Alexandro
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In the article Sinking In, Oiling Out And Retouching Varnish: Part 1 (Which I loved for how well it was made and researched, still waiting for the Part 2) you quote Arthur Pilans Laurie’s book on
“Oiling out will result in darkening. If the picture has become matte in some places, try polishing it with a lint-free cloth. If oiling out must be resorted to, use the very minimum of oil, rubbing off all excess with a rag.”
I tried with an old painting I did with a chamois intended to serve as a lint-free cloth and it picked up some paint color. I then tried a lint-free microfiber cloth such as the one that comes with a new pair of sunglasses and I didn’t really see much difference.
Julie Beck from The Academy of Realist Art in Boston has a video titled Sinking In and Oiling Out where she uses a “makeup sponge with a little bit of linseed oil on it, I’ved dabbed up excess, and then I’m going to oil in… what I’m also going to do now is to take the dry side of the makeup sponge or a brand new makeup sponge and I’m going to try to remove any excess linseed oil… we want to minimize the amount of oil that we have here”
So would you say this is the correct way to bring back the true nature of the paint to make better judgements on how to continue the painting or would a lint-free cloth would still be the preferred way. What lint-free cloth could work?
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Thank you George! It’s a lot clearer now. Although I am still curious about that lint-free cloth method he mentions. I am assuming he refers it as an in-between layers step, or is it as a final step?
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Hi George! Which as you mentioned may have long-term consequences for the oxidative polymerization of oil paint, causing it to form weak paint films that are susceptible to moisture and solvents. But wouldn’t the varnish protect the weak paint film from moisture and solvents? And other environmental issues