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Making Oil Painting Mediums.Pdf DESiGNPO NTi design, painting, illustration, writing and popular culture @ large Making Oil Painting Mediums The most important thing to understand about painting mediums, are the characteristics, that each component of a medium possesses, so that the artist can create a desired paint film. For example, if one wanted to create a glossy surface, one would use a Dammar varnish. Dammar, though a fine varnish on its own, is too viscous in its manufactured state and therefore needs to be thinned with turpentine. Dammar also dries into a very brittle film and therefore should be made more flexible by the addition of an oil. This is only an example of how to ascertain a desired finish and knowing how to compensate for its shortcomings. In order to help ascertain other qualities for a desired paint film, here is a list of available oils, varnishes and driers and their characteristics. OILS Linseed Oil A drying oil that dries to a semi-gloss to matte finish, depending on the pigment it contains. It dries relatively slow. Walnut Oil Also a drying oil that dries to semi-gloss to matte finish as well. It is usually used in oil-egg tempera emulsions. Poppy Oil A very slow drying oil, that is very clear and dries to a brittle film and therefore recommended to be used in combination with a more flexible oil such as linseed oil. Sunflower Oil A non-drying oil that is very clear. Lavender Oil A slow drying oil, which retards the drying time of other oils. Clove Oil Also a very slow drying oil, which can be added to other oils to retard their drying time. Use only drops. BALSAM Larch, Venetian and Strasbourg Turpentines Very viscous turpentines, which are left in their post extraction state or made more viscous by the addition of colophony resins. They make a beautiful thickener for oil painting mediums. Especially suited for mediums that are used in fine detail or glazing work. They must be used in combination with an oil to prevent cracking. Canada & Copaiva Balsam Also gained by extraction from trees, that contain a mixture of resins and oils. These two are hailed as the best because of their workability and the ability to use them as a sole medium. Rectified Turpentine The product of the distillation of the viscous pine tree sap. In the distillation process such resins as colophony are removed to create a clear liquid which makes a great thinner and drier for all oil painting mediums. Turpentine has no binding power on its own and can therefore not be used alone in combination with pigment. VARNISHES Dammar Varnish A combination of rectified turpentine and the crystalline Dammar Resin. As mentioned earlier it creates a glossy film that needs to be stabilized with an oil and can be thinned with turpentine for easier brushability. By the addition of beeswax the glossiness of the film can be reduced from a semi-gloss all the way to matte finish. Mastic Varnish Manufactured in a similar fashion as Dammar Varnish. It also dries to a glossy finish, but remains more flexible in film than the Dammar and is therefore preferred as a picture varnish. DRIERS Cobalt Drier A very potent drier that should be used in very small (drops) quantities. Too much drier causes paint films to crack. DESiGNPO NTi design, painting, illustration, writing and popular culture @ large Turpentine Also acts as drier and can be added generously as drier to oil paints. All of the above ingredients can be intermixed to create any sort of paint medium (slow drying, glossy, matte, viscous, etc.). However, it is important to consider whether the painting medium will dry in a reasonable amount of time and whether the dry paint film will be flexible enough to keep from cracking. MEDIUMS Oil Painting Mediums: rembrant mediums, old masters mediums, old master's secret recipies, Sun Thickened Linseed Oil This is probably the greatest secret a painter can learn; it can be made easily by artists with minimal cost and effort. Before I tell you how, I must extol it virtues, since when appreciated for it true potential it will change all paintings hugely, please really think about what I have just said! It will allow you to form a glaze to stretch out colour out without it breaking or failing so thinly it reduces to a point where your eye can no longer be sure its actually there. Or stated another way imagine creating a shadow on the side of a face with burnt umber, you want it to fade softly at its edge, where it meets normal light. This will allow you to fade it in a controlled way without it smudging to nothing on the ground or in this case the dried paint of the cheek below. You need: One cooking pan about 10 inches by sat 7 or 8 inches and about 4” deep One glass sheet slightly bigger than the pan 4 pieces of wood matchsticks are ideal Linseed oil, about half a litre or half a pint. Take a litre or so of refined linseed oil, pour it in a metal tray, enamel cooking ones are ideal. Pour it so that its about half an inch (12mm) deep you will need a glass sheet slightly bigger than the pan to cover it over, place 4 small pieces of wood (discarded matches are ideal) to act as spacers so the glass sheet is slightly lifted off the cooking pan. This allows the passage of air and keeps most airborne rubbish out; flies will have to be removed by the butler. Leave it in a window in direct sun light, stir or wisk it every other day for a minute or so just as you would eggs; this will aerate it, you will find after 10-15 days it is becoming thicker and more goopy. The thicker you prefer, the longer you continue the process. The thicker the viscosity, the greater the handling, you will have to explore this for your own preference. It will also speed up the drying of all paint and mediums that it's used in. The best general all around purpose glaze: Glaze: Damar Varnish - 1 part (15%) Stand Oil - 1 part (15%) or sun thickened (sunthickened oil will do even better) Pure Gum Turpentine - 5 parts (70%) Or Damar Varnish - 1 part (33%) Stand Oil - 1 part (33%) (sunthickened oil will do even better) Pure Gum Turpentine - 5 parts (33%) Cobalt Drier - 12 drops (optional not recommended) Gum Damar is very simple and much more economical to make oneself. Damar resin is tapped from the damar fur tree mainly in Thailand, Malaysia and Indonesia. It comes in lump form and dissolves in gum turpentine. You simply wrap the resin lumps in a white cotton cloth (tie with string) and soak in turpentine for about 24 hours, the resin desolves leaving the dirt and foreign bodies within the cloth. The medium then must be stored in containers that do not allow the passage of light, this will result in yellowing and cloudiness because of the water that is naturally present. Pure Gum (Portuguese) Turpentine (Pinus Maritima) This is the purest form of turpentine. It is extracted from Portuguese marine pine trees. This is the least prone of all turpentine to oxide, and is the closest to the old turpentine traditionally used. Ordinary Turpentine Hardware store grade for decorating use. Not really good enough for artistic works. DESiGNPO NTi design, painting, illustration, writing and popular culture @ large Cold Pressed Linseed Oil A slightly yellow / brown oil which is extracted without the use of heat but in this unrefined form will exaggerate yellowing. Used to reduce the consistency of oil colours, increase gloss, flow, and transparency whilst reducing brush marks. The further refinement creates refined linseed oil, which is what we use in the making of Michael Harding artist oil paint. Recipes for fast-drying painting mediums 3 egg yolks 1 part stand oil 1 part damar Or 1 egg yolk 1 part stand oil Egg yolk is one of the most ancient and permanent materials. Directions: Wash hands before starting. Separate the yolk from the white by gently passing the yolk from one hand to the other - discard the white. Place the yolk in a clean small jar. Puncture the yolk; mix stand oil in drop by drop stirring into emulsion vigorously.Recipes for slow-drying painting mediums Poppy Oil Will keep pale colours from yellowing but does not have the physical strength of linseed oil and should only be used in moderation as a finishing off paint. It will keep pale colours bright and clear. Copal concentrate and Canada Balsam Copal concentrate and Canada Balsam produce a fast drying gloss painting and glazing medium. It dries in four hours. Ingredients: 1 part canada balsam 1 part copal concentrate Rich Copal Medium 1. Mix the Copal concentrate into the Canada Balsam, stirring them until they are blended. 2. For painting and glazing, use straight. 3. For picture varnishing, add with an equal volume of turpentine. How to use: The excellent handling characteristics of Copal concentrate makes this varnish suitable for glazes using either dry pigments or tube oil. As a picture varnish, apply the diluted mixture in thin coats over the dry painting. It can be used over all mediums except waxes and synthetic resins. You can dip your brush in oil to facilitate smooth handling. DESiGNPO NTi design, painting, illustration, writing and popular culture @ large BEESWAX AND MASTIC TEARS Use this to seal the canvas against atmospheric destruction of oil paintings from the back, where dampness can come through the ground.
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