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Non Necessary. Location Preferences. I am interested in Paint Graphic Art. My skill level is Professional. For example I use stand oil extensively as part of a solvent free method with soft brushes! I would however use stand oil more in upper layers. This is in part because I have found more of an issue with beading on stand oil rich layers than on linseed oil rich layers. Adding to the the consideration, stand oil is just as fat as linseed oil, however the drying time differs.
You want to paint slow drying over fast drying. If you paint in very very thin layers you can get away with non adherence to the said rules. I would add that you indicated that you wish to paint wet in wet? The real question here is what characteristics of tube paint do you wish to modify? If you simply want a more fluid paint then I would start by keeping it simple and just adding a little linseed oil.
If you wish to thin the paint to create more transparent layers, then things get a little more heated in debate! I like the enamel consistency of stand oil when mixed with paint, maybe a little bit too thick so I wonder if adding a touch of linseed is a good solution. I do mix linseed oil and stand. Rather a third set of characteristics can form.
A small amount of drier sorted that out…. The commercial equivalent would be M Graham walnut alkyd. Glad to hear that you are avoiding solvents in the house. Some artists do use a little bit of stand oil alone added to paint, hazyview just commented that he uses it solvent free. Not all paint must be used thinly at all times, some use thicker paint at times. There are certainly times when following the Ross wet on wet style that you do use thicker paint. They even formulate some of the wet on wet paints to be very thick due to the needs of that style.
One popular medium, known as Maroger's, was made by grinding pigments with "yellow varnish". Yellow varnish was made by melting dammar crystals a tree resin in hot linseed oil, mixing them with a water-in-oil emulsion paste. This paste was made mixing a gum arabic acacia tree sap solution into the same varnish. During painting, the colors were thinned with "black oil". Black oil is made by cooking linseed oil with white lead or Litharge. Some other materials that artists experimented with in their paintings, such as certain mastics, imparted desirable handling characteristics when wet and fresh, but proved disastrous over time, eventually destroying the paintings.
As you can see, the process of discovery and proof of performance of what might turn out to be poor materials could take generations to sort out this way. A mixture of linseed oil with mastic varnish, a plant resin, Pistacia lentiscus , lead acetate and turpentine created the medium called megilp.
Megilp was widely used in the 18th and 19th centuries for its buttery surface. However, if not mixed very carefully, it could crack, blister and turn brown with age. Today it is considered undesirable and outmoded and has been replaced with modern alkyd synthetics, such as Gamblin's NeoMegilp.
Solvents Changed Everything Experimentations with certain tree saps gave rise to the invention of the turpentine solvents. The development of an effective and reliable solvent through the process of distillation, paved the way for the further development of painting mediums. The solvents gave artists additional control over the consistency of their paints and imparted fluidity and rapid drying characteristics to early mediums. While certainly useful in the brush cleaning or paint removing processess of painting, a solvent's main action upon the oil paints is to break down the binding action of the oils, thus thinning the paint.
Thinning the paint beyond a certain point would lead to loss of adhesion, but with practice, artists figured out how to use thin paint safely.
Solvents also allowed mediums to be "cut" or diluted, often in precise amounts, which led to a greatly expanded variety of paint surface possibilities. This ability to thin the first layers of a painting without destroying the paint film adhesion eventually led artists to develop the very popular technique of painting "fat over lean".
With Progress, Some Losses A significant change occured at the time of this great scientific development. With specialists taking over the preparation of artists' materials, artists were able to concentrate entirely on the painting process. However, with this freedom from the laborious tasks of manufacturing their own paint materials, artists also lost their in-depth knowledge of the composition of their paints and other materials.
Good craftsmanship and a thorough knowledge of materials and methods continued to be the concern of some painters, but they were exceptions to the general trend. Oils can be used to change the drying time, the gloss and the consistency of colors.
They are helpful in maintaining flexilbility in paint, particularly when working fat over lean. They also help to prevent over-thinning when working with solvents. Refined Linseed Oil is steam-pressed and further refined with sulphuric acid and water to remove impurities. It adds gloss and transparency and has a durable film. This has made it one of the most popular binders in oil paint for almost five centuries.
However, it has some yellowing with age. It has a thin viscosity and dries at a moderately slow rate. Cold Pressed Linseed Oil is the purest grade of natural oil and is paler in color and less yellowing than hot pressed or solvent extracted oils. It also makes a stronger film. It dries slightly more quickly than refined linseed oil and increases gloss and transparency. It reduces consistency and brushstrokes, and is often used in grinding pigments.
Stand Oil is thicker than linseed oil. It creates a tough paint film without the yellowing tendencies of refined linseed oil. Stand oil causes oil colors to flow out as they dry, minimizing brush strokes. It is an excellent painting and glazing medium and can be thinned with turpentine and damar varnish.
It is not suitable for making oil paint. Stand Oil is made by heating linseed oil at a high temperature for many hours. The molecular change that occurs - polymerization - creates a a heavy oil close in consistency to honey. Drying Linseed Oil is darker than refined linseed oil. It promotes the fastest drying rate of all the oils, while increasing gloss.
It improves flow, and can be added to other oils to speed drying. Poppyseed and Walnut Oils have been used as drying oils from the earliest recorded times to the present day, but have always been less popular than linseed oil.
Poppy oil is naturally colorless or very light straw-colored. It is sometimes used in the manufacture of whites and lighter colored paints. It has a slow drying rate. Poppy oil yields a paint film that can become brittle with age. It increases film durability and is ideal for glazing and fine detail if mixed with a solvent.
Also, what can I use instead of linseed oil for oil painting? Some artists use walnut oil , safflower, or sunflower oil with success.
You need to use a drying oil , oil that dries by thickening and hardens with exposure to air, otherwise the paint will never dry. Walnut oil is the most common substitute. Stand oil causes oil colors to flow out as they dry, minimizing brush strokes. It is an excellent painting and glazing medium and can be thinned with turpentine and damar varnish. It is not suitable for making oil paint. Stand Oil is made by heating linseed oil at a high temperature for many hours.
Linseed oil is a common carrier used in oil paint. It can also be used as a painting medium, making oil paints more fluid, transparent and glossy. It is available in varieties such as cold-pressed, alkali-refined, sun-bleached, sun-thickened, and polymerised stand oil. Stand oil Is heated linseed oil. What is the best medium for oil painting?
The Best Mediums for Oil Painting.
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