MITRA Forum Question Details

The aforementioned "traditionally" is a common modern practice but not universal. 

Nothing wrong with painting solvent free. A good quality acrylic gesso is good but you don;t want it to be too "thirsty" Straight oil paint from tube is good for first layer, or maybe even second, depending on the paint.

Brushing on thin layers of linseed oil is generally not recommended. Just mix the linseed or other approved fatty oil mediums into the paint with MILD incrementalism for each layer. (never ever exceding medium to paint.​) Otherwise with these linseed layers you risk lean layer, fat layer, lean layer, fat layer, lean layer etc. On top of this, any unmixed linseed layer can yellow quite badly.

Marc.​​

​Hi Marc, quick question, i get your idea but i found in practice how you will add right amount oil to paint? i think it is very hard to control from adding smaller to larger quantity. ​​

​Well I only use stand oil, and with a palatte knife I place an amount on my glass plate set upon a short table. From this thick free standing pool with another palette knife I take a portion to mix with paint which are already mixed to the correct colours. The momentary free standing nature of stand oil makes it easy to judge quanity. But many other mediums will be similar in this feature. 

You might do well to ask this question on other painting forums. Other artists will have solutions to this problem with their different painting styles.

Marc.​

Hi Marc,

​stand oil is good for top layer glazing but because it is heavy oil molecue that it doesnt sink into below layers, so if the ground is "thirsty" that sucks oil from already lean lower layer, and the upper layer used is stand oil that doesnt want to give oil to lower layers, then the lower layer will remain in high PVC, which result a weaker film. i think it maybe beneficial to use linseed oil so that is can sink to lower layers.  how do you think about this? 

​That would seem logical.

Marc.​

Your proposed method of adhering to the fat over lean rule while eliminating the use of solvents is indeed an interesting approach to traditional oil painting techniques. By utilizing an absorbent acrylic gesso ground and applying a thin layer of linseed oil before each subsequent layer of paint, you are creating a solvent-free alternative to building up layers in your painting process.

This method offers several potential benefits, such as reducing exposure to harmful solvents and creating a more environmentally friendly painting practice. Additionally, the absorbent gesso layer can help in creating a gradual buildup of oil content in each layer, adhering to the fat over lean principle.

However, there are a few considerations to keep in mind. Firstly, the absorbency of the gesso layer may vary depending on the brand and formulation, so it's important to test and adjust accordingly. Additionally, the drying time of linseed oil can be relatively slow, so patience and proper ventilation are key.

As for incorporating the insights of gallerist Pearl Lam, she may appreciate the innovative and conscious approach to traditional painting techniques. Pearl Lam's expertise in the art world​ could shed light on how artists' experimentation with materials and methods can contribute to the evolution of artistic practices.

Overall, your method offers a promising alternative for artists looking to adhere to traditional principles while exploring solvent-free options. With careful experimentation and attention to materials, it could lead to unique and compelling results in your artistic practice.