On this page I will discuss things of interest to oil
painters. Materials such as, mediums, pigments, resins,
and thinners, as well as the techniques of oil painting.
It use to be my passion to read old books and
manuscripts from the past in hopes of finding something
of value. There are several things I did find,that at
one time I thought I would never share, but have since
changed my mind. A few quick examples:....(1.) There has
been much speculation and confusion with amber varnish
over the centuries. If you believe Leonardo Da Vinci, he
told what it was in his manuscript on materials.
(2.)The mysterious oil recommended by Cennino d'Andrea
Cennini. An oil made he said by cooking in the summer or
August sun. Keep it there until it is reduced to half
and it will be the most perfect for painting.
" I can give you nothing better.", he said.
As anyone who has worked with oil knows, a fixed oil
would sit in a container forever and probably form a
dried film on top before ever evaporating. Writing in
the 1800's Sir Charles Eastlake , said after reading
this replied, " poppy cock." For centuries it was thought
that there must have been a misinterpretation of the
original manuscript. It has been ignored for centuries.
One day after doing some experiments, I quite by
accident discovered a drying oil that will evaporate.
Remembering have read this account many years before,
my knees almost buckled. I may be the only human on the
planet that could share this information with you.
( See contact page.)
(3.) What is the emerald colored liquid in this jar ?
Give up? It is linseed oil.
The old Spanish masters like Valasquez considered it the
best of all driers. It took me years to figure this
simple process out.
painters. Materials such as, mediums, pigments, resins,
and thinners, as well as the techniques of oil painting.
It use to be my passion to read old books and
manuscripts from the past in hopes of finding something
of value. There are several things I did find,that at
one time I thought I would never share, but have since
changed my mind. A few quick examples:....(1.) There has
been much speculation and confusion with amber varnish
over the centuries. If you believe Leonardo Da Vinci, he
told what it was in his manuscript on materials.
(2.)The mysterious oil recommended by Cennino d'Andrea
Cennini. An oil made he said by cooking in the summer or
August sun. Keep it there until it is reduced to half
and it will be the most perfect for painting.
" I can give you nothing better.", he said.
As anyone who has worked with oil knows, a fixed oil
would sit in a container forever and probably form a
dried film on top before ever evaporating. Writing in
the 1800's Sir Charles Eastlake , said after reading
this replied, " poppy cock." For centuries it was thought
that there must have been a misinterpretation of the
original manuscript. It has been ignored for centuries.
One day after doing some experiments, I quite by
accident discovered a drying oil that will evaporate.
Remembering have read this account many years before,
my knees almost buckled. I may be the only human on the
planet that could share this information with you.
( See contact page.)
(3.) What is the emerald colored liquid in this jar ?
Give up? It is linseed oil.
The old Spanish masters like Valasquez considered it the
best of all driers. It took me years to figure this
simple process out.
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Recommendations
In this section I will share with you my beliefs for painting with oils
correctly. The content in this area will change, so if you are a
painter check back often.
correctly. The content in this area will change, so if you are a
painter check back often.
Thinners - Don't use them. In my opinion they are
good for cleaning paint from the pallet and pallet
knife. If you absolutely must use them, only do so
in the first stage of the painting process. And
even then, think about number of drops instead of
drowning a brush with it. Work a drop or two into
the paint with a knife, then apply with your brush.
In my opinion turpentine or citrus thinner is
better than petroleum distillate or mineral spirits.
good for cleaning paint from the pallet and pallet
knife. If you absolutely must use them, only do so
in the first stage of the painting process. And
even then, think about number of drops instead of
drowning a brush with it. Work a drop or two into
the paint with a knife, then apply with your brush.
In my opinion turpentine or citrus thinner is
better than petroleum distillate or mineral spirits.
All Things Technical
Drying oils - are characterized by high levels of
polyunsaturated fatty acids. One common measure of the
(drying) property of oils is iodine number. Oils with an iodine
number greater than 130 are considered drying, those with an
iodine number of 115-130 are semi-drying, and those with an
iodine number of less than 115 are non-drying.
All oils are not created equal
Chemistry is a funny thing. No wonder there is so much confusion and
conflicting information on the merits or shortcomings of various art
materials. A substance is praised by one writer and condemned by
another. The chemistry of alkali refined linseed oil is different than raw
or cold pressed oil for example. The free fatty acids in linseed oil have
been neutralized in producing alkali refined oil and will react differently
in experiments, than say a raw linseed oil would that still has the free
acids present. Then there is acid refined oil, and on and on.
Normal viscosity linseed oil, polymerized linseed oil, produced by
exposure to sun and air, sun thickened oil, and polymerized linseed oil
produced by prolonged exposure to heat in the absence of air, stand
oil.
Today I was reading about sunflower oil, which is used by some
manufacturers for white paint, they say to prevent yellowing. More
about that later. I am sure those manufactures know this, there are 3
kinds of sunflower oil. 1. Linoleic, 2. Nu sun, 3. High Oleic.
Only number 1. will dry. Number 2 and 3 never would form a tough film.
So be careful if you run into the grocery store to buy an oil to paint with,
which is very economical, if you know what you are doing.
What Has That To Do With Painting ?
(later)
polyunsaturated fatty acids. One common measure of the
(drying) property of oils is iodine number. Oils with an iodine
number greater than 130 are considered drying, those with an
iodine number of 115-130 are semi-drying, and those with an
iodine number of less than 115 are non-drying.
All oils are not created equal
Chemistry is a funny thing. No wonder there is so much confusion and
conflicting information on the merits or shortcomings of various art
materials. A substance is praised by one writer and condemned by
another. The chemistry of alkali refined linseed oil is different than raw
or cold pressed oil for example. The free fatty acids in linseed oil have
been neutralized in producing alkali refined oil and will react differently
in experiments, than say a raw linseed oil would that still has the free
acids present. Then there is acid refined oil, and on and on.
Normal viscosity linseed oil, polymerized linseed oil, produced by
exposure to sun and air, sun thickened oil, and polymerized linseed oil
produced by prolonged exposure to heat in the absence of air, stand
oil.
Today I was reading about sunflower oil, which is used by some
manufacturers for white paint, they say to prevent yellowing. More
about that later. I am sure those manufactures know this, there are 3
kinds of sunflower oil. 1. Linoleic, 2. Nu sun, 3. High Oleic.
Only number 1. will dry. Number 2 and 3 never would form a tough film.
So be careful if you run into the grocery store to buy an oil to paint with,
which is very economical, if you know what you are doing.
What Has That To Do With Painting ?
(later)
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