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Question asked 2020-12-07 20:56:40 ...
Most recent comment 2020-12-08 21:30:30
Oil Paint
Many of my paintings are done in thick impasto oil paint using stand oil. I have done some testing (2 years ago) using different stand oils in impasto oil paints. I have noticed the oil rises to the surface and yellows slightly. When the dried oil is cracked open the paint is a bright white inside. I have tried poppy oil and even though that rises to the surface it does not yellow, but I noticed the paint is more brittle than those done with linseed/walnut stand oil. So my question is how to prevent the oil rising to the surface? Would bees wax help, or possibly add other issues.
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Moderator Answer
(brian baade)
The problem is likely that your paint is too fat (too much
greasiness/oil as compared to pigment load), too thinned with solvent (which immediately
facilitates the accumulation of surplus oil at the surface of the paint}, or a
combination of the two. There should no super-surplus of oil at the surface of
any application of oil paint. Having less yellowing, but poorer paint film
formers, like poppy seed oil oozing to the surface does not solve the problem,
but just makes a lateral move to another issues.
On an unrelated, but tangentially related issue, I have applied the same paint, without
additional medium, using a brush and a palette knife and the paint applied with
the knife is both glossier but also greasier than that applied with a brush. I
have also seen yellowing associated with knife applied paints where none was
observed with the brush applied films. None of this was scientific and I would
not swear in court, but I think that there is far more going on in terms of
physics and rheology with paint manipulation that we might intuitively think.
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Moderator Answer
(brian baade)
This may seem tangential, but I remember that when I worked
with Dr. Leslie Carlyle, she observed what appeared to be transparent,
seemingly intentionally applied interlayers between layers of paint and a
smooth mylar substrate. We knew that no transparent, unpigmented layer could
have been applied because we made and scrupulously documented the stratigraphy
of those layers. It appears that the smoothness of the mylar substrate
influenced the accumulation of binding media creating the appearance of an
applied unpigmented interlayer.
This is not directly related to the discussion
at hand, but it does speak to the idea that media can accumulate at the interface between certain
physical phenomenon.
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Moderator Answer
(brian baade)
I totally agree, but remember that in the situation that I quote
about the cross-sections taken from the Carlyle research, the faux interlayer is
below the paint layer and not at the top. Clearly there is more going than
settling in this instance, and more complicated physical dynamics are going on.
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