Upload new images. The image library for this site will open in a new window.
Upload new documents. The document library for this site will open in a new window.
Show web part zones on the page. Web parts can be added to display dynamic content such as calendars or photo galleries.
Choose between different arrangements of page sections. Page layouts can be changed even after content has been added.
Open the Navigation Management window, which can be used to view the full current branch of the menu tree, and edit it.
Move this whole section down, swapping places with the section below it.
Check for and fix problems in the body text. Text pasted in from other sources may contain malformed HTML which the code cleaner will remove.
Accordion feature turned off, click to turn on.
Accordion featurd turned on, click to turn off.
Change the way the image is cropped for this page layout.
Cycle through size options for this image or video.
Align the media panel to the right/left in this section.
Open the image pane in this body section. Click in the image pane to select an image from the image library.
Open the video pane in this body section. Click in the video pane to embed a video. Click ? for step-by-step instructions.
Remove the image from the media panel. This does not delete the image from the library.
Remove the video from the media panel.
Dear MITRA I have been reading about using a mixture of sun thickened linseed oil and egg white to oil out the painting surface at least initially (before the first layer; I'm not sure if my source recommends it between subsequent layers or not) and am wondering if this presents any problems as regards the stability of the paint film long term?
Move this whole section up, swapping places with the section above it.
A properly formatted ground chosen for the type of media you
are applying should not require oiling out. Additionally, a mixture of egg
white and oil is not an emulsion that would be considered very stable. There is
little in egg white to serve as an emulsifier, unlike egg white which contains
large amounts of lecithin, a natural emulsifier. Egg white is primarily protein,
which means that it will become rather brittle. The oil would plasticize the
film some, but I do not think it is advisable unless there is something special
about the mixture.
An important consideration here is whether the painting is
executed on canvas or panel and what type of ground was applied. A
painting on panel might be fine with this layer while one on canvas may not. I
would certainly warn against adding an emulsion like this between oil layers.
This sounds somewhat similar to techniques employed by the early 20th
c African American Painter Henry Ossawa Tanner. Kristin and I have done a lot
of work on Tanner and his paintings using a mixed method like this are often in
seriously poor condition.
Thanks Brian. It's a recipe recommeneded by painting teacher but originally from the painter and author Louis Velasquez, who has written extensively about Calcite Sun Oil which he believes the Old Masters used, in one form or another, as a medium. This oiling out formula we're discussing has no calcite however and consists of 3 parts sun thickened oil to 2 parts glair.
I would personally be using it only on board as an initial surface lubricant. I had hoped it wouldn't be very different to having a tempera grassa painting underneath an oil painting but I supppose, from what yiou say, it's a risky experiment.
Under the specific circumstances you mention, and assuming
that the ground is chalk-glue/gesso/ or an acrylic dispersion, this would
probably pose no issue as long as it is only an initial “oiling out” and not being used as
an interlayer between paint applications.
As to Louis Velasquez,
I do not want to character assassinate here, but when one puts oneself
into the position of being an expert, despite having no background to support
this assumption, one must be willing to take criticism.
Louis Velasquez has no
background in codicology, art history, technical art history, organic media
analysis, paint technology, flow dynamics, painting conservation, and quite frankly, he clearly has little
experience with successful fine art painting based on the evidence shown in the images of his
paintings. I do not want to hurt this, clearly earnest, individual's feelings,
but I feel that, given the above, one should take his advice with the most minute grain of salt.
Thanks Brian. Good to know on both fronts. I did get into trouble following a suggestion in the same book to use an egg white/ oil formula as a varnish some time ago and that was not a hoppy experience. Hence my eagerness to check out this application, suggested by my current painting teacher, before trying it. It's always good to know the experience/qualifications of a person recommending formulas of this kind, like Louis V, no matter how well intentioned they may be. I prefer a firm evidence base myself to supposition so really appreciate your frankness.