Solvents, Gessos and Mediums

Total Page:16

File Type:pdf, Size:1020Kb

Solvents, Gessos and Mediums Gessos, Mediums and Solvents Tri-Art Canvas Gesso 500ml Suitable for priming a stretched raw canvas. $14.00 Total Use 3-4 coats of gesso. the first coat can be thinned slightly with water. Tri-Art Acrylic Gel Medium 500ml Available in: Gloss Semi-Gloss $16.00 Total Matte For acrylic paints only. Suitable for impasto techniques, adding texture, extending colour. Dries clear. Tri-Art Retarder Medium $9.00 Total Available in: 250ml 500ml Slows down the drying of $15.00 Total acrylic paint. 27 Gessos, Mediums and Solvents Tri-Art Alkyd Oil Medium 500ml For use with Oil Paints. Accelerates the drying time of oil paints, and can be used $22.00 Total in glazing techniques. Tri-Art Alkali Refined 250ml: $7.00 Total Linseed Oil Available in: 250ml 500ml A pure, refined linseed oil. 500ml: $12.00 Total Will increase the gloss and transparency of oil paints. Tri-Art Orange Scented Thinner 250ml: $6.00 Total Available in: 250ml 500ml A mild, pure mineral spirit with a light orange fragrance. Can be used for thinning oil paints, and cleaning brushes and 500ml: $10.00 Total painting tools. 28 Gessos, Mediums and Solvents Tri-Art Odourless Solvent 250ml: $6.00 Total Available in: 250ml 500ml Odourless Solvent is a virtually scent-free, mild mineral spirit that that has had some of the harmful aromatic solvents removed. 500ml: $10.00 Ideal for thinning oil paint, as well as cleaning brushes and painting tools. Eco-House Xtra Mild 250ml: $15.00 Total Citrus Thinner Available in: 250ml 500ml 500ml: $20.00 Total 1 Litre Mineral spirits with a light orange fragrance. Can be used for thinning oil paints, and cleaning brushes and painting tools. 1 Litre: $25.00 Total 29 Gessos, Mediums and Solvents PLEASE NOTE: Stevenson brand paints, gessos, mediums, and solvents have been discontinued. As a result, we are not able to do special orders for this brand. Stevenson Acrylic Gesso 470ml Gesso is ideal for priming raw, unstretched canvas, or other surfaces $17.00 Total one intends to use for painting. 3-4 coats of gesso is ideal. Stevenson Acrylic Gloss Gel 1 Litre Ideal for extending the colour volume and $40.00 Total adding transparency to acrylic paint without compromising the consistency and adhesive properties. Stevenson Impasto Acrylic Gel Ideal for adding texture to acrylic paint to create $17.00 Total impasto techniques. 30 Gessos, Mediums and Solvents PLEASE NOTE: Stevenson brand paints, gessos, mediums, and solvents have been discontinued. As a result, we are not able to do special orders for this brand. Stevenson Alkyd Medium 500ml Accelerates the drying time of oil paints, and can be used in glazing techniques. $28.00 Total Stevenson Acrylic Gloss Varnish 1 Litre Adds a high gloss sheen, protects and resists dirt retention. $38.00 Total Increases brightness and colour saturation. 31.
Recommended publications
  • A Closer Look at Santos
    A Closer Look at Santos Objects tell us about ourselves. As we look at their style and symbolism, we can tell a great deal about the artists who made them and about the societies in which artists lived and worked. When we extend our observations by means of techniques that "see" more than the naked eye, we also expand what we can learn. Creative processes - the materials and techniques that artists chose, cultural and traditional influences - become apparent, along with physical evidence of an object's particular history. What has happened to an object may tell us about shifts in its place in society and thus about a society itself. In A Closer Look at Santos, we address other ways of looking at santos, intended for anyone interested in a long and still lively cultural tradition. Santos have been made for centuries, since the early Spanish Colonial era. In the Americas, three main traditions of artisanship - Flemish, Italian, and Spanish - contributed to a distinctly New World style, which blended local expressions and native materials with older imported styles. Today, dedicated artists in Hispanic-American communities are still creating santos, working within an evolving tradition steeped in a rich history but adapting to modern society. Santos, as objects of veneration that play an important role in religious life, lie at the very heart of the Latino cultural tradition. Specialized scientific techniques offer new ways to appreciate them and thus to celebrate some of the many threads that weave the tapestry of contemporary American culture. Seeing with Scientific Techniques In examining santos, archives of historical and anthropological literature are important sources, as are comparative studies of imagery - iconography and iconology.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Grounds for Painting
    PAINTING GROUNDS Unprepared painting supports must be primed Traditional Oil Painting Gesso: before paint can be applied otherwise they are True gesso is the traditional ground for oil too absorbent. The gesso, or painting ground, is painting. It is essentially a white painting ground made the first (prime) layer of paint to be put on the from a mixture of chalk, white pigment, glue, and support in order to isolate the support from water. True gesso is best applied to a rigid surface such subsequent layers of paint. This first layer makes as an unfinished wood or masonite the support more receptive to paint. panel as it is gypsum & generally too brittle marble dust Acrylic Gesso: for fabric supports. To make Today, acrylic gesso is the most traditional gesso, the commonly used primer for either oil or ingredients are titanium dioxide acrylic paints. Acrylic gesso is not a true mixed in a double gesso but is generally referred to as boiler over low heat. The glue serves as a binder to such. It is the best ground for use with create a smooth, spreadable gesso, which is free of acrylic paints, as both ground and paint are flexible bubbles. Once ready, the gesso can be applied to the when dry and contain polymer binders which make support in successive coats at right angles to one for good adhesion. Acrylic gesso can also be used as another. The final coat must be sanded to remove the a ground for oil paints but it is recommended that at brush strokes and then left to cure for at least two least 3-4 coats of gesso be applied to the painting weeks.
    [Show full text]
  • Egg Tempera Technique
    EGG TEMPERA MISCONCEPTIONS By Koo Schadler "Egg tempera is a simple, cheap, easy-to-use technique that produced gorgeous effects...Yet nobody seems to know it." Robert Vickrey (1926-2011) There are many misconceptions regarding egg tempera, and reasons for their existence and persistence. A superficial understanding of tempera limits its potential. This handout hopes to dispel some of the myths. THE REASONS FOR MISCONCEPTIONS Reason #1: The Influence of the Renaissance Egg tempera reached its peak of popularity and achievement in the early Renaissance (approximately 1400- 1450) in Italy, and is notably associated with that time and place. Most Italian, early Renaissance paintings present a less naturalistic, more idealized rendering of the world: minimal light and shadow effects; more high-key (light) values; purer, less dirtied color; cooler color temperatures; less fully three-dimensional forms. For the most part these visual choices are not inevitable to egg tempera. Instead they reflect the less realistic, more spiritually oriented medieval perspective still present in early 1400s Italy (consequently changed by the Renaissance). Because most of these paintings were done in egg tempera, people presume the medium (rather than the culture and its thinking) accounts for this aesthetic. Misconceptions also arise from egg tempera’s association with Italian Renaissance working methods. Masters and guilds taught a successful but prescribed way of developing a painting. Its not the only way to work in tempera, but often is presented as such. Reason #2: Egg Tempera’s Disappearance Renaissance artists aspired to increasing realism in images. Oil painting has advantages (described in Misconception #7) over tempera in depicting the material world and, by the late 1400s, oil became the predominate medium of the Renaissance.
    [Show full text]
  • Adhesives and Sizes
    MATERIALS INFORMATION and TECHNICAL RESOURCES for ARTISTS - Adhesives and Sizes A “size” is a material that is applied to a support (wood, fabric, etc.) to effectively seal the surface and serve as a barrier layer between the support and the paint and ground layers. Certain materials used as size will help to prevent Support Induced Discoloration (SID), a phenomenon that occurs when water-soluble impurities in the support migrate up through the ground and paint layers. A layer of size reduces the absorbency of the support, but size should not be applied too thickly. Too thick an application can lead to problems of delamination. It is best to use either a sponge or a brush and apply an even, thin solution that effectively penetrates the surface of the support. Sizing both the back and front of wooden supports will help mitigate warping of the panel. It is generally best to also size the sides of the panel. This is even more important if the support will remain unframed or is of lesser quality wood. Fabric supports, whether adhered to a rigid panel or mounted onto a stretcher, tend to shrink once properly sized. This is especially true when an animal glue size is used. Sizing reduces the absorbency of the fibers (preventing “strikethrough” or mediums/solvents from seeping through to the back of the support), protects the canvas from the acidity of certain materials (e.g. drying oils, alkyds), and creates a taut, planar surface suitable for painting. Table (courtesy of Golden Artist Colors, Inc.) summarizing results obtained using various sizes in combination with linseed oil grounds and canvas supports.
    [Show full text]
  • GROUNDS from the Beginning of the Earliest History Of
    GROUNDS From the beginning of the earliest history of the creative arts, grounds were used in the preparation of the creative process. A ground is a first coat of paint or other preparation applied to the surface to be painted. It is designed to protect that support from dampness and atmospheric pollution as well as make a suitable surface which holds the paint. The ground gives the desired qualities of color, smoothness, rough texture, absorbency, or repellent base. The four types of commonly used grounds are oil, gesso, emulsion, and acrylic. Oil -- made by grinding pigment, then mixing with oil. Usually linseed oil or walnut oil. Gesso -- made of ground gypsum or chalk mixed with water, glue, or gelatin (which hardens as it cools) to provide a dense, brilliantly white absorbent surface for an assortment of paints. It is applied to the support's surface in several coats. The first coarse undercoat is called "gesso grasso": the final fine surface coat is known as "gesso sotile." Allowed to harden thoroughly, it is then lightly sanded. The result is surface as smooth as an egg shell. It accepts paint readily, but has enough texture to act as a slight brake, which helps the artist control the brush stroke. Emulsion -- a painting medium containing materials which will not mix (such as oil and water or water and resin), unless combined by an emulsion agent. Agents can be natural (egg yolk or milk of figs), artificial (gums or varnishes), or soponified (fatty oils or wax). Tempera is an example of an emulsion. The egg tempera is equal parts powdered pigment, egg yolk and water.
    [Show full text]
  • The Pete Swann Quick Guide to Painting with Egg Tempera
    The Pete Swann Quick Guide to Painting with Egg Tempera www.peteswann.co.uk Painting is a bit like chess - an hour to learn, a lifetime to master. Here’s a quick guide to that first hour… About egg tempera Egg tempera has a long history as a painting medium. It was widely used in ancient Egypt, Greece and the Roman world and there are many surviving examples. It involves mixing powdered pigment with egg yolk and water to make an emulsion. The paint is quite translucent and dries very quickly so it can be layered into complex compositions. The paint remains soft for a while but gradually hardens into a tough film of extraordinary durability. Egg tempera protects and preserves the support that it is painted on and tends to brighten with age. Oil paint is acidic, causes its canvas to slowly disintegrate and darkens with age. The most famous egg tempera painting is probably Boticelli’s Birth of Venus from 1485. The medium was in widespread use in medieval times and the early renaissance, particularly for religious icon paintings. Many of them survive in perfect condition due to the properties of the emulsion. After about 1500, when oil paint became widely used in Europe, the popularity of egg tempera rapidly declined. In later centuries William Blake used it, and there was a modest revival in the 20th century by Marc Chagall, Giorgio di Chirico, Mark Rothko and others. When I first tried it I worked on paper and cardboard. Later on I discovered that renaissance painters sometimes glued linen onto wooden panels and primed them thickly with gesso, sanding them down to make a smooth white surface to paint on.
    [Show full text]
  • Exposed Gesso on an Oil Painting Change Course Solely Based on Concern for Future Cleanings
    Exposed Gesso on an Oil Painting change course solely based on concern for future cleanings. Since exposed acrylic primer is more receptive to dust and contaminants, we think you might want to consider using a picture varnish that is appropriate for both oils and acrylics. This varnish should be one where resin and solvent content can be determined, so you can include this information with the painting, along with a general description which explains the surface is acrylic dispersion primer and oil paint. Documenting the materials used and sequence of application goes a long way toward ensuring the permanence of your work, and it's a great service to the collector as well. If you include that information Ask the Experts: “My paintings are done in oils, with the finished piece, a qualified conservation but there are large areas of white acrylic gesso specialist will know what to do from there. which I like to leave unpainted. Is there any reason to worry about how this will age? Will it cause problems later if the painting needs to be cleaned?” A: While we can’t speak to how a conservation professional would treat your artwork, we consider the instance of some exposed acrylic ground on an oil painting to be "within tolerances" and not a malpractice. Many, many artists include passages that are very sparsely covered or completely exposed. Especially if that approach is helping you achieve a specific visual effect, we don’t think you should Intended for reference only. Observe all package instructions. Dick Blick Holdings/Utrecht Art Supplies is not responsible for any damage to personal property that may result from use of the information presented herein.
    [Show full text]
  • Painted Wood: History and Conservation, on Which This Publication Is Based
    PART SIX Scientific Research 464 Structural Response of Painted Wood Surfaces to Changes in Ambient Relative Humidity Marion F. Mecklenburg, Charles S. Tumosa, and David Erhardt (RH) produce changes in the materials that make up painted wood objects, alter- Fing their dimensions and affecting their mechanical properties. The use of wood as a substrate for paint materials presents a particular prob- lem. In the direction parallel to the grain of a wood substrate, applied paint materials are considered to be nearly fully restrained because wood’s longitudinal dimension remains essentially unchanged by fluctuations in relative humidity. In the direction across the grain, however, moisture- related movement of an unrestrained wood substrate may completely override the less responsive paint layers. In this situation, stresses induced in the ground and paint layers due to changes in RH are completely oppo- site to the stresses parallel to the grain. To quantify the effects of RH fluctuations on painted wooden objects, tests were conducted to determine the individual swelling responses of materials such as wood, glue, gesso, and oil paints to a range of relative humidities. By relating the differing swelling rates of response for these materials at various levels of RH, it becomes possible to deter- mine the RH fluctuations a painted object might endure without experi- encing irreversible deformation or actual failure (cracking, cleavage, paint loss) in the painted design layer. Painted wooden objects are composite structures. They may incorporate varying species of wood, hide glues, gesso composed of glue and gypsum (calcium sulfate) or chalk (calcium carbonate), and different types of paints and resin varnishes.
    [Show full text]
  • Brilliant Colors with Egg Tempera Made Easy by Marjorie Sarnat a Centuries-Old Painting Technique Is Back, but Without All the Fuss
    Brilliant Colors with Egg Tempera Made Easy by Marjorie Sarnat A centuries-old painting technique is back, but without all the fuss. You don’t need to be a monk to illuminate your artwork with incredible detail and radiant color. Mix it in minutes and paint away! ABOUT EGG TEMPERA with the medium. All you need is an egg, water, and watercolors. I can’t guarantee works will last The egg tempera technique dates back to antiquity. centuries like those of the great masters, but I, myself The Ancient Egyptians used it to paint onto stone, have paintings completed more than 30 years ago and Byzantine artists in Europe used the medium that are still bright and intact. for their illuminated manuscripts. Amazingly, their colors are still vivid today. Note: Pre-mixed egg tempera paints are available, but in my opinion fresh egg mixtures offer the most ADVANTAGES OF EGG TEMPERA vivid color. • Egg tempera produces glowing permanent TOOLS AND MATERIALS colors, more vibrant than can be achieved with any other paint or medium. • Egg tempera ingredients — fresh egg, water • Egg tempera has a consistency that allows for (distilled preferred), and vinegar (optional) incredibly fine detail and delicate line work. (see “Recipe for Simple Egg Tempera”) • Egg tempera is opaque and bright, even over • Cup dark backgrounds. • Toothpicks for mixing • When egg tempera is thinned with water, it • Eyedropper, small palette knife, or small brush becomes translucent. It is not as transparent not to be used with paint. #2 round is a great as watercolor nor is it as opaque as gouache size.
    [Show full text]
  • Utrecht Art Supplies Product Profiles: Modern and Traditional Sizings Compared
    Utrecht Art Supplies Product Profiles: Modern and Traditional Sizings Compared support-induced discoloration (staining of acrylic gesso from compounds in hardboard panels). A flat, dimensionally stable surface helps promote durability in paintings on canvas. By providing rigidity, sizing ensures that even if the canvas loses peak tension, it remains reasonably flat and does not change dimension enough to compromise the bond between sizing, priming and paint. One of the most important factors in ensuring the durability of a painting is good preparation of the support. Canvas, paper and panels can be prepared for lasting, professional results with a variety of time-tested, traditional and modern materials. Size or “sizing” is a glue applied to cloth, paper and panels to stiffen, shrink and isolate the support in preparation for priming and painting. Isolation of the support is necessary to protect canvas and paper from direct contact with the acidic oil paint vehicle, which can cause yellowing and embrittlement. Sizing also supports vibrancy and adhesive power of paint by protecting against loss of vehicle into the support; some types may be used to block Rabbit Skin Glue Rabbit Skin Glue is a traditional animal-derived artists today prefer convenient, ready-to-use protein sizing. Natural materials like hide glue, synthetic sizings that offer some of the same casein (whey protein) and isinglass (sturgeon properties as RSG with better durability. bladder jelly) have been used for centuries to size and protect painting supports. It’s believed that painters discovered the protective effect of hide glue sizing upon observing the good condition of paintings on canvas-covered panels.
    [Show full text]
  • Utrecht Art Supplies Painting Grounds: Oil-Based Vs Acrylic?
    Utrecht Art Supplies Painting Grounds: Oil-based vs Acrylic? textured supports. By comparison, drying oils are much weaker adhesives and can (under adverse conditions) de-laminate from the support. Convenience/Simplicity Most support materials must receive an isolation layer of some sort of size before applying an oil ground, then the oil ground must dry before use. These additional steps make single-day support preparation practically impossible. Acrylic Gesso serves Ask the Expert: "Why would anyone use both as an isolation coat and ground in one, a polymer/acrylic based gesso as so it's possible to prime one day and paint substrate for an oil painting? Wouldn't the next. an oil based primer be better?" Compatibility A: Acrylic dispersion painting ground (gesso) is highly compatible with oil paint. Acrylic dispersion painting ground can be There are a number of advantages to using applied to a wide range of materials, an acrylic-based ground under oil paint: including canvas, paper, panel, stone, leather, bisque-fired ceramic and even Flexibility some metals. Oil paint loses flexibility with age. Acrylic Oil-based grounds do offer advantages of dispersion painting ground (Gesso) retains their own, and there are many artists who flexibility much longer into antique age than prefer the smooth brush movement and oil paint. lower absorbency of oil priming. Some Absorbency artists also find that acrylic gesso has a Utrecht Acrylic Gesso is formulated to slightly abrasive surface, and believe oil absorb just enough oil paint vehicle to form priming is easier on brushes. Probably the a strong bond without leaving the paint most popular advantage to oil priming is its under-bound.
    [Show full text]