and collage artist and use pours. I would like to have more control by knowing this simple fact.
  • Question asked 2017-02-13 16:26:34 ... Most recent comment 2017-02-13 17:53:00
    Grounds / Priming Rigid Supports Sizes and Adhesives
    Question
    I plan on painting on rigid, absorbent supports (HDF/MDF/hardboard etc.). Is it okay to speed up the drying time of PVA sizes and acrylic dispersion grounds using a hair dryer? Specifically, is it okay to:
    1) Speed up the drying time of the size before applying the next layer?
    2) Speed up the drying time of the ground before applying the next layer?
    3) Speed up the drying time of the ground before painting?
    In any case, how long should I wait before starting the next step/how do I know that the layer is dry enough? I have read the 24 hours drying time recommendation for acrylic ground before beginning a painting, but are there any estimates for the rest?
  • Question asked 2017-02-10 12:14:42 ... Most recent comment 2017-02-10 12:35:00
    Grounds / Priming Industrial and Non-Traditional Products Rigid Supports Sizes and Adhesives
    Question
    It appears there are conflicting recommendations on various manufacturers' websites regarding sizing HDF/MDF before applying acrylic ground. Looking at the table in the "Adhesives and Sizes" document, three coats of acrylic ground should be enough to protect from any noticeable migration of mediums or solvents through the support, so shouldn't it also be sufficient to protect the work from the chemicals that might migrate from the support?
    Assuming that sizing is still recommended, should PVA glue with a pH of 7 suffice? If so, should it be diluted? How much?
    Also, when using HDF/MDF that's laminated on one side, is it fine to leave the laminate as is, since it's already a protective layer?
  • Question asked 2017-02-09 18:00:49 ... Most recent comment 2017-02-09 18:45:00
    Paint Mediums
    Question
    I work in oils and would like to know the best choice for a medium when i am painting alla prima.  I only feel the need for a tiny amount of medium if I feel the paint directly out of the tube is too stiff, otherwise, I don't use it.  Should i use straight linseed oil, straight stand oil, a dilution with OMS of either of these, or somehing else?  I am not looking for something to make the paint dry faster.  Thanks in advance.  
  • Question asked 2017-02-09 07:07:14 ... Most recent comment 2017-02-09 10:39:00
    Grounds / Priming Industrial and Non-Traditional Products
    Question
    Given that I've heard from many people that exterior acrylic paints (hardware store ones) perform quite well as a ground for oil/acrylic paintings, and that "artist's gesso" is very expensive and hard to obtain where I live, I would like to ask for expert advice regarding their use.
    I have read the "Myths, FAQs, and Common Misconceptions" section on industrial/outdoor products, but the claims made there are very vague an nebulous. "can potentially lead to problematic consequences" and "Some of these additives are known to eventually migrate out of these commercial paints after a certain period of time" sound more like marketing claims made to instill fear and uncertainty, especially since they do not cite any works published in scientific, peer-reviewed literature. One could just as well make an argument that since none of the manufacturers of artist materials release their full formulations, those could just a well produce similar problems.
    Therefore, aside from this clarification, I would also like to ask about recommendations for ground alternatives for engineered wood (specifically HDF and MDF).
  • Question asked 2017-02-05 17:39:35 ... Most recent comment 2017-02-05 17:43:00
    Flexible Supports
    Question
    What is the very best way to tighten a stretched canvas ( no keys, rigid stretcher frame) ?  I have  just stretched a 40 x 48 canvas with  an excellent tight "thong" sound when finished ( one week ago). Now, it has relaxed - no sags, nor pulls- but just not as tight as I like to paint on. ( info: Fredrix's Dixie 123, acrylic pre-primed roll) THANK YOU for your kind reply in advance.
    Nancy
  • Question asked 2017-02-02 09:43:44 ... Most recent comment 2017-02-02 17:29:00
    Oil Paint Varnishes
    Question
    I understand that there may be a temporary yellowing of a fresh paint film, if it is stored in the dark, which is reversible with the application of sunlight, and there is a more long term, permanent yellowing that occurs over decades, if not centuries.____Isn't this long term yellowing due more to the aging of damar, copal, or other or other varnishes used in  or on  the top of the paint layer than to the drying oil used in the paint layer?_____Thanks for your thoughts.___Richard
  • Question asked 2017-02-02 13:41:33 ... Most recent comment 2017-02-02 15:55:00
    ASTM Drawing Materials
    Question
    I have noticed a lot of my favorite contemporary artists, like Colleen barry and Scott Waddell, make use of these prismacolor color pencils, for some pretty exceptional work. I question the durability of the material though. Prismacolor does not have a chart on this line of pencils. Specifically,
    Carmine red
    Scarlet red
    Vermilion
    Tuscan red
    Terra cotta
    Brown
    Black
    Tuscan red
    Terra cotta
    Brown
    Black
    I know the cpsa has their workbook, but I am a very poor artist and don't have 45$ currently.
  • Question asked 2017-01-31 09:37:19 ... Most recent comment 2017-01-31 16:08:00
    Alkyd
    Question
    Recognizing the increased flexibility and speed of drying in alkyd paint films over linseed oil/stand oil paint  films...

    1.   Would you recommend the use of alkyd mediums or alkyd paints over traditional oil mediums and paints for the most permanent, strong, flexible, non cracking and non-yellowing paint film?

    2.  What are the disadvantages of alkyd mediums, if any?

    3.  As alkyds in artist oil paints are only a few decades old, how confident are you that alkyd mediums will continue to out pace oil mediums in producing superior paint films?

    4.  To minimize the use of driers, would it be advisable to seek an alkyd synthesized from drying oils, linseed or walnut, vs non drying oils, safflower, soy, sunflower, etc?

    Thank you so much for your expertise.

    Richard
  • Question asked 2017-01-31 11:51:09 ... Most recent comment 2017-01-31 16:07:00
    Drying Oils Alkyd
    Question
    How does a walnut oil film compare with a linseed oil film in strength and flexibility?......   I know that it is a slower drying oil and will eventually reach the same level of yellowness and embrittlement over the course of decades as linseed, but will take longer to do so.......  I am considering the use of a walnut alkyd, added to a walnut oil medium to compensate for the slower drying time of the latter. .... .. The lower viscosity of both, vs stand oil with an added alkyd medium, would then require less OMS to thin it out, resulting in reduced solvent evaporation in an enclosed studio.   (I live in MN.   Either the heat is on or the air conditioning, ha, ha)....   Walnut oil is also drying oil and I suspect that a walnut alkyd may use less drier in manufacture than those alkyds made from semi-drying oils....Thank you for your thoughts....Richard
  • Question asked 2017-01-26 21:34:58 ... Most recent comment 2017-01-29 16:27:00
    Sizes and Adhesives Rigid Supports
    Question
    pva size for birch panel?
  • Question asked 2017-01-29 10:47:47 ... Most recent comment 2017-01-29 12:41:00
    Alkyd
    Question
    1.  Is the speed of drying in alkyd mediums and paints due to the chemical nature of of the alkyd compounds themselves, or are driers usually added to achieve their drying speed?

    2.   I understand that not all alkyds are created equal, being synthesized from different oils.   Do some alkyd mediums form stronger, more flexible paint films than others?  (In other words, are they all equally good in forming a reliable paint film?)



    I'm trying to avoid excess driers, as they tend to promote cross linking of the paint film indefinitely (faster embrittlement), but wish to speed up the drying time  of titanium white to be comparable to cremnitz white, which I may abandon use of because of cost.   Was thinking of using a small amount of alkyd medium in a stand oil medium to compensate for the slow drying time of titanium,  i.e. 10% alkyd, 30% stand oil, 60% OMS.

    Thank you for your insights,

    Richard

    PS   I dislike being held hostage to the much higher cost of cremnitz white and am seeking the next best alternative for painting landscape on panels.   I will miss cremnitz, however.
  • Question asked 2017-01-26 18:01:16 ... Most recent comment 2017-01-27 01:20:00
    Flexible Supports Other
    Question
    Hi, would you recommend coating a new wood stretcher with a coating of some kind, such as a water-borne polyurethane to seal the wood? Should I be concerned about volatile emissions from the bare wood on my cotton or linen canvas over the long term? The stretcher bars are bevelled. Thanks.
  • Question asked 2017-01-26 21:34:15 ... Most recent comment 2017-01-27 01:18:00
    Question
    birch support
  • Question asked 2017-01-26 10:01:22 ... Most recent comment 2017-01-26 10:11:00
    Oil Paint Pigments
    Question
    With concerns regarding the use of any quantity of zinc white and the increasing use of safflower and walnut oil as a binder in white oil paint, what alternatives, if any, do we have to purchase a good film forming white as an alternative to the increasing unaffordable lead or cremnitz white?

    Safflower, walnut and poppy oil are not thorough driers, zinc becomes brittle and apparently affects both titanium and lead white when used in any quantity, titanium creates a "spongy" paint layer that is not tough, but cremnitz white is increasingly unaffordable or contains one of the above oils above or zinc, in some cases.   Any recommendations?   Which poor alternative do I choose?

    PS  I paint on panels and use stand oil as a medium, with lead white, so that film toughness and flexibility are maximized on an inflexible support.

    Thank you for your insights.

    Richard


  • Question asked 2017-01-24 12:43:49 ... Most recent comment 2017-01-24 13:55:00
    Chalk Drawing Materials Pencil
    Question
    I am curious about what the white chalk of the old masters was made of, and where it might be found today. Currently I use generals white charcoal pencil, which I believe is some proprietary blend, and am curious about its lightfastness. I contacted generals but have yet to hear back.
  • Question asked 2017-01-21 10:10:27 ... Most recent comment 2017-01-21 10:35:00
    Art Conservation Topics Flexible Supports Mural Painting Oil Paint
    Question
    What is the better/best painting support for large scale easel painting (Las Meninas or The Raft of the Medusa come to mind)
    I personally find myself between a rock and a hard place when it comes to large scale painting supports. As many of these forums have explained, the hard panel surface is far more structurally sound than its canvas/linen counter part. On the other hand, when you want to create painting larger than sheet material size, the seam will undoubtedly rear its face during the life of the painting. I realize there are also ways to join boards to make a larger sheet surface, but my gut tells me those seams could cause problems down the line, as well. There may not be an ideal surface, but is there a best surface for this endeavor?
  • Question asked 2017-01-20 11:09:48 ... Most recent comment 2017-01-20 11:33:00
    Art Conservation Topics Pigments Scientific Analysis Technical Art History
    Question
    I have the good fortune to have acquired an 18th century British family portrait.  The painting has an inscription that dates it to 1754.  I am taking X-sections in hopes to study the layer structure, pigments and possibly help with an artist attribution.  The work is unsigned but similar to other works by Arthur Devis a British portrait painter who was active in London at the right time.  As I rarely work on paintings that are not American 19th century works I welcome any advice or insight.  I do have sampling opportunities in many different colors in the painting (according to areas of loss). 
    Thank you in advance
    Nina Roth-Wells
  • Question asked 2017-01-19 10:25:33 ... Most recent comment 2017-01-19 11:45:00
    Technical Art History
    Question
    Deseo saber sobre composición,materiales materiales en las obras de arte victoriano sobre todo en John w. Waterhouse.
  • Question asked 2017-01-17 08:43:08 ... Most recent comment 2017-01-17 08:53:00
    Egg Tempera Other Rigid Supports
    Question
    1. Does shellac discolor with age?  I’ve read both that it’s photostable (whatever degree of yellow is present when it’s initially made, depending on the cut, does not change over time) and also that it gets more yellow with age.   I have a 18 year-old test strip that shows no color change so far, but perhaps that’s not long enough to say.  Has there been testing on the yellowing of shellac?

    2.  My understanding is that shellac gets brittle with age.  If I’m using it as an isolating layer on tempera (which also gets brittle with age) on a panel, does the solidity of the support address this concern?  Or is brittleness always a concern, regardless?

    3.  I believe shellac becomes increasing resistant to solvents as it ages – is this irrelevant if its purpose is to isolate?  In the case of isolating, could this be a sort of benefit, like a paint film curing and becoming insoluble, so to speak?

    Thanks as always for your help.  Koo Schadler
  • Question asked 2017-01-09 16:55:26 ... Most recent comment 2017-01-09 17:13:00
    Drawing Materials Storage
    Question
    I have a growing stack of drawings on paper in graphite, charcoal, conte.   Is it really necessary to  interleaf the drawings? And is Tyvek the best material for these types of media? If you're on the site it says glassine is not good for long-term storage and mylar has electro static charge so I'm just wondering how I can store my drawings. Thanks.
  • Question asked 2017-01-07 17:03:07 ... Most recent comment 2017-01-07 17:24:00
    Oil Paint
    Question
    Is it safe to apply fresh paint over or into a layer of paint that has begun to set and has become tacky? Is it safe to blend tacky paint? Can either of these cause adhesion problems, etc.? No medium is being used, only a little bit of solvent.
  • Question asked 2017-01-07 13:13:02 ... Most recent comment 2017-01-07 13:16:00
    Question
    What is opinion of conservators and specialist about paint with oil colors on acrylic gesso. Will have problems and delamination for oil colors after years ? Thank you .
  • Question asked 2017-01-07 13:09:59 ... Most recent comment 2017-01-07 13:15:00
    Industrial and Non-Traditional Products Oil Paint Studio Tools and Tips
    Question
    Dear all, I am facing a problem. I am an art reproduction specialist, and until now I have been making all of my canvasses, from stretching on the frame, to prime grounding. I had done only one medallion in my career, and with success. It was longer than stretching a canvas on a square frame, but it wasn't that difficult. There were no folds, and I used tacks. I recently had a new order with a medallion format, and to save myself some time, I tried ordering to a national specialist a handcrafted but ready-made medallion canvas. I was shoked to receive it, first in only a thin cellophane wrap, but worst is, the cloth was stretched with staples, onto the back. Also the staples were put very close to one another, it felt like the number was too much, and they were not regularly applied. As a conservator too, and being aware of the quality of the materials I use, I find this outrageous.
    I called the craftman to complain but he assured me during an hour that nobody ever complained, that that's how it's done, never in is career anyone said otherwise, and should I have wanted tacks instead of staples I should have asked. Now, again, this company is specialized in traditional, handcrafted canvasses, and their clients range about all the national museums.
    I am lost here, what are your hints on the subject ? Am I to idealist to ask for tacks on a medallion canvas ? He said this would not have allowed to avoid folds entirely, but again, I did one myself with success. What do you think, do museums allow art reproductions to be made in these conditions ? Thank you again for your answers.

    S.G
  • Question asked 2017-01-06 17:14:48 ... Most recent comment 2017-01-06 17:20:00
    Acrylic Flexible Supports
    Question
    Hi, What kind of issue can I expect if applying acrylic paint on Color-aid paper? It will be adhered to cold press illustration board.  Thanks
  • Question asked 2017-01-06 13:31:16 ... Most recent comment 2017-01-06 13:32:00
    Matting, Framing, and Glazing Other
    Question
    Hello! I would like to know what is the best way to record what materials I used (pigments mediums and varnishes on the back of the canvas) I was thinking about going to a printshop and getting this info printed on canvas and gluing this small patch to the back of the artwork, but i am afraid this might disfigure the artwork down the line, same with using permanent markers. I will appreciate your input and help! Thanks!
  • Question asked 2017-01-06 12:24:16 ... Most recent comment 2017-01-06 12:30:00
    Flexible Supports Acrylic
    Question
    Hi, I have 84x30 inch canvas that is sized and primed, Gamblin PVA and Oil Primer. It is stretched on those 1x2 so called gallery stretchers. No matter how tight I try to stretch it I still get a wobbly bounce after each brush stroke. Is it safe to apply GAC 400 the back of the canvas to try and stiffen it up and reduce the movement, The stretcher can't be keyed. Thanks.
  • Question asked 2017-01-03 13:54:46 ... Most recent comment 2017-01-03 16:17:00
    Grounds / Priming
    Question
    Hello, I would be interested in knowing what you use for priming on canvasses, what are your recipes and ways of applying ? Precisions on century accuracy and references would be very much appreciated ! Thank you in advance for sharing your discoveries and works on this very basic but fondamental subject.
  • Question asked 2017-01-01 13:43:55 ... Most recent comment 2017-01-02 09:39:00
    Egg Tempera Pigments Paint Making
    Question
    How do you grind lead white? It seems to float on the surface of the water.
  • Question asked 2017-01-01 14:23:56 ... Most recent comment 2017-01-02 09:39:00
    Egg Tempera Gilding
    Question
    Can you place gold leaf over an area that has been painted in egg tempera?
  • Question asked 2016-12-28 19:10:49 ... Most recent comment 2016-12-28 19:17:00
    Egg Tempera Varnishes
    Question
    I have been experimenting with varnishing egg tempera paintings and have several questions I’d like MITRA’s input on.

    1.  As with oil, it’s generally presumed best to wait until a tempera painting has polymerized before varnishing (understanding that polymerization is dependent on number and thickness of layers, drying conditions, etc.)   Polymerization in ET seems to me to occur within 3 to 6 months; to test I either polish the surface (cured paint has a certain feeling of hardness) and/or carefully wipe a corner with a damp rag (the water beads up, no paint lifts).  These ideas come from my experience, not from any definitive timeline or test from a conservator.  Is there consensus on how long it takes, more or less, for an egg tempera painting to cure, and how to test for polymerization?  

    2.  Having spent a couple of decades experimenting with varnishing tempera, I’ve come to believe an isolating layer is necessary (at least on a relatively new tempera; it may be different for a centuries-old painting).  In my experience an egg tempera surface, whether a day or year-old, is still absorbent enough (because of high PVC) that varnishes sink in to varying degrees.  Since any layer applied directly atop seemingly becomes linked with the underlying paint, it seems best to first cover the tempera with a very thin layer of an isolator (I’ve experimented with casein, shellac, B72, Golden’s GAC500 & Gel Medium, Laropal, PVA both water and acetone based), then put a reversible varnish on top of the isolator.   This allows the varnish to go on evenly, stay distinct from the paint layers, and be reversible.  Your thoughts?

    3.  If the above is true – it works best to isolate a tempera before varnishing – does it matter how long the tempera has polymerized before applying the isolator (since the isolator becomes linked with the paint regardless of the paint’s age)? 

    Well, I have more questions, but that’s enough for now!

    Thanks,

    Koo Schadler
  • Question asked 2016-12-27 13:10:38 ... Most recent comment 2016-12-27 17:53:00
    Acrylic
    Question
    Hi,
    I'm a painter using acrylics and am thinking about incorporating wax medium (typically geared towards oil paint)  into the acrylic paint. Will the wax medium merge well with polymer based paint?
  • Question asked 2016-12-26 14:40:03 ... Most recent comment 2016-12-26 16:05:00
    Acrylic Flexible Supports Art Conservation Topics
    Question
    I have a very tiny (1/4") tear (slit) in an acrylic on canvas.  Is there a way to safely repair this?
  • Question asked 2016-12-24 12:25:56 ... Most recent comment 2016-12-24 17:21:00
    Egg Tempera Grounds / Priming Rigid Supports
    Question
    I have a few questions about SID (support induced discoloration) relative to traditional gesso and egg tempera.

    1.  The “Rigid Supports” article posted on this website, when discussing hardboard, says “SID will occur if the oily or resinous material migrates through the size or seal and and stains the ground or paint layers”.  My understanding is that oils and/or resins in or atop engineered wood-based panels are stable and cannot move or migrate – they are polymerized or cured and can’t go anywhere.  Yes, no?

    2.  My understanding is that SID is caused by materials in the wood itself (tannins, dirt, sap, starches), drawn up into the gesso by water based grounds and paints.  Yes, no?

    3.   Has there been testing to see if SID occurs in a traditional gesso ground and/or egg tempera?  I’ve done a couple of tests myself (painting a word on a panel using GAC 100, applying traditional gesso all over, seeing if the word later appeared) - very little to no SID appeared.   Could the very high solid content (percentage of chalk) in traditional gesso inhibit SID? 

    4.  The various products for blocking SID (Archiva-seal, GAC 100, PVA) are all polymer based and designed to sit under acrylic or oil grounds, not traditional gesso. I tried a crosshatch adhesion test of traditional gesso atop GAC 100 and adhesion was not great.  If SID is a concern with egg tempera, any ideas for how to block it?   I presume a layer of cloth applied with PVA to a engineered panel would do it, but is there a simpler option?

    Thanks!

    Koo Schadler
  • Question asked 2016-12-23 16:02:53 ... Most recent comment 2016-12-23 16:42:00
    Rigid Supports Oil Paint
    Question
    I just asked about painting oils on birch plywood, which I do directly, no primer. To see an example go to www.bowerart.com> galleries> painting and click on the thumbnail at the bottom left of a man in a blue sweater. That is an example. you can see the raw wood of the plywood. The painting is 2or 3 years old an looks like the day I painted it. Will it hold up for 500 years?
  • Question asked 2016-12-23 15:50:16 ... Most recent comment 2016-12-23 16:39:00
    Question
    Is it archival? I have painted on quarter inch birch plywood and like it a lot. i like the mid tone, surface, absorbency, durability, light weight, price and it has never shown a problem. I sometimes do not even seal it but paint right onto it, never a problem so far. Some opine that over time the oils will do this and that especially without priming, much like with canvas. Some say ue "marine" plywood only. Anybody?
  • Question asked 2016-12-21 21:28:35 ... Most recent comment 2016-12-22 13:11:00
    Drawing Materials Flexible Supports Industrial and Non-Traditional Products
    Question
    There are a lot of artist starting to use terraskin as a paper alternative particularly those doing metal point.  Their website explictly says that the stuff is designed to degrade under "the right environmental conditions" of heat, moisture and UV light.  For this reason it seems to me very risky to use.  Others argue that if kept indoors and protected from UV light it should be fine.  I don't think once an artist sells a piece of work that they have any control over how it is displayed.  Could you please weight in about the potential longevity and issues of these stone "papers" for fine art work?
  • Question asked 2016-12-21 13:06:33 ... Most recent comment 2016-12-21 14:31:00
    Oil Paint
    Question
    Are there good ways to prepare a layer of paint for overpainting that has become overly oily or slick?  Sanding with coarse sandpaper still leaves a surface that squeaks if I rub my finger across it.
  • Question asked 2016-12-18 02:22:48 ... Most recent comment 2016-12-18 11:22:00
    Oil Paint
    Question
    How can we best paint slowly to get a good structure in the painting? Meaning indirect painting such as subsequent corrections, revising the design, altering a colour,  glazing, scumbling (when you want the lower layer to be firm enough not to lift but you want to do it as soon as possible) or adding finishing details in fatter paint?

    Beyond starting with thin fast drying pigments or fast dry modified matte paints and observing critical pigment volume or fat. Beyond that, we mix different pigments with different drying times and change our minds. Which pigments are notorious for moving more as they dry? As a general guide for an average situation (knowing there are multiple variables including pigments and additions, weather and ground) how long is too short? eg skinned over paint that's still wet below shouldn't be painted over as it's still in it's active phase of weight gain and loss as it dries (is this typically 3-4 weeks for a thinnish, moderate drying time pigment in linseed oil with no driers or alkyds added?) How long should we wait before painting on top of a painting in progress? thank you
  • Question asked 2016-12-18 03:16:44 ... Most recent comment 2016-12-18 05:03:00
    Matting, Framing, and Glazing Rigid Supports Sizes and Adhesives
    Question
    Hello, I want to glaze (plexiglas) my paintings. What kind of rigid panel should I attach the canvas to that doesn't hold too much moisture beneath the finished painting? Hardboard is heavy and can warp. ACM can be expensive or tricky to glue canvas to. Does glueing the linen to the support using acrylic medium attract extra moisture?  Will framing behind glazing restrict the oxidisation of the paint? How much space is needed between the glazing and the painting and a rear board?
  • Question asked 2016-12-16 15:56:21 ... Most recent comment 2016-12-16 16:13:00
    Art Conservation Topics Egg Tempera Mural Painting Solvents and Thinners
    Question
    I'm trying to develop some glazing techniques to use on egg tempera paintings. I need to slow the drying time down. How should I go about this ?
  • Question asked 2016-12-14 23:46:43 ... Most recent comment 2016-12-15 00:03:00
    Question
    I mostly use GAC 700 and Specialty Polymers BH61 because I like their clarity when dry.  They both have very high solids content.  While they seem similar in many regards they are very different in their tackiness when dry.  GAC 700 is very tacky and BH61 is very hard.  I notice GAC 700 will be flexible soon after it is dry but BH61 will take weeks to become flexible.  After they are fully cured both can be bent completely over without breaking.  I wonder if the "gumminess" of GAC 700 occurs because it is made to be flexible sooner and if this occurs by an additive that creates the stickiness of the final film and what that additive might be?   I have tried propylene glycol but I don't think that is it.   Also I notice that BH61 will sometimes form fine cracks (not fissures) in certain drying conditions and I wonder if this is related to the tackiness?
  • Question asked 2016-12-14 18:30:40 ... Most recent comment 2016-12-14 18:34:00
    Rigid Supports
    Question
    I don't know if this is proper on this site to ask for the names of companies that offer already sized and primed canvas or linen mounted onto rigid supports that are archival and do not contain zinc white? I don't like to spend my time preparing supports. I know they will be more expensive when already prepped but it does save a lot of time even though I may still add another coat of oil ground or acrylic ground on top.  Thank you.
  • Question asked 2016-12-14 11:19:45 ... Most recent comment 2016-12-14 18:16:00
    Oil Paint Pigments
    Question
    Some paints are fast drying but have a high oil content to pigment ratio out of the tube.  Is it safe to use these in an underpainting?
  • Question asked 2016-12-13 19:44:14 ... Most recent comment 2016-12-13 21:14:00
    Flexible Supports Grounds / Priming
    Question
    I'd like to try painting on polyester canvas. Unfortunately, it's difficult to find artist polyester canvas where I live; equally difficult is getting untreated, "loomstate" polyester fabric. Easy to find, though, is polyester canvas for inkjet printing, and plain polyester canvas from the fabric store. My question is, are either of those an acceptable substitute, and safe to prime with acrylic gesso? I'm concerned that washing the canvas wouldn't properly remove the coatings it would have, causing adhesion problems for the gesso. Perhaps it would be be wiser to stick with cotton and polycotton canvases, made for artists, until a source for artist polyester canvas becomes available? Thank you.
  • Question asked 2016-12-12 06:24:22 ... Most recent comment 2016-12-12 11:55:00
    Handling and Transportation Oil Paint
    Question
    What is the best way to clean a dusty oil painting? Can I use a tack cloth? Should I pour water and wipe it off?
  • Question asked 2016-12-11 23:49:07 ... Most recent comment 2016-12-12 03:08:00
    Alkyd Drying Oils
    Question
    Do different paints with different oil binders, bond as strongly together as paints with the same oil binder? And does this apply to alkyd/oil bonds, considering alkyds are often derived from oils other than what is used as a binder in oil paint?
  • Question asked 2016-12-11 23:16:22 ... Most recent comment 2016-12-12 03:07:00
    Oil Paint
    Question
    How important is using pigments of low oil content in the underpainting for adhesion of later layers? I've had problems with adhesion, even when there was sufficient tooth in the underpainting, the overpainting can be peeled or scratched off easily to reveal the first layer.  I realized after that the Titanium White I used in the underpainting was especially oily, and the overpainting white I used was not.
  • Question asked 2016-12-11 22:56:34 ... Most recent comment 2016-12-12 03:06:00
    Oil Paint
    Question
    Is oiling out necessary for good adhesion between paint layers? If the layer is sunken in or matte, does it need to be oiled out? 
  • Question asked 2016-12-11 23:05:28 ... Most recent comment 2016-12-12 03:06:00
    Alkyd Oil Paint
    Question
    Is it safe to overpaint an alkyd/linseed paint with linseed paint?  These Gamblin Faste-Matte paints have a calcium carbonate additive to help with adhesion, but I am worried about varying degrees of flexibility between paint layers, especially because I use a lot of linseed Titanium White in the overpainting.  If not, is there a white you would recommend for underpainting?
  • Question asked 2016-12-10 19:33:02 ... Most recent comment 2016-12-10 19:42:00
    Grounds / Priming
    Question
    I have been instructed to use Shellac on Marine Plywood for a panel to paint on. The Shellac is obviously to seal the wood, but how do I get the ground to be white? Do I gesso the wood first?. Do I apply Gesso on the Shellac? do I mixe the Gesso WITH the Shellac? Once it is Gessoed, do I also need to put some kind of an Oil Paint Ground on it? I don't really like to do the prep work, I prefer someone else do the material preparation and I can just paint. I can't seem to get what I need pre-prepared however so my next wish would have been an all-in-one spray to make short-shrift of the work, but that doesn't appear to be available either.   POST SCRIPT: I actually asked this elsewhere and the artist who made the suggestion to me answered, knowing the effect I was after and said that I don't need any white or gesso at all to get the affect that I want.  The Shellac is intended as a sealer on the wood that is not too slippery or absorbent to paint on and to  allow the wet , streaky brush marks I am looking for, with the apricot wood color coming through.    However, what if I DO want the ground to be white?  Do I tint the shellac itself with lead white oil paint, Gamblin oil Ground, or Titanium White Oil?
  • Question asked 2016-12-09 09:16:08 ... Most recent comment 2016-12-09 10:34:00
    Oil Paint Paint Mediums Varnishes
    Question
    When using Oleogel as a medium, does the wax in Oleogel pose an issue to safely cleaning the painting in the future? Or create issues with the longevity of the painting by making it more susceptible to heat or other issues?
  • Question asked 2016-12-07 20:08:20 ... Most recent comment 2016-12-08 01:39:00
    Flexible Supports Storage Industrial and Non-Traditional Products Other
    Question
    Along the question about 'Terraskin', I want to know more about 'Tyvek'-- I have seen it used in a few installations recently, in sculptural applications. Other than the convenience and weight factor (compared to an actual heavy sculpture), what are your thoughts about its use? Best practice?

    And can this be adhered to canvas for dimensional effects? If yes, what did you use to adhere and how would you protect it for the future?
  • Question asked 2016-12-02 15:48:08 ... Most recent comment 2016-12-07 11:03:00
    Flexible Supports
    Question
    I have several used linen canvases which, rather than throwing away, I would like to reuse. Is this possible? Thanks in advance
  • Question asked 2016-12-04 14:37:35 ... Most recent comment 2016-12-07 11:03:00
    Oil Paint
    Question
    I am painting with Old Holland oil paints using a small amount of linseed as a medium, on linen canvas. My painting sometimes take several weeks to reach the first stage in completion. After that period I sometimes need to make small changes. At what point after the initial painting has been completed is it too risky to continue adding more changes? For example if I  'finished' a painting, could I then return to it six months after to make a change either a glaze or further painting?
  • Question asked 2016-12-04 15:32:55 ... Most recent comment 2016-12-07 11:03:00
    Grounds / Priming Oil Paint Rigid Supports
    Question
    I have some hairline cracks in my true gesso ground, im wondering if these will continue to get bigger and perhaps crack subsequent layers of oil paint. 
  • Question asked 2016-12-05 12:30:39 ... Most recent comment 2016-12-07 11:03:00
    Other Studio Tools and Tips Art Conservation Topics
    Question
    What´s the best way for a signature at the back of the canvas that wouldn´t eventually penetrate through the ground and paint layers and thus affect the face of the painting - become visible? (Size of the signature; how to dillute paint - oil (if at all) or acrylics that the color would flow freely in order to paint a signature on the unprimed/raw side of the canvas? Use of other dry mediums like chalk, graphit, pastel?) Thank you!
  • Question asked 2016-12-05 15:49:00 ... Most recent comment 2016-12-07 11:03:00
    Pastel Health and Safety
    Question
    Are there any health hazards when blending pastels with bare hands?
  • Question asked 2016-12-06 09:52:42 ... Most recent comment 2016-12-07 11:03:00
    Pigments Paint Making Paint Additives Paint Mediums Other
    Question
    Every now and then, I have to make conductive paint with my students. Up until now, I do it with graphite and acrylic binder, which sort of works. Sort of, because the acrylic is an insulator. So basically what I am doing now, is to underbind the paint, so it still conducts current.
    I know there are conductive binders though. Ulysses Jackson from Golden suggested polytiophene as a conductive binder, but I cannot find it anywhere. Does anyone know if there is another conductive binder that could work?
  • Question asked 2016-12-07 10:11:57 ... Most recent comment 2016-12-07 10:57:00
    Animal Glue Art Conservation Topics Drying Oils Flexible Supports Gilding Grounds / Priming Oil Paint Paint Making Pigments Rigid Supports Sizes and Adhesives Technical Art History
    Question
    I am searching for information on the use of red bole in oil painting. My understanding is that it is a clay [primarily used in building at this point] that can be diluted to cream consistency, mixed equally with warmed RSG, and applied over traditional gesso for toning a surface. Setting aside the structural debates of stretched linen/canvas surfaces, how can one use this over such a surface. Are there any pigments that approximate this clay, or is there an oil ground approach that provides a comparable alternative? Thank you for any time or considerations.
  • Question asked 2016-12-05 18:01:07 ... Most recent comment 2016-12-05 18:42:00
    Casein Flexible Supports
    Question
    In the resources here, in the Grounds and Primers PDF, it states that casein should only be used on rigid supports because it is brittle.
    However, at the site http://www.richesonart.com/products/paints/richesoncasein/richcaseinfaq.html, it states
    "Can Casein be used on stretched canvas?
    Yes, but you must remember to paint very thin because Casein can crack if it's applied too thickly. If you would like to paint thickly and would still like to paint on canvas, mount the canvas or linen on masonite, and prime the canvas with PVA, glue or acrylic gesso. Then go to town and paint as thick or thin as you please! "
    So my question is, is it true that casein can be used on stretched canvas if it is painted thinly?
    I can't see why a thin layer of casein would be any less brittle than a thick layer.
  • Question asked 2016-11-30 23:18:54 ... Most recent comment 2016-11-30 23:36:00
    Drying Oils Oil Paint Pencil Pigments
    Question
    I see warnings of the possibility of graphite migrating to the surface of an oil painting over and over again.

    I have been using graphite for over 40 years without seeing any migration, and considering that graphite is used as a pigment in oil, I'm inclined to think that graphite migration is a myth.
    Is there any evidence that graphite can or does migrate through oil paint?
    Note, I'm not talking about a drawing becoming visible because the paint over it has become more transparent over time.

    Thanks.
  • Question asked 2016-11-30 16:15:33 ... Most recent comment 2016-11-30 16:47:00
    Pigments Technical Art History
    Question
    What colors did Titian use
  • Question asked 2016-11-30 05:51:35 ... Most recent comment 2016-11-30 09:12:00
    Industrial and Non-Traditional Products
    Question
    I recently watched a video, on New York Academy of Art Facebook Page. Vicent Desiderio is using flashing cement in his work. I guess the reasoning being it is made to withstand harsh weather conditions, heat and cold. This must have some pit falls, even though he produces remarkably evocative beautiful work. Can this be considered a safe material to work with? Thanks, Steven Lewis
  • Question asked 2016-11-29 15:44:53 ... Most recent comment 2016-11-29 15:58:00
    Industrial and Non-Traditional Products Other
    Question
    I am looking for a hard black wax as a surface covering on cement sculpture. Hard enough to reject fingerprints. Any suggestions would be greatly appreciated.
  • Question asked 2016-11-29 14:10:40 ... Most recent comment 2016-11-29 14:17:00
    Chalk Oil Paint Other Paint Additives Paint Mediums
    Question
    What are your thoughts regarding mixing Chalk, calcite, barite, kaolin (clay), talc, silica (quartz) and bentonite directly into the paint or into the medium while painting. I love some of the effects that are possible when you add chalk or barite into your paint on the palette, but I'm worried about permanence. I don't use any mediums except for linseed oil and or stand oil.
  • Question asked 2016-11-29 07:35:26 ... Most recent comment 2016-11-29 09:25:00
    Mural Painting Rigid Supports
    Question
    It seems that traditional marouflage adhesives were made of mixtures of animal glue and starch paste. Such adhesives are generally strong and can last for decades, but are quite reversible by mechanical means. Are there any modern products that could be equally strong and reversible for adhering painted canvas to walls or ceilings? Perhaps commercial wallpaper pastes with the addition of animal glue? Are there any tried and true adhesive recipes for this? It seems they are hard to find.
  • Question asked 2016-11-28 18:39:45 ... Most recent comment 2016-11-28 20:23:00
    Acrylic
    Question
    I have recently been creating some abstracts using acrylics. In order to create cells I have watered down the paint considerably, ( it seems to be about density) Now that I have weakened the bond I was wondering if I use the pouring medium from Liquitex on top of the finished canvas or board, would that seal the painting underneath or should I use varnish or resin? Thank you!
  • Question asked 2016-11-28 16:18:20 ... Most recent comment 2016-11-28 16:23:00
    Drying Oils Environment Oil Paint Paint Mediums Solvents and Thinners
    Question
    Has any one of you experience with Lavender spike oil or Zest-it products to replace gamsol in the beginning of the painting process? I would like to work with more environment and health friendly products. Normally I use gamsol for the transparant wash and mix gamsol and lineseed for Amber underpainting. Lineseedoil in my first layer of full paint and stand oil in second layer. Than when finished a varnish. So if I start with a spike oil (which maybe does not give a stable paint layer) from the beginning in the first 2 steps, I need varnish in my second paint layer which Is not preferable. So how do I get a wash and underpainting transparant but still working or adapting all the fat over lean steps?
  • Question asked 2016-11-25 19:04:02 ... Most recent comment 2016-11-25 22:13:00
    Question
    Is Gamblin Rich Gold oil paint okay to use in outer layers in my paintings? I paint indirectly and will use it for small areas such as on a bird’s feathers or parts of leaves, etc. I don’t know anything about these metal paints and hoping they’re durable paints. I bought it on a whim. In case this is relevant, I only use a little linseed oil as my medium. Thank you for starting this site for artists!
  • Question asked 2016-11-23 01:39:58 ... Most recent comment 2016-11-23 09:09:00
    Question
    I have an encaustic work on a stretched headed canvas  that is delaminating. It is melted crayon. Can it be warmed to readhere it?.
  • Question asked 2016-11-23 09:03:55 ... Most recent comment 2016-11-23 09:04:00
    Art Conservation Topics Encaustic
    Question
  • Question asked 2016-11-22 06:01:00 ... Most recent comment 2016-11-22 07:14:00
    Rigid Supports Sizes and Adhesives
    Question
    What is the difference between BEVA 371, Beva gel and BEVA 371 film? The film is really quite expensive so I would rather buy a gallon and just paint it on, as long as that will have the same effect of reducing bubbles.
  • Question asked 2016-11-21 13:34:07 ... Most recent comment 2016-11-21 13:35:00
    Pastel
    Question
    20 year old pastel sticks Question: I have a fantastic collection of fine pastel sticks. From Schminke to Rembrant, to Windsor Newton, etc. Perhaps 1000. I had to stop using pastel due to living in very hot climates year round and limited interior work space/health. I am now ready to take pastel painting up again, and find that many sticks are pretty chalky and or dry. Is there any safe way to revive them? Thank you very much.
  • Question asked 2016-11-21 13:25:52 ... Most recent comment 2016-11-21 13:34:00
    Pastel
    Question
    I have a fantastic collection of fine pastel sticks.  From Schminke to Rembrant, to Windsor Newton, etc.  Perhaps 1000.  I had to stop using pastel due to living in very hot climates year round and limited interior work space/health.  I am not ready to take pastel painting up again, and find that many sticks are pretty chalky and or dry.  Is there any safe way to revive them?  Thank you very much.
  • Question asked 2016-11-21 13:27:08 ... Most recent comment 2016-11-21 13:34:00
    Pastel
    Question
    Title: 20 year old pastel sticks

    Question: I have a fantastic collection of fine pastel sticks. From Schminke to Rembrant, to Windsor Newton, etc. Perhaps 1000. I had to stop using pastel due to living in very hot climates year round and limited interior work space/health. I am not ready to take pastel painting up again, and find that many sticks are pretty chalky and or dry. Is there any safe way to revive them? Thank you very much.
  • Question asked 2016-11-21 09:32:51 ... Most recent comment 2016-11-21 09:42:00
    Grounds / Priming Drying Oils
    Question
    I was at. A product information session during which the paint company representative recommended applying linseed oil to the ground, wiping off all the excess until the surface appeared dry, allowing the surface to dry 24 hours as a solution/to avoid sinking in. Is this good practice?
  • Question asked 2016-11-20 17:09:09 ... Most recent comment 2016-11-20 17:39:00
    Studio Tools and Tips
    Question
    I'm now painting in a basement studio and the light is terrible. I bought white 5500Kelvin bulbs but to my dismay they look bluish... which are your favourite brands of white light bulbs? It can be any type of light bulb, as I can fit both halogen and fluorescent. Thanks.
  • Question asked 2016-11-19 23:55:34 ... Most recent comment 2016-11-20 00:02:00
    Art Conservation Topics Other Rigid Supports
    Question
    When adhering a painting on linen to an ACM/Dibond panel using BEVA (Solution or film) using a domestic iron, is it possible to sufficiently/successfully activate the BEVA by applying the heat to the back of the aluminium panel rather than the front of the linen/painting - in other words with the linen/painting side face-down rather than up? I ask because I've only ever applied the heat to the side of the Panel with the linen, but the reverse is always warm afterwards.
  • Question asked 2016-11-18 20:24:23 ... Most recent comment 2016-11-18 21:55:00
    Varnishes
    Question
    Hi everyone, which is the glossiest varnish or finishing technique that you know of? I'd like my paintings to keep that 'wet look' but damar is still not glossy enough... ideally a varnish that won't discolour over the years. I don't mind even burnishing it if you feel that can improve gloss? Thanks.
  • Question asked 2016-11-18 10:26:24 ... Most recent comment 2016-11-18 10:36:00
    Pigments
    Question
    What are your thoughts on PW12.77990?  I saw this on Kremer's online shop.
  • Question asked 2016-11-11 12:41:52 ... Most recent comment 2016-11-17 10:28:00
    Question
    Please do not approve this question, I am using it to test a new feature.
  • Question asked 2016-08-21 10:53:21 ... Most recent comment 2016-11-16 18:37:00
    Rigid Supports
    Question
    I am interested in learning more about appropriate ways to prepare an ACM panel
  • Question asked 2016-11-16 10:59:03 ... Most recent comment 2016-11-16 12:03:00
    Acrylic Oil Paint
    Question
    I recently over painted a work that I decided needed it.  The acrylic work had an area with R & F oil stick on it.  I thought the gel medium would allow this to be fine but need to ask.The R & F was rough.
  • Question asked 2016-11-16 00:07:22 ... Most recent comment 2016-11-16 06:18:00
    Acrylic Alkyd Flexible Supports Handling and Transportation Oil Paint Paint Mediums Storage
    Question
    I have been asked to paint a backdrop for a photographer, on a large canvas (5' x 8') with the following criteria:
    - the canvas will be rolled up so it must be flexible and not crack over time.
    - the end result must be matte, not shiny.

    I'm used to painting in oil, with a strong preference for oil, but I'm thinking acrylics would be the better choice. I"m thinking acrylic paint on canvas as acrylic can be flexible and inexpensive over a large area of canvas. There would be just two colours and those pigments are very inexpensive, but can be extended with a matte medium.

    Alkyd is also flexible, am I correct; and mediums could be added to oil paint, with a little bit of wax medium to matte it out, but I'm concerned with the flexibility of the surface if I use wax medium in any capacity.

    We don't expect this to last forever, but the photographer should be able to get the most of this for a long time. So I think we'd be happy if this piece can last for at least 5 years.

    What would be recommended?
  • Question asked 2016-11-15 11:11:44 ... Most recent comment 2016-11-15 13:39:00
    Art Conservation Topics Mural Painting Oil Paint Scientific Analysis Solvents and Thinners Technical Art History Varnishes
    Question
    I was encouraged to reformulate my FB question below here by Kristin DeGhetaldi. Feel free to moderate my message to be more on point and specific. Anyway, I wondered about the practice within the restorers/conservators community worldwide  on the removal of varnish or cleaning of historical paintings? Is there a consensus to tread really carefully when handling such a task? A standard procedure in place for assessing risks of overcleaning? One would assume that to be the case but the horror stories of overcleaned/altered works of art in the (sometimes relatively recent) past are plentiful, no? Is there consensus and acceptance across the field that irreversible errors were made in the past and a determination to avoid those in the future?
  • Question asked 2016-11-13 13:35:24 ... Most recent comment 2016-11-13 15:39:00
    Acrylic Varnishes
    Question
    Would Golden GAC 400 be OK to use as a final varnish on acrylic paintings? It foams less than Golden Polymer Varnish on a fairly rough surfaced acrylic painting. I see on the Golden site they recommend GAC 100 as an isolation coat before final varnish on acrylic paintings.
  • Question asked 2016-11-13 09:01:02 ... Most recent comment 2016-11-13 09:38:00
    Art Conservation Topics Sizes and Adhesives Solvents and Thinners
    Question
    Is the solvent Napthol, 'cut' 50:50 with BEVA 371b solution to adhere linen to Aluminum Composite Material, harmful to the un-sized & un-primed side of the linen (on the reverse side of the properly-prepared canvas being attached to the ACM) onto which it is applied?
  • Question asked 2016-11-13 09:05:48 ... Most recent comment 2016-11-13 09:11:00
    Rigid Supports
    Question
    What materials & procedure constitute 'best-practice' when cradling large pieces of Aluminum Composite Material (Dibond etc)  to prevent warping? What materials should be used for the cradle itself, and for adhering the cradle to the ACM panel?
  • Question asked 2016-11-11 09:59:36 ... Most recent comment 2016-11-12 22:20:00
    Art Conservation Topics Varnishes Rigid Supports
    Question
    Please give your suggestion on how to safely remove damar varnish, light touch up,  transfer canvas to aluminum support. Oil painting, 50 x 40", 30 years old
  • Question asked 2016-11-12 21:58:07 ... Most recent comment 2016-11-12 22:06:00
    Health and Safety Pigments
    Question
    I have heard that Italy and some other EU countries are considering outlawing pure cadmium colors as too many artists are washing their brushes filled with the paint into the water system.  For this reason I have learned to clean my brushes using no water.  Have you heard this and if so would you comment.  If not would you recommend a safe way to clean brushes that is good for the environment?  Thank you.
  • Question asked 2016-11-12 18:43:55 ... Most recent comment 2016-11-12 18:48:00
    Flexible Supports Rigid Supports
    Question
    Hello. I am aware of the consensus that (oil) painting on a rigid rather than flexible support is best-practice, but I still feel confused & unsure what to choose to paint on when I want to make large paintings; say 50" x 60" or larger - Aluminum composite is both hard to come-by where I live, and at 3mm thickness, is liable to bend at the sizes I'm talking about, unless cradled... but then I have been told that cradling often creates its own problems. These same issues go for wood panels too, with the added problem of increased weight & natural warp. So, back to the question: What should painters be working-on when they want to paint on a larger scale? Thank you.
  • Question asked 2016-11-12 17:11:58 ... Most recent comment 2016-11-12 17:16:00
    Drying Oils Oil Paint Pigments
    Question
    Is zinc sulfide embrittlement comparable to that of zinc oxide? As a pigment does it pose the same risks in a paint film?
  • Question asked 2016-11-11 14:35:12 ... Most recent comment 2016-11-12 12:23:00
    Drying Oils Varnishes Oil Paint
    Question
    I would like to make some changes to an oil painting which I thought I had finished. It is touch dry. I used Old Holland oils with a small amount of linseed oil as a medium. Should I use retouch varnish on the area I wish to rework? I have been told that I can put a layer of linseed on as an alternative to retouch varnish.. Advice much needed thank you Fiona McClean
  • Question asked 2016-11-12 05:28:41 ... Most recent comment 2016-11-12 11:49:00
    Pastel Matting, Framing, and Glazing
    Question
    I would be grateful to see any information your group might have or know of, historical or current, concerning the long standing practice by some artists of framing pastel works in direct contact with the glass -  specifically concerning mold / fungus growth. 
    <p>
    Of greatest interested would be any documented instances of mold / fungus growth that were known or  suspected to have been directly caused by this practice. Also wondering if there have ever been any studies or laboratory testing done to determine the propensity for mold / fungus growth of  pastel works in general and particularly those done on any of the current day sanded papers.
    <p>
    Please note that I am not looking for information concerning the alteration or disturbance of the pastel work by the direct contact with the glass as I have been able to test this extensively myself.
  • Question asked 2016-11-10 19:00:28 ... Most recent comment 2016-11-10 21:39:00
    Encaustic Varnishes
    Question
    What archivally sound permanent or removable protective finishes if any have been used/recommended for encaustic works that provide a more durable finish on top of the wax surface to help protect it from pollutants and contact damage? Under the recommendation of Golden products I have been using their removable acrylic varnish for about a year now with excellent results but would like to look at other options.
  • Question asked 2016-11-10 18:05:59 ... Most recent comment 2016-11-10 19:10:00
    Art Conservation Topics
    Question
    I inherited an oil portrait which is starting to show some damage, cracking especially in the very dark areas of the hair where the paint is thick. There are some tiny missing chips of paint as well. What can I do to prevent further damage and protect this paint as much as possible? Thank you, Mona
  • Question asked 2016-11-10 09:43:46 ... Most recent comment 2016-11-10 11:59:00
    Art Conservation Topics Flexible Supports Sizes and Adhesives
    Question
    ristin DeGhetaldi, I am researching sizing of canvas for stretched supports. I have tried both Gamblin PVA and GAC100 for preventing the leaching of oil to the canvas, to prevent rotting. I prefer using the Gamblin PVA, because it seems to soak into the canvas better, and therefore is easier to use (also, it is less cost prohibitive). However, I am still concerned about too much flexibility with either of these PVA sizings when used with acrylic gesso and stretched canvas. The fully cured oil paint will be more rigid than its substrate, which could lead to cracking, long term. To do it better, and get more compatible flexibility, I am thinking that adding GAC 400 might be a good option. This would make the substrate stiffer and of similar rigidity to the fully cured oil paint. Am I right here?

    If so, what would be the best order of operation? I am guessing a layer of Gamblin PVA on the front then back, before stretching, then a layer of GAC 400 on the front, after stretching. Then I would wait a day before gessoing twice with high quality acrylic Gesso, like Golden. Then, I would wait 3 or 4 days before painting. I would appreciate your opinion. Thanks!
  • Question asked 2016-11-06 17:27:55 ... Most recent comment 2016-11-07 01:28:00
    Egg Tempera Health and Safety Pigments
    Question
    I've recently acquired some dioptase pigment which was recommended by a friend. It seems to be very transparent and is a beautiful colour, so very useful as a glaze. I'd love to know any information on colour lightfastness and stability. I'm using it in egg tempera. I believe it's pretty toxic. Thanks.
  • Question asked 2016-11-06 22:06:23 ... Most recent comment 2016-11-07 01:28:00
    Pigments Technical Art History
    Question
    In another forum, this pigment was mentioned as a suitable pigment to use instead of verdigris.  Can you please tell me more about this pigment, the historical period it was used in and its stability and light fastness in egg tempera or oil painting binders?
  • Question asked 2016-11-06 04:20:42 ... Most recent comment 2016-11-06 05:27:00
    Question
    How do I see all posts on a subject.  Just want to read, no specific question yet.
  • Question asked 2016-11-05 13:08:33 ... Most recent comment 2016-11-05 21:24:00
    Egg Tempera Paint Mediums
    Question
    I'd be very grateful for some advice about egg tempera combined with oil glazes.
    I've read Koo Schadler's article on her website but I'm still wondering:
    1. Is it absolutely necessary to isolate the egg tempera with shellac?
    2. How long would you need to leave the ET to dry?
    3. What would be the best medium to use in the oil glazes? I bought some Rublev oil paint but I can't find any oleogel here in the uk.
    (I'm an experienced egg tempera painter).
  • Question asked 2016-11-04 11:15:37 ... Most recent comment 2016-11-04 11:24:00
    Storage Studio Tools and Tips Varnishes
    Question
    Oftentimes when my paintings are drying, they collect dust, hairs and schmutz that I need to remove before varnishing. If the paint layer is cured sufficiently, I use a foam brush and lightly brush over the painting to remove it. I wonder if a tack cloth can be used, or will that leave residue on the paint surface?

    What is the recommended way of removing inevitable dust from an oil painting?
  • Question asked 2016-11-03 10:33:55 ... Most recent comment 2016-11-03 13:03:00
    Egg Tempera Pigments
    Question
    I have recently found a good source of more or less affordable azurite.  The pigment is beautiful, easy to work with in egg tempera.  Its shade is also easily controllable by grinding more (it gets paler as you grind it).  However, one issue that I found bothers me a bit.  When I finish the work, it is a beautiful tone of blue with a hint of green in it.  However, after a few months, it gradually turns more and more green.  Not entirely objectionable, and in fact the color harmonizes better overtime.  But is there a way to stop it from greening?  I read somewhere that many egg tempera works and frescoes were done in azurite but it didn't green.
  • Question asked 2016-11-03 11:02:36 ... Most recent comment 2016-11-03 13:03:00
    Dyes Gilding Varnishes
    Question
    In some Russian icons of the 18-19 cc, there was a method of "gilding" without gold leaf.  Metal leaf (often silver leaf) was used, but then coated with a yellow-tinted varnish.   It didn't look like gold but had its own distinct charm and softness.
    Recently, I tried to replicate this technique by using aluminum leaf; however, I cannot find a suitable colorant for the varnish.  Kremer Pigments suggested something (organic pigments) but these turned out to be not soluble in a solvent-based varnish.  Even though the pigments were transparent, the varnish turned cloudy, just like you'd add a mineral pigment such as yellow ocher into any liquid. 
    Is there a type of dye that one can be completely dissolved in mineral spirits (i.e., solvent-based polyurethane varnish)?
  • Question asked 2016-11-03 07:46:23 ... Most recent comment 2016-11-03 07:56:00
    Ink Other Varnishes
    Question
    I have been asked to create an art work that will be between layers of shellac, on a guitar.  The client says the last time this was done, the artist used sharpies.  I'm concerned about how that will look years from now.  It needs to be very flat, so pigment pens might be the only way.
  • Question asked 2016-11-02 14:05:28 ... Most recent comment 2016-11-02 15:26:00
    Art Conservation Topics Environment
    Question
    Asking for a friend: She had some colored lithographs stored in a flat file that had some water damage. After laying out to dry, there's been some small mold growth on the edges/border. Is there a way that I can treat the area to prevent/minimize further growth or should I store them differently? Or take them to a professional?

    - Craig Lee
  • Question asked 2016-11-02 12:53:35 ... Most recent comment 2016-11-02 13:35:00
    Acrylic Drying Oils
    Question
    Can matte acrylics can be used (ie thinned with matte medium) under an oil paint film, ie as an underpainting/ebauche layer?
  • Question asked 2016-11-01 15:34:30 ... Most recent comment 2016-11-01 20:45:00
    Question
    Under what heading would oil paint questions be under?
    Steven Lewis
  • Question asked 2016-10-29 05:26:54 ... Most recent comment 2016-11-01 14:45:00
    Varnishes
    Question
    How do I remove Damar varnish, oil panting on linen, 28 years ild
  • Question asked 2016-10-31 06:10:06 ... Most recent comment 2016-10-31 09:10:00
    Flexible Supports Gilding Other Sizes and Adhesives
    Question
    I am about to start oil painting on canvas with gilded areas (gold leaves) and would be thankful for any advice when it comes to this, especially when it comes to the longevity of the gilded areas. I had previous experience in gilding hard surfaces (traditional Byzantine orthodox icons), but never worked with gold on canvas.
    To be more precise, let's start with size/mixtion. I am using Lefranc & Bourgeois Charbonnel Mixtion (3 hours). Any thoughts on the quality of that size? Will it become hard and brittle over time and cause the gold to crack due to the canvas' flexibility? I've got advice to apply one layer of size, let it dry out and then apply second layer of it before I put on the gold leaves - is this smart thing to do? Supposedly, this should somehow increase the flexibility of the surface...
    Additionally, I know gold is chemically mostly inert material, but are there any known problems related to the chemical reactions between the gold and oil paints? Should I additionally protect the gilded surface, or the varnish that I'm using is enough (Lefranc matt picture varnish for oils/acrylic)?
    Any tips&tricks related to best practices of gilding the canvas are most welcomed. Thanks!
  • Question asked 2016-10-29 08:45:07 ... Most recent comment 2016-10-29 08:57:00
    Acrylic Art Conservation Topics Varnishes
    Question
    I have heard many variations on this and was wondering if there was any sort of agreement on the varnishing of acrylic paintings.
  • Question asked 2016-10-29 07:59:25 ... Most recent comment 2016-10-29 08:09:00
    Art Conservation Topics Drawing Materials
    Question
    Can you please tell me how to remove small spots of rust left on a drawing that was held by metal bulldog clips?  I'd like to not have to trim the paper.  If left , what would be some adverse results? Thank you.
  • Question asked 2016-10-18 21:55:31 ... Most recent comment 2016-10-20 14:12:00
    Drying Oils Other Varnishes
    Question
    There are several areas on my painting that appear matte and uneven compared to the rest of the composition. I am not quite done painting so am unsure how to proceed...
  • Question asked 2016-10-18 11:03:07 ... Most recent comment 2016-10-18 11:04:00
    Health and Safety Pigments
    Question
    I have been hearing a lot about the toxicity of lead white paint.....but some of my colleagues swear by it. I am sort of torn at the moment...

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  • This is a Moderator Answer - Click Here to view the full thread.

    That should be appropriate.

  • This is a Moderator Answer - Click Here to view the full thread.

    Hi Koo

    Neither oil paint nor egg tempera are overly sensitive to hydrolysis in normal conditions (no contact with acids/bases, etc) Lean tempera would likely make a fine metalpoint ground although it does seem, at least initially, to be less hard than one bound in animal glue. On the other hand, it is far less responsive to changes in relative humidity than animal glue. Let us know about any tests that you perform.

  • This is a Moderator Answer - Click Here to view the full thread.

    Lora and Koo

    So sorry to see that this question slipped past us. I probably would have forwarded it to Koo anyway so it is great that she caught our dropped ball.

    I think that you are In safe enough territory if you do not see any pigment on the material/fabric you are using to hand polish, but wow, I do worry about introducing spinning polishers used for enamel paints/automotive finishes. In addition to the risk for over abrasion there is also real potential for damage from the heat created by the rather extreme friction.

    Despite adding another material to the paint I would be more comfortable with varnishing the work rather than resorting to power tools. If you do decide to follow your plans. please tell us the results

  • This is a Moderator Answer - Click Here to view the full thread.

    Sarah Sands covers the problematic nature of the traditional way in which we measured oil absorption (or even binder requirements). Since it used weight to volume and not volume to volume, some colors appeared far “leaner” in comparison with other colors than they actually were. See her article on the subject here:

    https://www.justpaint.org/volume-weight-and-pigment-to-oil-ratios/

     

    It does not cover what aspects of the pigment influence the proportion of binder required to make an adequate paint. I did find this online article that appears to cover the subject well. In essence, it is the size, shape, and density of the pigment.

    https://www.european-coatings.com/Editorial-archive/Oil-absorption

  • This is a Moderator Answer - Click Here to view the full thread.

    If it were me, and I could afford it, I would buy a light and durable painting box like those sold by Masterpak or even construct one myself. If the painting is protected on all sides, including some foam behind the canvas to prevent undue movement when the box is inevitably thrown around by the baggage crew. I have sent and received paintings through Fed-Ex in boxes like these and nothing has been damaged (as of yet.) There are no guarantees which is why museums and serious collectors use art shipping companies

    If you have to roll your painting, make sure that you cover the painted side with some material that will not adhere to the painting and then roll the whole on a tube PAINT SIDE OUT. The tube should be the largest diameter that you can physically bring on board and stow. This should then be inserted into another larger tube or covered with something that would absorb any impact without transferring the force to the artwork.

  • This is a Moderator Answer - Click Here to view the full thread.

    ​Some pigments are not as absorbent as others, and this affects how much vehicle is needed to make paint. So-called "lean" pigments form a workable paste with less vehicle- the original Dutch Boy white lead paste was 89% white lead, 9% linseed oil, 2% turpentine (reformulated later to 88% white lead, 10% linseed oil, 2% mineral spirits). Lean pigments usually tend to release or "shed" oil in storage- some brands of lead-based white, for instance, seem very oily if stabilizers are not used, even though the pigment load is relatively high. "Fat" colors, on the other hand, can look lackluster and dry if the pigment has taken up a lot of vehicle, even though they might contain relatively more oil than leaner colors. As to why there might be some difference with tempera vehicle, I imagine it is the water content of egg medium which helps wet the pigment with less binder compared to oil.

  • This is a Moderator Answer - Click Here to view the full thread.

    Sounds to me like that will serve nicely as a palette for oil painting, particularly for making paint (if a little short on the narrow dimension). ​If the slab is Composite Marble, an engineered stone material, it will be less absorbent than natural stone. Natural marble will take up some paint and medium, and become less "thirsty" through use. If it's too absorbent, rub in a small amount of linseed oil. You will find that the stone will take up a stain over time, which should serve nicely as a warm neutral background for color mixtures. 

    Marble slabs were universally used in print shops for mixing inks. Years ago, when I was in college, a professor found one abandoned in the alley behind his studio after a nearby basement had been cleared out. We students were all very jealous, and telling the tale now makes me feel a slight pang of envy.

  • This is a Moderator Answer - Click Here to view the full thread.

    ​I will leave your followup question for the conservation experts to answer, but I imagine that the fact that some ingredients are still undisclosed as proprietary secrets doesn't make it any easier.

  • This is a Moderator Answer - Click Here to view the full thread.

    ​Historical treatises on varnishes that I have read remark that amber and copals dissolved in ether and alcohol yield a more brittle coating than those made with linseed oil. While I don't know the chemistry, it's always been my impression that "running" or heat-polymerizing the resin improved the performance of the resulting varnishes, most of which* were intended as protective coatings for ships and carriages, where flexibility and resistance to fracture were essential. 


    *edit* I mean to say that most of the recipes I am familiar with are for coach varnishes and other utility coatings, because most of the historical books I have read where these materials are discussed in detail were intended for skilled tradesmen like house painters. Just for sake of specificity...

  • This is a Moderator Answer - Click Here to view the full thread.

    ​Brian, I just re-read the linked thread- excellent! I will bookmark it for future reference.

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    ​Traditional oil paint is applied over other water-soluble media including acrylics and egg-oil emulsion, so I wouldn't think there would be any special concern with water-miscible oils. As long as the WM oil layer seems dry to the touch, I would not worry about residual water content. Gradual release of water and glycols from an acrylic paint film is important because of the way acrylic paint dries- through coalescence of polymer microparticles. Oil paint "dries" through a completely different process involving oxidation. WM oils do, however, contain surfactants and stabilizers not used in traditional oils, and some of these have been observed to have migrated out of dry paint. This, I would think, might be a more significant concern when layering mediums.

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    I would not think that your ground would be too absorbent although I can’t say for sure. I have personally found alkyd-oil primers manufactured for use for fine art painting tend to be less absorbent and glossier than their straight oil counterparts, BUT, I have not tried them all. In theory, your priming system should be fine.

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    ​I didn't really answer your question about graphite in particular, so let me add some thoughts there.

    If the drawings have somewhat open markings, meaning no built-up solid areas of graphite, then a light fixative spray can help as the fixative can attach to the myriad flecks of paper in-between the graphite. A heavy passage of graphite is more difficult as graphite actually acts as a lubricant and can pose adhesion issues. Also you would need to do testing to see the visual impact of anything you use as invariably you run the risk of changes in value and surface sheen - not just to the graphite, but to the paper as well. The more delicate the drawing, the more those differences can stand out. In our experience, not all fixatives are created equal so would encourage you to try a selection if possible, sticking with ones geared towards the fine arts. I know when we tested fixatives for pastels we found that the ones that had the least impact on color shift were also the least effective at preventing smears if you ran your finger over it. So there was a bit of a trade-off there. But if you handled the piece with suitable care, it helped in preventing smears when stored with other papers. Obviously lightfastness of graphite is not an issue, but any work on paper ultimately should be displayed behind glazing of some sort - whether acrylic or glass - and for storage and shipping, then again the use of a good silicone release paper would be advised.

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    I would not suggest that procedure. If you are going to apply the imprimatura immediately after oiling out, there is no reason to not just simply add a bit of extra oil to your imprimatura before application. However, if you intend on oiling out and letting it oxidize/dry before applying the imprimatura, you are adding a gummy, fatty oil layer which will set beneath a more rigid and more pigment rich layer. This is a recipe for cracking and possible delamination.

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    Matthew, ​you are right about the dangers of cooking drying oils. That is discussed in a previous thread on this subject.

    https://www.artcons.udel.edu/mitra/forums/question?QID=534 

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    ​Thanks Sarah

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    I have encountered this phenomenon as well. Despite opinions to the contrary, there is a point where heavy dilution with a solvent will create a film that is too friable even though the paint layer would have been fine if applied neat. I would add a bit more linseed oil to the diluted paint to counteract this. Do not overdo it or you will have an imprimatura that is too fat for a preliminary layer.

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    ​This is one of those times when I get to put on my ASTM hat and answer from that perspective in terms of lightfastness. The Colored Pencil Society Of America (CPSA) worked with ASTM over the better part of a decade to establish a rigorous lightfastness testing standard, ASTM 6901, that subjected color pencils to the same conditions and total exposure levels of light and UV, in both outdoor and accelerated indoor tests, that artists paints have been tested under. This was originally done with the participation and support of a large number of manufacturers in the color pencil industry - Prismacolor®, Derwent®, Van Gogh®, Caran-Dache®, etc. This was truly a chance to put this medium on par with artist paints, which had long set the standard for lightfastness. While initially this work did lead to several companies adopting the standard, over time one after another has ceased to use it and currently most, if they actually do any lightfastness testing, will claim to use the Blue Wool Standard, which is certainly better than nothing but is no where near as rigorous or controlled as the ASTM tests. With Blue Wool, unless you know truly what the test set-up was, the nature of the light, and the strength and duration of the exposures, the results simply are too subjective and variable to be relied upon in my opinion. So that's the bad news. On a more positive note, Caran Dache's Luminance 6901 still holds to the standard and even prominently displays its conformance to ASTM 6901: 

    https://store.carandache.com/int/en/1526-luminance-6901

    There certainly are other factors (feel, color range, hardness, etc.) for choosing a color pencil line, so this is in no way saying that these are the only pencils to use, but in terms of lightfastness - and speaking as a member of the ASTM Subcommittee for Artist Materials - I generally recommend choosing those materials that conform to an ASTM Lightfastness Testing Standard. 

    That said, I do believe that Prismacolor at one point had a line that conformed to ASTM D6901, so depending on when you bought your pencils, you might have ones that were tested under those protocols. You might call Prismacolor and ask, or give the CPSA a call as the folks there are very helpful and knowledgeable about lightfastness and even continue to conduct their own tests.

    So that takes care of point one.

    As for protecting them, I feel they really need to be mounted under museum-grade UV protective glass or acrylic sheeting. Something similar to Tru Vue® Optium Museum Acrylic, which filters out 99% of UV, would be our recommendation. That particular glass actually performed incredibly well in testing we did looking at the protection of watercolors, including ones that were less than lightfast, such as Alizarin Crimson and even the very fugitive fluorescents. Color change was held to a minimum in most cases, and even with the fluorescents after 1200 hrs. in a QUV machine, the changes were at most just over 4 Delta E. You can see a graph of the results here:

    https://www.justpaint.org/wp-content/uploads/2016/12/JP34p11_2.jpg

    To get even close to that level of protection with a UV Varnish, we had to apply 4-6 sprayed coats, which really leaves you with something that looks laminated. As you will see, just placing it behind regular glass did very little, and just light applications of varnish were also not effective at protecting anything with less than ideal lightfastness. On top of all that, applying a fixative or varnish will - in my opinion - always entail risk that the look and nature of the artwork will be altered. Keep in mind, too, that colored pencils usually contain waxes and so might be sensitive to solvents, and even the color and appearance of the paper can be affected. Plus any direct application of a fixative or varnish would need to be considered permanent and nonremovable. So test, test ,test before using on anything of value. And if needing to store the pieces flat or rolled up, perhaps look at a good cover sheet, such as a silicone release paper, which can limit the danger of smudging and protect the piece from dust and dirt.

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    ​I was under the impression that the exact composition of "Amber Oil of Venice", the material associated with the Gentileschi studio as mentioned in the De Mayerne manuscript, was unknown and still the subject of speculation. As I understand it, Orazio and Artemisia Gentileschi were reported to have used this varnish in measures of a few drops added to flesh tones and white passages in the early stages, to induce fast initial drying and to render light colors insoluble and impermeable to staining from subsequent glazes. This type of performance is consistent with fossil and semi-fossil tree exudate varnishes, but can easily be obtained today with alkyd-based mediums.

    Also, in my opinion, no discussion of heat-polymerizing ("running") resins for varnish is complete without mentioning the serious danger associated with heating oils near the flash point. The average studio (or home) is not the place to be making this type of product.

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    I would add that glue made from genuine rabbit and hare tends to be slightly more opaque and have a stronger odor (not putrid but a noticeable smell) that the materials packaged as RSG but that are likely a bovine hide glue. The hide glue may be more refined because it is sourced from producers who also sell to the food industry (this is only a supposition).

    BTW, I am not trying to proclaim the superiority of glue made from rabbit skins. It is all collagen. Different sources and processes will create glues with greater or lesser bloom strength, and are more or less appropriate for certain purposes. Actually, there is no mention of the use of rabbit skin glue in painting manuals before the 19th century. Pig skin (from glove clippings) and parchment scraps were the norm in the early manuals.

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    Hi

    I will answer each part within the text of your questions and in red.

    Dear experts! I have several questions about traditional sandarac and copal drying oil-resin varnishes.

    These are two quite different materials. Sandarac resin is alcohol soluble where as hard copal resins are not soluble in any solvents. Both do require heat to be incorporated into oil. I even hesitate to use the word varnish in this context. Yes, they are varnishes in the sense that Spar and marine varnishes used on wood are varnishes, but it is really a bad idea to use essentially irreversible coatings, that will strongly yellow, as a varnish on fine art. This practice was done in the distant past as spirit varnishes do not appear to have been used in the Renaissance but it should be condemned today when much better products are available. The use of these materials in oil painting mediums is a different subject. One that has been mentioned here before.

    1. In various articles I encounter mentions of good preservation of such varnishes after hundreds of years, for example, in case of paintings by Carlo Crivelli or Orazio Gentileschi. Are those cases just coincidental exceptions or drying oil-hard resin varnishes age better than their cousins made with oil and colophony, larch balsam or mastic?

    The truth is probably the opposite of what it appears. There are examples of old oil varnishes on artwork because they are irreversible and not because they are better. In all of the known examples, the varnish was exceedingly thin where its yellowing was not as distorting, as would be the case if the coating was substantial. Before modern scientific methods of cleaning paintings and before the distillation of the wide range of organic solvents available today, the only way that “restorers” could remove a darkened oil coating was to use a strong base like lye or to sand the coating away. This may sound extreme and unlikely but I recently saw a presentation/poster on the evolution of instructions for cleaning paintings from the 17-19th centuries and these were the two most common recommendations before the 19th century. This is one of the prime reasons why so many Old Masters paintings have areas of abrasion or skinned surfaces.

    Oil and rosin is no better as it still yellow and be difficult to remove and it contains a very inferior resin that would likely degrade as or even quicker than the aforementioned. Larch and mastic are reversible but both yellow for earlier than the suggested synthetic available today. There are some who still swear by mastic and dammar due to their initial appearance. I disagree for the following reason: Every time a work needs to be cleaned, some component is inevitably leached away, even if this component is infinitesimal. Because of this it is our responsibility to make sure that we use the most stable and slow changing coatings as possible to stretch out the time between necessary cleanings.  

    2. Is it absolutely necessary to heat sandarac or copal resins in oil to make a good varnish? Or maybe I could use an intermediate solvent to avoid extensive thermal treatment?

    It is necessary to heat sandarac and hard copals to get them into an oil solution. Given the above, though, I am not sure that these varnishes are appropriate for your needs

    3. Could I use modern zirconium-calcium octoate drier additions instead of traditional lead linoleate? How much worse are such driers than lead-based ones in the long term?

    Are you attempting to speed up the drying of an oil varnish? If so, yes, although as implied above, I believe that these should not be used as coatings for artworks.

    4. How important is to use fresh Cypress or Juniper sap instead of dried and oxidised resin which is always sold in art supplies stores? In Da Vinci’s recipe, use of fresh sap in spring is recommended.

    Younger sap or resin is usually soluble in lower aromatic solvents than older resin (eg mastic is initially soluble in cold turpentine but requires heat after it has oxidized for a while). This has no bearing on oil-resin varnishes and I have made my position clear on those.

    5. Could I enhance ageing performance of such varnishes by adding Tinuvin 292 and 1130? Or maybe using other modern additives?

    No. These function in a far different manner and would very likely inhibit the proper drying of an oil-resin varnish.

    6. I’ve heard that new methods of old varnish removal gain popularity, such as laser ablation. Could I rely on such technologies for future conservation efforts of my paintings or I should care about varnish solubility and use Regalrez 1094 with Tinuvin 292 because they remain soluble despite their not so good appearance, scratch resistance and necessity to wait one year before varnishing?

    Please care about your choice of varnishes today. Lasers MAY be the panacea in the distant future, or they may not. Even if they do, there is no guarantee that those who inherit your works will have the access or funds to have your paintings cleaning in such a manner.

    I hope that was of some help.

    Thank you.

     

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    ​There are so many issues and tangents involved in your questions that I will have to wait until tomorrow when I have a chunk of free time.

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    I've never seen rabbit skin glue dry granules spoil in storage (clump, yes, but not spoil. When dry RSG is stored for a long time, however, it can become less soluble. When old glue is prepared, undissolved granules may settle out, resulting in a weaker sizing. ​Rabbit skin glue is pretty affordable, and in my opinion it's worth obtaining fresh stock. If you prepare a batch and it fails to gel on a cold spoon, or a significant amount remains undissolved, I think it's best to just get a new bag. 

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    ​Animal glue typically has an odor, but some manufacturers, in partucular manufacturers in the United States, add a deodorizing compound along with other additives to reduce or eliminate odor. If you have dried animal glue and it has an odor it may not be putrified. However, if you have a solution of animal glue and it has visible discoloration and odor, it is likely putriified.

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    While middle-red is the more common hue, true vermilion and cinnabar can be found in a range from orange-red to deep red depending on the particle size. The finer the particle, the more yellow the pigment. These grades can be separated by levigation. I have a Window and Newton tube of French vermilion from the 1960s that is very orange-red. I have performed x-ray fluorescence spectrographic analysis on the paint and can confirm that it is mercury sulfide. I believe that Holbein still sells three hue ranges of what they claim is PR 106 (mercury sulfide) Chinese vermilion (cold red) Vermilion (middle red) and French Vermilion (orange red). I have not had the chance to analyze these as of yet, but the weight of the pigments suggests the presence of mercury.

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    ​Wow…there is much to say here but I will begin with a couple of basic points. First and foremost, paintings from this era are, well, quite old (as Koo as already pointed out). Brian has pointed you towards some rather good references relating to the technique used by Botticelli and his workshop. But getting back to the age of these paintings…generally speaking the older the painting the more likely it has been restored. And in the case of Renaissance paintings they have often been restored more than five times….probably up to ten or so. This of course leads to compromised paint layers and an appearance in the paint/ground layers that are not reflective of the artist's true intention or aesthetic. Combine this with NATURAL aging phenomena such as pigment degradation, pigment binder interactions, etc., well it is clearly difficult to get an EXACT idea in some instances as to how the painting may have originallly looked. This particular painting that you have chosen has had a rather "rough life." It was restored by William Suhr in 1936, a restorer who was notorious for transferring paintings. This typically involving temporarily securing the paint and ground layers (with something like a facing or adhering a large piece of canvas to the entire surface) and then CHISELING AWAY the original wooden support. The paint and ground layers could then be applied to a new wooden or fabric support. While the entry for this particular painting in the NGA's Fifteenth Century Italian Paintings Catalogue does not specify whether or not this painting was actually transferred, I very much suspect it was as the footnote suggests that the reader actually contact the NGA's conservation department for more information (this is code for "this painting's restoration history is complicated"). I should emphasize that much of the damage to the paint and ground layers occurred BEFORE it entered the NGA's collection as is the case with most paintings with complex restoration histories. In any case I am including a rather poor quality screenshot of the technical notes in the catalogue….I do hope you can read it. Please let us know if you have additional questions.Portrait_of_a_Youth.jpg

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    I am going to have one of our other moderators comment on the conservation issues and another contributor go into tempera technique in more depth but I do want to add a couple of things. First, green earths range in hue from a dull barely green yellowish or grayish brown to the surprisingly clean green color to which you refer.

    Second, what is being described is an indirect painting technique where the green underpainting is later covered in a translucent manner to create effects nor possible by simple, direct mixing. Warm, lighter highlights were painted in a gradation over the green. This can be done to opaqueness or almost opaque in the pink fleshy areas or only half covering where the effect is a pearly color difficult to describe. This might them be further modified by glazes, etc. Even this is a giant over simplification.

    The technique is related to earlier icon painting but Byzantine paintings were generally more simple in stratigraphy of the paint layers and more directly painted overall.

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    Here is a downloadable PDF that discusses his painting technique. Put the following link in your browser

    https://www.nationalgallery.org.uk/research/technical-bulletin/technical-bulletin-volume-17

    and download the article The Materials of a Group of Late Fifteenth-century Florentine Panel Paintings by Jill Dunkerton and Ashok Roy

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    That is really a very minor amount of warping (certainly far less than one sees on most historic paintings on wooden panels). I cannot see into the future but I would not expect that this is a sign of later problems and your panels are likely perfectly suitable for use as a painting substrate. The big issue with plywood panels is the grain checking through the ground, which is almost universal if there is no fabric interleaf (which is not the case here). Certainly thin panels should be braced to offset severe warping (again, this is not the case here).  

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    ​This is not about that particular painting but it appears to have some good techical info on his Portrait of a Man with a Medal of Cosimo the Elder which has many similarities.

    Buzzegoli, Ezio; and Marchi, Marco

    Botticelli: Ritratto di Uomo con Medaglia nella Galleria degli Uffizi: note sul restauro.

    (Botticelli: Ritratto di Uomo con Medaglia in the Uffizi Gallery: notes on its restoration)

    The conservator 16 (1992), pp. 48-54 United Kingdom Institute for Conservation, London, United Kingdom [Italian w. English summaries]. tables, photos., refs.

    An unusually wide range of examination methods was applied to Botticelli's Portrait of a Man with a Medal of Cosimo the Elder to investigate its condition and technique before treatment. In addition to commonly used methods of examination such as x-radiography, x-ray fluorescence (XRF) for pigment identification, and infrared (IR) reflectography (which confirmed significant changes to the position of the sitter's hands), thermal infrared imaging was used to determine the extent of insect damage to the panel. An endoscope allowed access to the back of the medal (via a woodworm channel) and assisted in sampling the adhesive. The treatment included the consolidation of the medal and of the panel. This was carried out to preserve historic evidence on the reverse of the panel. The selective thinning of the varnish and dirt layers with solvents dispersed in a wax emulsion is described and reasons are given for the decision to integrate the losses by imitating the color and layer structure of the original painting.

    Abstractor: Author Abstract

    AATA No.: 1993-16709 and 30-2665

    Primary Classification

    G3 - Pigments, paints, and paintings

    Index Terms

    Botticelli, Sandro (b. 1444 or 1445, d. 1510) / consolidation / endoscopy / infrared reflectography / infrared thermography / inpainting / insect damage / panel paintings (paintings by form) / picture varnish / pigment / radiography / x-ray spectroscopy

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    ​This is a big question. I will do some research to see if there is an existing technical study on this particual work by Botticelli before responding.

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    ​Here is an older thread that is also provides some useful info: What mask should I use for mulling pigments?

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    ​Untreated aluminum will oxidize and the oxidation will dull the exposed aluminum. The oxidation will not affect the paper so your main concern would be to coat the exposed aluminum with a product that will inhibit oxidation of the surface. There are a number of products that can provide some protection but we have not tested any for their weathering properties.

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    ​In my opinion, one should always wear a particle filter mask when handling any powders where airborne particles are present, even less risky materials. I remember, decades ago, a batch recall of a particular brand of marble dust, which was found to contain asbestiform particles. Since then, I've always recommended the "better safe than sorry" approach.

    Pigments can be handled more easily, as Kristin suggests, by storing them as a paste with a wetting agent like distilled water or denatured alcohol (the latter is particularly good for pigments that don't mix as readily with the medium).  

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    ​Hi there.....great question....in general the use of UNBOUND pigments is truly where the concern lies (so in powdered, loose form). However there are certainly some pigments where one should take head when it comes to contact with the skin, etc. even if they are bound in a medium (such as egg tempera) or not. Are you preparing your own pigment pastes? I will also reach out to some of our Health and Safety experts in the meantime.
    For specific info regarding proper health and safety precautions when it comes to handling paints and other potentially hazardous material you might find our Health and Safety Document in the "Resources" section here to be somewhat useful.

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    Hello Doug,

    the Beva 371 film could work well for adhering the paper onto the aluminum panel and there seem to be other artists who use the adhesive film for the same purpose successfully. The oxidation process of aluminum is rapid but very self containing and the oxidation layer is very thin. Therefore I would not expect any issues with oxidation. It should be sufficient to slightly scuff and degrease the aluminum surface in preparation. I am not familiar with the amount of pressure excreted in a heat press, which you are planning to use. The Beva 371 film can simply be heat-set with an iron and usually only requires a little hand pressure. It helps to place a cool heavy item on top of the freshly heat set Beva 371 film, to build the adhesion. The tricky part will be to cut the Beva 371 film exactly to the size of the paper, so that you get a clean 1/2" aluminum border and at the same time good adhesion up the very edge of the paper. It might be advisable to heat-set the Beva 371 film onto the aluminum panel first, to get good adhesion to the board and then align the paper and heat-set that through protective sheeting. You might need to practice the application first to optimize your technique (amount of pressure, heat etc.), as to not have any excess of glue around the edges. The glue is removable with various solvents, but it would be difficult to remove excess glue from the edges without contaminating the top of the paper. In case you are planning to paint with acrylics on top of the paper you could consider coating it first with a clear acrylic medium, so that it would be less sensitive to solvent/glue stains when attempting to remove excess glue. 

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    I have sent your question to a few of our moderators who will likely be able to help.​

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    ​If you are able to achieve your desired degree of stiffness with acrylic dispersion primer (gesso), subsequently applying oil-based primer is also an option (instead of unpigmented sizing). Some artists do this because they like the weave-filling property and uniform opacity of gesso, but prefer the suave brush movement possible with an oil ground.

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    ​Hi Camila -

    Some thoughts on your questions:

    - If you can keep a rabbit skin glue size between 40-70% RH it performs really quite well - in fact in many ways it sets the gold standard for stiffness. However as you go below or above either of those ranges the glue will shrink or go slack in increasingly dangerous degrees. These risks are rarely seen early on in oil paintings as the young oil films remain relatively flexible, with 'young' being counted in decades, thus the false sense many painters have that the warnings seem overblown when looking at works that are just 20 or 30 years old. But given enough time, these forces ultimately translate to a high risk for cracking, cupping, and delamination. These facts, which really are about the inherent attributes of the material, are not really in dispute, but certainly one can still use it - just be aware that you are taking on much more risk by doing so - risks that are not there with other synthetic sizes. But its allure, like the facts, also seems indisputable.

    For more information on this see the second half of Marion Mecklenburg's Determining the Acceptable Ranges of Relative Humidity And Temperature in Museums and Galleries This composite graph, derived from his data, also is useful as a summary of how much movement various sizes and grounds have relative to humidity:

    https://www.justpaint.org/wp-content/uploads/2015/05/3.jpg

    - I would caution against making your own ground if only because one cannot remotely disperse the pigments and other solids into the oil and alkyd to the same degree as a three roll mill. If its something you just want to try in order to gain knowledge, then that is one thing, but if painting anything of importance, I think it would be better to purchase a well-made ground from any number of manufacturers. Those will generally be leaner, have more tooth, and be less glossy, than a homemade recipe. Just something to keep in mind.

    - Lastly, it is a common thought that by using RSG we are following something 'used for centuries', but its important to realize that almost nothing we are using today lines up with then - from the linen, to the oils, the sizes or the various grounds. For just a taste of the complexity, I would point to this incredible thesis by M. Stols-Witlox, 

    Preparatory layers for oil paintings 1550-1900 

    Just a stroll through the section of sizing will give a clue to the variety of materials used. And ironically, rabbit skin glue itself isn't really mentioned in the literature until the twentieth century! See this reference from the Conservation of Easel Paintings for a great insight on that:  

    https://bit.ly/2XFVb0T 

    Even linen has changed in ways that make our current ones seem dramatically plain. Just to throw out a few quick examples, in the following article on French Canvasses since the 17th century, you find not only that most of the older ones were hemp-based or had a large percentage of hemp to linen, they employed types of weave structures that are all but gone now for most of the linen artists purchase:

    http://cool.conservation-us.org/.../jaic20-01-001.html

    The weave structures, in particular, would have a huge impact on dimensional stability. 

    And for something simply amazing, take a look at these incredible reconstructions of canvases from the past:

    https://handwovencanvas.blogspot.pt/

    All of this is not meant to take away from a love of tradition, but serves as a gentle cautionary tale that a lot of what we take as traditional and passed down from the centuries is intermixed with romance and often not based on facts. But the good news is that we know increasingly more about past materials and practices, and despite that ever building body of knowledge, the mystery and beauty of the art from then grows and does not diminish.

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    ​RSG, PVA and Acrylic sizings will all accept alkyd-oil primers if properly applied. As I understand it, the main challenges with Rabbit Skin Glue size are brittleness, hygroscopy (tendency to absorb water from the atmosphere, causing swelling) and susceptibility to microorganisms and insects. Synthetics are not vulnerable to these issues. Also, variations in glue strength are not a factor with ready-to-use, synthetic sizings. 

    As the OP mentions, imparting stiffness is a key benefit of RSG over most synthetics, because sizing helps stretched fabric supports stay flat after initial tension has reduced. While most synthetics aren't the equal of RSG in this regard, Golden GAC 400 is pretty close.

    More about glue strength and fomulas: when I studied art, many older painters still used RSG, and there were recommended practices that were assumed to yield better results. We would see the old Taubes "weak glue" formula sometimes, but the Ralph Mayer/Utrecht "strong glue" proportion was overwhelmingly preferred (and is still recommended by Utrecht). Glue granules were soaked prior to preparation, dissolved over a double boiler to prevent overcooking, and the most scrupulous artists would "proof" the glue on a cold spoon to ensure it would gel. Everyone applied their glue hot or warm. Leftovers would be re-liquified over heat before use. 

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    ​If this is an epoxy infused fiberglass panel (like G-10 or F r4) and you attempt to apply a tradition glue ground to this panel, I would really rough it up with sandpaper to provide a good mechanical tooth. It would probably be a good idea to use a rougher grade of sandpaper (100-150) as compared with the 320 used for the polyester coatings on ACM panels. Make sure to at least wear a dust mask and sand the panel in a place that can be easily cleaned or outside as the dust will contain fiberglass which should not be breathed.

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    There are three main types of resins used today with carbon fiber, fiberglass, and Aramid (Kevlar). These are epoxy, vinylester, and polyester resins. The only issue I can find with fiberglass composites, is that without knowing what resin was used, it is difficult to provide an answer on how it ages. There are many studies of epoxy-fiberglass composites, but not many of vinylester, and polyester resins. The epoxy-fiberglass composites exhibited fiber-matrix debonding and loss of certain physical properties. Keep in mind most of the studies were accelerated and natural aging for outdoor exposure.

    The climate-resistance (aging mechanisms) of polymer-matrix composites is determined by the resin and adsorption of fiber on the interface. In most cases, composite materials show good weather-resistance. More specifically, their resistance to thermal oxidative aging is better as compared to the resistance to UV aging and hygrothermal aging. 

    It is not clear how this translates to works of art, but epoxy resin fiber matrices may provide a good support for art.

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    ​We are still evaulating different ways to adhere textiles to aluminum composite material (ACM) panels for the purpose of applying a traditional gesso or chalk ground (animal collagen and filler) over the fabric. We have use the following methods with success:

    1. Animal colagen glue is applied to the lightly-sanded surface coating of ACM, and a fine, open weave textile impregnated with the glue is applied over the glue size.

    2. BEVA 371 film is applied to the lightly-sanded surface coating of ACM and the textile adhered to the panel.

    3. Rublev Colours Mounting Adhesive was used to adhere the textile to the panel. This adhesive is based on a VAE dispersion used in conservation for adhering textiles.

    We have tested each of these methods of adhering textiles to ACM and then applying a traditional ground. We only applied the adhesive to the veneer that had a polyester coating. The adhesion was good, but we have not yet finished accelerated ageing tests.

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    I am waiting on a response from a moderator more familiar with ACM and aluminum panels used as painting substrates. Additionally, I do not know if your honeycomb aluminum panel has the same polyester coating as other ACM panels. The existence (or lack thereof) of such a coating would have a profound effect on how the panel should be prepared.

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    ​We do not have any direct experience with this material but can see that some very reputable panel makers, like Simon Lui, do provide an aluminum honeycomb panels with a fiberglass facing:

    https://simonliuinc.com/art-panels/composite-art-panels/

    And it seems like a common material made for various commercial applications. A search on Google for "honeycomb aluminum faced with fiberglass" brings up a host of links.

    The fact that the traditional gesso passed a cross-hatch adhesion test is promising but can sometimes give a false read on powdery surfaces like plaster, and I would assume traditional gesso, as the tape might not have a very strong grab on the surface and a microfilm of "dust" could be lifting off with it, leaving the material underneath intact. So you want to at least inspect the tape very carefully to see if there is any residue from the gesso on the underside.  But certainly if it seems solidly on there and not easily scratched or lifted off, that bodes well. Alternatively you could adhere muslin to the surface first to provide a strong connection. The muslin could likely be adhered with hide glue, if you wanted to stay with traditional materials. If you did that, I would check its adhesion by seeing how easily the fabric can be pulled off once fully dried.

    Hope that helps.


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    ​That sounds more like G-10. If that is what it is, I would not recommend that for a substrate for gesso. I can't be positive without looking at it. Is the panel a greenish-cream color?

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    ​I am assuming that the panel was faced with woven fiberglass fabric and not a fiberglass panel. I have not tested this as an interleaf but it would seem reasonable. I have sent your question to a few others to see if they have experience with this combination.

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    ​Ms. Mina, Thanks for the additional information!

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    From the description of the project, it seems that you want to prime and paint the canvas, then cut it up, sew the pieces together, and display vertically on a wall but with a strainer. I think that your choices of fabric, primer, and paint are all very personal – each will have advantages and limitations.

    If your goal is long-term structural stability then I recommend that the seams be worked with relatively small and even stitches. If you aren’t an experienced sewer, you may get better tension with a sewing machine instead of hand stitches. I recommend a small running stitch or backstitch if you are hand-sewing. I think a straight stich on a sewing machine will be fine. You will probably want to create some test pieces so you can determine what stitches are best, how large to make the seam allowances, and if you need to finish them in any way. The dimensionality of the seams will impact your work, and you may want to experiment to find the system you like best.

    I don’t think you need a sewing thread that matches the diameter of the threads in the fabric. A smaller diameter for the sewing thread is fine and will be less disruptive to the woven structure. Also, you should be fine with cotton or linen thread.

    If you want to use a mounting system like a quilt, here are some good options: https://sustainingplaces.files.wordpress.com/2012/11/resident-expert-quilt-mounting.pdf (the Velcro and sleeve mounts are very effective. You can also use strip magnets along the top edge)

    If you display the piece stretched over a strainer, you may want to support the back with some fill (like a piece of archival board) so that the textile is fully supported.

    Also, regarding Matthew’s comment – fabric cut on the bias does have a great drape, but it can continue to stretch over time. When bias-cut fabric is used in garments it is allowed to hang out for at least 24 hours before hemmed to make sure that the fabric has stabilized in its stretch. Even so, bias-cut fabrics need more support over time to prevent unwanted distortions.

    Good luck and have fun!

    Best wishes,

    Laura Mina

    Textile Conservator

    Winterthur Museum

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    Hi Krista.

    I have forwarded your question to a textile conservator to see if they have anything to add to this discussion.

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    I do not want to come off snooty here but both results are a possibility, which is why we never suggest conservation treatments on this forum.  

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    Thanks Matthew, we were traveling all day today and it is great to have you fielding questions. Personally, when painting on cotton duck, I always preferred #10 or at least #12 weight for many reasons including planarity and longevity but also resistance to being puckered by the slightest pressure.  

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    Cotton canvas tends to "relax" to a point of maximum sustainable tension, so pulling beyond the capacity of the fabric doesn't yield a sustained, drum-tight surface. Sizing and primer have an important role in stiffening the fabric, to maintain a flat plane after initial tightness has reduced. 7oz. cotton is really light fabric for stretched canvas, in my opinion- I always get better results with heavier fabric.

    As you point out, inserting staples across the stretcher joints can help hold the chassis in square. Personally, I do this sometimes, but only on the back of the canvas- never under the fabric- and I always take them out after stretching is complete. Not only does it look un-craftsmanly to leave them in, the staples could mar a painted wall and interfere with keting out the painting, should it become loose.

    Where technique is concerned, I've long been a proponent of stretching "on the bias", diagonallly against the weave instead of pulling directly against warp and weft. I find that I can achieve a very tight stretch this way with minimal use of tacks, and since tension is spread over the entire weave network, bias-stretched canvases have less puckering and weave distortion.

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    ​Stitched/joined artist's canvas was more common before loom innovations in the early 1700s made it possible to weave fabric wider than the distance a weaver could throw the shuttle by hand. 

    Strong seams are important in joining sailcloth, so techniques used in that craft might be useful for this project. I believe sailcloth can be joined with zigzag machine stitching over seam tape, or multiple, parallel straight stitches over a felled (folded) seam. Both techniques help distribute tension across a wider band of fabric, reducing puckers and tears,

    One other factor to possibly consider: bias-cut fabric (diagonally cut) drapes better than pieces trimmed parallel with warp and weft- that's why better suit jackets have bias-cut panels. 

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    ​I recommend looking at printmaking papers. Many papers in this category contain a high quality fiber content, and will have similar absorbency to newsprint due to light or absent sizing. German Etching, Copperplate, and BFK Rives are just a few that come to mind.

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    Copper as a substrate has been discussed a few times on this forum and it would be good to start be reading those threads. Here are the links:

    https://www.artcons.udel.edu/mitra/forums/question?QID=454

    https://www.artcons.udel.edu/mitra/forums/question?QID=404

    https://www.artcons.udel.edu/mitra/forums/question?QID=345

    Feel free to repost any additional questions not covered by those threads.

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    There is the difference between water-soluble paints (watercolor, gouache, distemper, etc.) these are diluted with water and are resoluble or at least potentially dissolvable, with later applications of water. Then there are water-diluteable paints that dry to be water insoluble (acrylic dispersion, vinyl dispersion, egg tempera, various oil in water temperas, and to a lesser extent, casein.)

    Understanding the qualities, solubility, and inherent brittleness of these components can afford a plethora of effects.

    In your scenario, the acrylic dispersion would likely partially or completely dissolve or incorporate the watercolor into its layer.  This may or may not be desirable depending on your aesthetic aims. One could apply a spray acrylic varnish or size to prevent the superimposed acrylic dispersion paints from disturbing the watercolor.

    I would worry about the adhesion of gouache to an acrylic dispersion layer of any thickness or gloss. Additionally, gouache is a rather brittle medium. In general, it is best to keep ridged and brittle layer at the bottom of the stratigraphy. Again, the gouache would be dissolved by the subsequent acrylic dispersion paint unless the gouache was fixed in some manner, preferably with an acrylic solution fixative or varnish.

    Finally, just as a word of caution, it is generally best to avoid complex mixtures and layering of disparate paints unless that is necessary for your final effect. The chance for failure increases with increasingly complex layering.

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    ​FYI you might be able to pull up some useful older threads by entering terms like "collage" or "newsprint" into the search field. I did find one that may be of particular interest here. Anyhow have a read and then get back to us if you have additional questions.

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    ​Animal collagen glue will adhere to non-absorbent surfaces, and has been used for many years to "chip" glass as it contracts upon drying. We have been testing animal collagen glue on the coated surfaces of aluminum composite material (ACM) and found that the adhesion of tradiitonal gesso or chalk grounds applied directly to these surfaces is variable from poor to good. We have yet to find the reason for this variability, but adhering fabric to the panel first and then applyng a ground yielded better results.

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    I don't think there would be serious problems with acrylic over light watercolor wash, but gouache applied over acrylic usually beads up and cracks as it dries. The typical result of painting acrylic over a soluble layer like gouache is a crazed paint film, probably with weak attachment. The entire stack would likely remain water soluble due to the gouache component.

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    Really interesting Matthew. I have experience substantial mold growth on aqueous pigment pastes of ivory black and yellow ochre even when some ethanol has been added. I have not seen any on tubed or jarred commercial acrylic dispersions nor in Elmers glue (which is a dispersion of PVA).

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    ​We would echo George O'Hanlon's comments and add that currently there is no established and verified safe level of zinc. In controlled tests, even a 3% level created very brittle films that were prone to cracking and delamination. Whether even lower levels, in the 1-2% range, will prove safer is an open question. However, at all of these lower levels, you are not going to see much impact on the transparency of the titanium white, or its color, which are often the properties being sought. At best you might have less yellowing. Ultimately the best white to use in painting, in terms of durability and permanency, remains lead white for a host of reasons that you can read about elsewhere.

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    Dipping brushes directly into paint jars can introduce spores, so it's always a good idea to dispense paint with a clean metal or plastic instrument (e.g. spoon). I like the suggestion of using distilled water. Antimicrobials in water-borne colors and mediums can lose potency in long-term storage, and it's not uncommon to see some mold growth in old, previously opened containers. Ivory Black seems particularly vulnerable, maybe because the pigment is a good growth medium, or because mold prefers a dark environment. One of our paint chemists recommended Lysol spray (that specific brand, original formula) to retard mold in acrylic containers- a light spray on the product surface before sealing the jar. He said the active ingredient was also commonly used as an anti-fungal in acrylic house paints​, and that the alcohol carrier would not affect the overall condition of the paint.

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    ​This is not a direct answer to your question, but it is important for you to consider the issues regarding the use of zinc oxide (zinc white) in oil painting. Here are some articles explainging the issues:

    Zinc White: Problems in Oil Paint

    Zinc Oxide – Reviewing the Research

    Zinc Oxide: Warnings, Cautions, and Best Practices

    Zinc Oxide: FAQ

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    First, I do not recommend the application of unpigmented drying oils over painting unless these sections are to be covered with additional pigmented oil paint. Look through our resources and do a search on oiling out to read about our reasoning regarding this practice.

    As to your questions regarding heat. It is true that chemists understand that each rise in 10 degrees Fahrenheit, you get double the reaction rate. In the short term, the temperatures you are describing should have little effect other than to speed up the process that would occur naturally over a longer period of time. In the long term the elevated temperatures may contribute to premature aging, embrittlement, and desiccation of an oil layer, oil paint film.

    As far as evaporation, technically, oil films initially gain molecular weight as they absorb oxygen. As they age, they do lose some weight and components overtime. I doubt that this is what you are observing. My guess is that the oil is simply drying more thoroughly and quicker than if the works were stored at lower temperatures.

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    Sorry for the belated reply, Kristin and I were away to celebrate our daughter’s 2nd birthday.

     

    I am not an expert on these paints but it is my understanding that Flashe paints are bound in a poly vinyl acetate dispersion. Like acrylic dispersions, they are not resoluble once dry. I would think that adding a small bit of water should work fine. The various emulsifiers, dispersion agents, etc. should help to keep mold growth down. There is already water in the paint formulation so I do not see how it would contribute mold growth unless the water you add has some mold spores. Using distilled water would avoid even this possibility.

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    Hi -

    Lead White produces the most durable and flexible oil paint film and indirectly helps to contribute those properties to a certain extent to the rest of the painting. How and why is more complicated than I can go into here but you can easily research those topics as they have been written about extensively. In the US Flake White is simply another name for Lead White, so you can use paints labeled either way. Titanium White is certainly prevalent and many people who are concerned about the toxicity of lead prefer to use it. We would recommend avoiding Zinc White, or Titanium Whites that contain zinc, thickly or in the lower layers of a painting. For more information concerning zinc oxide you can read the following articles from our Just Paint, which try not to be brand specific and are about zinc oxide in general:

    https://www.justpaint.org/zinc-oxide-warnings-cautions-and-best-practices/

    https://www.justpaint.org/zinc-oxide-reviewing-the-research/

    As for a brand of lead white to try, that is a very personal choice. Utrecht, Natural Pigments, Williamsburg, Michael Harding, Blockx, Maimeri, Old Holland, among others, all produce versions of this. Which one meets your needs is something you will need to explore.

    I would still want to add that lead white, on its own, is not a cure-all to the issues of very thick oil paint, but in general lead white in linseed oil will have fewer problems than other possible combinations. But still best to keep oil paint films thin to moderate in thickness.

    Yes, avoid light Molding Paste as it is too spongy. Hard and Regular Molding paste would be preferred, and yes you can thin these with water to get them to flow more easily. It will not compromise its hardness, simply will mean that layers would be thinner and shrink more while drying.

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    First, keep in mind that you are venturing into an area that does not have a clear definite consensus around best practices, so you will likely get some range of recommendations, but we are happy to at least share our thoughts. And to be clear, while I reference Golden products, other acrylic brands likely have ones that are similar. 

    Based on our own testing, as well as the increasing number of problems conservators have been encountering with thickly applied oils, we think using oil paint in that way is fraught with risks and problems. It is simply not a medium well suited for types of textures that go far beyond what was ever implied by the term 'impasto' as understood in the past. This is particularly true if using paints based on oils other than linseed and walnut, or without the use of lead white which greatly aids in stabalizing oil paints over time.

    So, given all that, we think oil paint over thickly applied acrylic pastes and mediums is a reasonable alternative and probably with less risks overall. But to keep those risks to a minimum we would suggest some basic guidelines:

    -  paint on an inflexible support if at all possible

    -  use molding pastes rather than gels as they will provide more absorbency and tooth for better adhesion. You might also try applying a layer of acrylic ground, aka acrylic gesso, on top, as a way to increase adhesion even further and supply a white ground to paint over.

    - allow any applications to dry completely. A very thickly applied acrylic paste could take a couple weeks to even a month, depending on application and environmental conditions, to be fully dry,  So wait as long as possible. Patience is a virtue. here

    - multiple thin layers will dry faster than one thick one

    - avoid soft or spongy versions, such as Golden's Ligtht Molding Past. 

    - avoid creating Hershey-Kiss type of dollops that end in thin, very flexible tails that bend easily.

    We hope that helps. And while we think these things will lower the risks, it doesn't eliminate them altogether. Whenever artists push boundaries and the limits of their materials, they are pushing into unknown territory with potentially unknown issues that might not crop up for decades.

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    ​In general, all major brands of acrylic dispersion artists' colors can be intermixed without concern for unpredictable paint behavior. Just make sure the products are genuine, water-based acrylic (not vinyl emulsion or acrylic solution). This was covered recently in a thread about mixing mediums from multiple brands: https://www.artcons.udel.edu/mitra/forums/question?QID=554 

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    ​Although aluminum composite material (ACM—Dibond is a tradename for one brand) is susceptible to edge damage and in large sizes can sag under its own weight, it is a better support overall than plywood.

    Plywood is susceptible to checking, plies can delaminate and eventually plies can crack in a washboard pattern. There are ACM panels with corrugated or honeycomb cores that are lightweight and more rigid and eliminate most of the problems with soldi-core ACM.

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    The term imprimatura was originally used to describe a pigmented layer of paint containing a drying oil that was applied over a true gesso or chalk-glue ground (usually over the ground and underdrawing). It served up to three purposes. 1st and foremost, it cut the absorbency of the ground to facilitate the application of oil paint. 2nd It could lock in or partially obscure the underdrawing. 3rd It could provide an overall color to the painting, which could be exploited by the artist (there are many examples of off-white or pale gray imprimatua). There are certainly instances of clear oil or other materials used to cut absorbency or to provide color and the use of the term appears to have morphed a bit.

    Today most people appear to use the term to describe a thin transparent wash of oil color to provide a mid-valued surface (this is very often a dull ochre, a rich burnt sienna, or raw umber like color) irrespective of any underdrawing or the need to reduce absorbency. I prefer the earlier definition of the term but like the in the case of the misuse of the word “gesso,” there is only so much that I can do ;)

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    I just read the directions for Instaclay provided by Kolner and it says that if you have drips you can remove them with sand paper. Have you tried that?

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    I have not personally used that system. You do point out one of the shortcomings of polymer sizes. They gel so quickly that artifacts from the brush strokes are difficult to avoid. Kolner advertises that their product is sprayable. That would certainly avoid this problem. In addition, they do suggest a size (they mention shellac but this seems to be in relation to gilding architectural interiors, this would not be appropriate for paper). Sorry that I was not more of a help. Perhaps others have more salient comments.

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    You could apply a size to lessen potential planar deformation but if you are careful and test, this may not be necessary. Additionally, if you do use a size, make sure that it is compatible underlayer for your chosen mordant. Oil mordants become very brittle, making it inappropriate for use on a flexible support like paper. In addition, as oil gilding is not burnishable, it offers no advantages in this circumstance other than a longer open tine.  

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    One word of caution here....you should likely perform some tests on your intended paper substrate as any water-based adhesive/mordant could potentially cause some wrinkling and/or planar deformation, particulaly is the paper substrate is thin. 

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    It would really depend on what you need for a final effect. If you intend on burnishing, like a medieval illumination, you would generally need a bulked up animal glue based mordant (or one of the curious variants including garlic juice, etc. I have not tested these but may work this into an advanced undergrad seminar or such).

    If you are simply attempting to adhere gold leaf (or another metal leaf) to paper one of the polymer gold sizes should be appropriate. There are a few on the market (Wunda, Aqua, etc.) Probably any acrylic dispersion medium would work depending on your particular need (ie open time requirements, and flexibility).

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    What we have is the MSDS and not the SDS. It will be interesting to see what they would be required to include on the newer SDS sheets.

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    Also Reading over the MSDS, which Matthew was able to find, we see that the pH of the varnish is 9.1, which is too alkaline to be safely applied to an oil painting, especially one that was paintied recently.

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    ​I think this is the SDS: https://cdn.dick-blick.com/msds/DBH_SDS_015651294.pdf

    One reputable retailer lists this as "non-removable", BTW.

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    Unfortunately, we do not have a contact at Maimeri. There is no indication of reversibility other than saying that it is “non-yellowing.” I worry about that. I also worry that the safety sheet is a dead or unreachable link, although since I have had to deal with the complexities of web serves since starting this and a technical art history site, I assume that this is an IT issue.

    Frankly, unless I read something monumentally new about how they achieve this water-based varnish, I would avoid using it on any oil containing coating.

    I will reach out to Maimeri to see if they can provide any additional information.

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    ​There is no harm in listing the brand and name of the product. I would be interested in how they market the varnish and any possible technical info that they provide. If little is offered, I would like to request some form the manufacturer.

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    ​This one's news to me, too. I'm aware of some varnishes sold for application over finished water-miscible oil paintings, but the varnishes themselves list isopropyl alcohol on the SDS, so I don't think those would meet the standard of "water-based". I can imagine it's possible a destructive interaction could occur between a water-based top coat and some types of painting supports, which could swell or sag from moisture.

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    I do not know the specific product you are referring to but the acrylic polymer varnishes that I have knowledge and experience with should not be applied to oil paint. They require a rather alkaline solution for removal (usually made so by the use of ammonia, which is volatile and will eventually evaporate from the varnish as/after drying). Even if the oil paint is not harmed by the application of an alkaline varnish, it would very likely be damaged trying to remove that coating. Oil paint is saponified at higher pHs. In essence, this is converting the fatty acids in the oils into water soluble soaps.

    I would be very suspicious of such a product unless it is explicitly/conclusively shown that they were able to make and remove the dried film with a solution somewhere near neutral or even very slightly acidic.

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    ​The Plike importer has reached out to the manufacturer for more information, but is not sure they will be willing to disclose any details of the coating formula. He said, quite directly, that Plike is not clay coated, and mentioned twice (with emphasis the second time) that Plike is made for commercial and packaging applications, and is (as we already know) not made expressly for metalpoint. (The trademark name "Plike" is apparently derived from "plastic-like".) He offered to recommend some other papers, and I said, for now, I would like to focus on Plike, for the benefit of artists using it, and conservation specialists who might have to treat works on this stock. I said that there would be interest in even the broad category of polymer used, and any recommendations for fixatives/top coatings. He did say to stay tuned, so there may be more to come. 

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    I do not believe that it would be disastrous to have areas of exposed acrylic dispersion ground showing but the exposed ground will accept and absorb surface dirt differently than the oil paint. The degree of disparity would depend on just how lean (or thirsty) the ground is as compared to how fat the oil paint. Varnishing the work would diminish the difference, especially as Matthew mentions, if the painting is given multiple coats of varnish.

    Glad to hear that you are not varnishing with an alkyd medium ;)

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    ​Easy mistake, thanks for the correction. 

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    ​Bare acrylic dispersion painting ground (gesso) does tend to yield a different sheen when varnished than oil paint, especially brands of gesso that are more "thirsty".  Subsequent coats of varnish usually unify the surface finish, however. It seems to me that having passages of bare acrylic and oil paint on the same picture could introduce complications in terms of cleaning and care, but I'll let the experts speak to that.

    On a related topic, it's important to understand that alkyd-based painting mediums generally don't meet the standards of a picture varnish, in terms of reversability and in retaining neutral color as they age. A final varnish should facilitate removal with less aggressive solvents, something that's really not possible in-studio with alkyd. Synthetic resin solution varnishes are really a good choice for almost all completely dry pictures that are ready to display. 

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    ​Thanks Matthew. I was planning on doing the same but your assistance is of great help.

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    ​I've reached out to the Plike importer for more details on this paper and recommendations regarding fixatives. Will post if I get a reply.

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    I had forgotten about Tom Mazullo and Susan Schwalb. I will be purchasing that book immediately.

    Plike papers may start out as 100% alpha cellulose but they must be adding other materials, sizes, etc, to make a paper that can be described as having the feel of a combination of plastic and rubber. Alpha cellulose should only be a polymerized polysaccharide.

    I am now wondering if it is not acidic conditions that are causing a chemical conversion of the metallic lines. Vinegar causing lines to disappear makes far more sense as metal acetates are often more transparent than alloys. Onion and garlic both contain sulfur groups that when in contact with moisture will convert to sulfuric acid. This is why your eyes hurt and tear when slicing onions. Perhaps a similar thing is occurring with the liver of sulfur.

    It would be very interesting to see if the same effect occurs in a desiccated environment. I once put a silverpoint drawing in a drying oven for a week or so and the lines definitely darkened some.  When I get some spare time, I will do the same but include some liver of sulfur. Perhaps this will accelerate the sulfation of the silver but because of the very low moisture no acidic conditions would be created.

    As to varnished metalpoint drawings on panel, the famous unfinished Saint Barbara by Van Eyck is essentially a varnished metalpoint drawing on a chalk glue ground with a bit of oil paint.

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    Hi Koo

    You are probably have more experience with metalpoint than anyone else on this forum so I would defer to you on moist issues associated with the technique.

    I do not see an attachment but will try to comment.

    As far as fixatives, they are certainly a mixed blessing but are sometimes necessary. Too much will darken the paper or gesso ground due to surrounding the fibers/filler with a material of higher refractive index. Just the right amount will help keep the particles from being too friable. Obviously only non-yellowing fixatives should be used if possible.

    I do worry that if there is enough fixative to slow or stop oxidation/sulfation that the surface would really be quite saturated, changing the overall effect. Of course, this is an aesthetic decision and the result may be just what the artist is looking for (like your preference for lightly varnishing your egg temperas).

    I do not know what materials are used to finish Plike papers but they are obviously more than simply 100% alpha cellulose or they would not have the advertised feel of plastic and rubber and be resilient enough to take a metalpoint line without damage. Perhaps the surface it too compact to hold onto the abraded metal lines or one of the ingredients has a deleterious effect on the metal? This would require more testing to make a determination on this subject. I am very intrigued by your tests showing that the metal lines can actually “disappear” when they are overexposed to sulfur. I cannot imagine what the chemical process would be.  Was this liver of sulfur or another sulfur containing compound? If the problem is the paper having too slick a surface, a fixative my help, if it is chemical, it likely would not.

    Sorry that is not a very definitive answer but it is all that I can say given my limited knowledge here.

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    ​Hi there....we forwarded your inquiry to a few of our recommended contacts in the NYC area and we were able to find someone that is willing to assist you (with consultation and/or application). Lauren Fly has given us permission to share her info so please contact her directly. Her website and contact info can be found here:  https://www.flyartsinitiative.com/

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    Varnishes with matting agents, as opposed to standard varnishes that are made more matte by application, manipulation, and after treatment, are inherently more difficult to apply. The matting agent makes the varnish more viscous but this is not a huge deal in and of itself. It is essential that the varnish be perfectly mixed to ensure that the matting agent is completely and evenly dispersed within the varnish, otherwise you will end up with bands or regions of more or less matte areas.

    Spray application seems to be a perfect alternative but it is not without its own issues. I have seen overly thinned matte varnishes that were sprayed onto an absorbent surface create a frosted –looking surface. This probably occurred because the varnish was so thin that it was absorbed into the surface and the matting agent, due to its insoluble nature, was left to accumulate at the surface. This is probably one of the reasons why many art material providers indicate that their MSA or similar varnishes should not be thinned beyond a certain percentage.

    I would guess that a Preval sprayer should be adequate for the job, as long as the above are considered. Certainly, a practitioner well versed in spraying matte varnishes would be preferable.

    We will reach out to out colleagues in the NYC area to see if anyone offers this service.

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    Ah, so you mean industrially pre-shrunk as compared to studio technique. Got it.

    Again, most lining procedures would not call for temperatures above 150-180 F. Certainly nowhere near the heat you are talking about. Kristin and I often use a heavy weight acrylic fabric when we line which works wonderfully for our purposes. However, we do not add any additional sizing or ground layer and we coat it with a synthetic lining adhesive, so this may not be a good judge of its suitability as a painting substrate. 

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    Hi

    So sorry to hear of your troubles but it is not a surprise to me. I have seen this phenonemnon for decades. The use of plywood as a painting substrate has come up a few times here. The two links below cover the salient points.

    https://www.artcons.udel.edu/mitra/forums/question?QID=575

    https://www.artcons.udel.edu/mitra/forums/question?QID=388

    Unfortunately, I do not think that there is any way to diminish the checking after the fact. The checking would likely return even if you filled and inpainted the narrow checks. Any procedure would have to be very invasive and would be unlikely to really change the surface enough to eliminate the checking.

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    At that point, I think that you are distorting and not really shrinking. I mean, you could ramp the heat up so high as to theoretically make a film out of it (hyperbole, I know). But that is way beyond what we need to deal with on this subject..

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    OK finally, finally. One of the tricks were use in painting conservation is to use a hole punch to punch out small circles of high quality blotter paper and push the tack through this before using it to attach the canvas to the stretcher. This makes it far less likely that the tack will be driven too deep into the canvas and cause a potential puncture. I know that some conservators and a couple of painters will staple their canvases through linen twill tape for the same precaution.

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    Additionally, there is an unspoken (and sometimes spoken) bias that tacks on the side of the stretcher are better than staples. I believe that much of this opinion comes from disasters resulting from staples driven too deeply (the bottom of the staple should not countersink the surface of the canvas) and a failure to set the staples at a 90 degree angle rather than parallel to each other. As a painting conservator, I have also seen innumerable cases where tacks were driven too deep and the canvas has pulled loose from the stretcher.

    I generally go with staples if on the back of the stretcher and tacks of on the sides.

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    We have had a couple of threads that are relevant to this topic. This one in particular

    https://www.artcons.udel.edu/mitra/forums/question?QID=226

    and this as well

    https://www.artcons.udel.edu/mitra/forums/question?QID=135

    As far as heat, a program trained painting conservator would test everything before any procedure. You could/should make their life easier by recording all of your materials and attaching that to your artwork (see our resources section). Finally, the heat used to line or consolidate a painting should fall below that of scorching a polyester fabric. The conservator would need to test, of course, but the temperatures indicated on a typical iron for ironing polyester fabrics is vastly higher than the temperatures used by ethical conservators.

    Finally, I do not believe that polyester fabrics can be pre-shrunk. One of their virtues is that they are not effected by moisture in the same way as natural fibers and do not shrink like linen and cotton.

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    ​ ​We have covered most of this question on an earlier thread. Here it is for your perusal

    https://www.artcons.udel.edu/mitra/forums/question?QID=164

    Additionally, one of our moderators has written a good synopsis of the various pros and cons of the two methods. The link is here

    https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=2ahUKEwjTltmG3pvhAhXQnuAKHTAFCXUQFjAAegQIBBAC&url=https%3A%2F%2Fimages.utrechtart.com%2FContent%2Fpdf%2Fexperts_archive%2Fstudiocraft%2FSC_staples_or_tacks.pdf&usg=AOvVaw2FOjGdFnIvSoS7AcDtUwuF

     I will say that as a practicing painter who primed my own canvases, I vastly preferred staples intelligently applied on the back of the stretcher (see the link) and as a painting conservator, I generally use tacks on the sides of the stretcher. Neither are from a worry about dislodging paint. If a painting is that fragile, it requires additional conservation procedures. I should add that I stretch unprimed/unpainted canvases face down and anything with painted imagery face up. The latter is far more difficult but is necessary for ethical conservation.

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    What he said ;)

    It is not simply about adding more oil when it comes to the rheology of paints BUT the addition of some oil/bodied oil can counteract the shortness induced by stabilizers (essentially materials added to tubed paints to keep the oil and pigment from separating) The prevention of oil separation is also the cause of shortness.

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    ​You can start by adding a mixture of 3:1 refined or cold-pressed inseed oil and bodied linseed oil to your commercial oil paint, but you may also want to experiment with larger proportions of bodied oil to unbodied oil.

    We have found extender pigments, such as wollastonite, which has an accicular partcile shape, useful also in giving paint a longer consistency. However, there are many extender pigments and color pigments that can be used, especially when the pigments have heterogenous particle sizes and shape (variety of size and shapes), such as is often found with paints made with natural earth pigments.

    Oil paints that do not contain additives, such as castor wax, aluminum and magnesium stearates, tend to be longer, especially if the particle size and shape of the pigments are heterogenous.

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    Liquin is not a filller but a medium. It would loosen up the paint but not make it long. I am guessing that What George is suggesting is not adding additional filler to a commercial paint, which would just stiffen it. Likely he means that paint made with certain additional materials made a longer paint. I have found that certain grinds of barium sulfate added to lead white make a very long and even ropy paint in linseed oil. Hand ground lead white in linseed oil will make a rather long paint