Administrator George
AdministratorForum Replies Created
-
There is some interest in creating neutral grays among artist materials manufacturers, and some have done so. Williamsburg has a few neutral grays. We do not have any plans to develop neutral grays at this time, but we are interested in making neutral grays based on lead white at some time.
-
Jody,
For Regalerez 1094, use odorless mineral spirits or any mineral spirits. Laropal A81 requires mineral spirits with at least a 30% aromatic content. A lacquer thinner or VM&P naphtha solvent should also work.
We are working to bring our varnishes to Europe, but there is a lot of red tape to overcome.
-
Jody,
Cleaning the painting surface is very important because dust and air pollution collect on surfaces that can interfere with the adhesion of paint and varnishes. Avoid using tack cloths for cleaning or dusting because they contain lubricants that also interfere with the adhesion of paint and varnishes. The Cleaning course provides the correct procedure for cleaning paint and varnish surfaces.Paraloid B72 is not a “metal” coating but is often used as a varnish by conservators. While it is an excellent varnish to mitigate sinking in, the solvents used to dissolve Paraloid B72 can present issues for artists who choose to use this varnish on their paintings. We usually recommend an alternative varnish, such as Rublev Colours Isolating / Finishing Varnish, which contains Laropal A81 as an isolating varnish when there are large matte areas on the finished painting. This varnish contains less “aggressive” and slower-evaporating solvents. making application easier.
-
Varnish cannot protect the underlying paint film from solvents used to remove varnish or to clean the painting. Varnish coatings are not impermeable membranes. Humidity and moisture have no trouble passing through them.
-
Varnishes provide limited protection from the environment, but the problem, in the case of clove oil in the paint, is not the environment but rather the potential defects in the paint film due to an oxidative process that is impaired by the anti-oxidant (eugenol) in clove oil.
-
Geneva Paint contains clove oil which we know interferes with the natural oxidative process of oil paint.
-
Oiling out as the final layer of paint is not recommended for the reason that oil darkens and yellows over time. Applying a final layer of oil or oleoresinous medium will cause darkening. To correct uneven sheen, it is recommended to do so with a picture varnish.
Oiling out between layers may be necessary to adjust the hue and tone of paint to match the existing paint layer with the wet paint to be applied. The oil can be applied in any number of ways, such as with fingertips, makeup sponges, cloth, brush, etc. The key is to avoid rubbing too vigorously, which can lift dried paint from underlying layers.
-
Go to the Zoom tab in the Cohorts group and on the left side, you will see two more tabs: Upcoming Meetings and Past Meetings. You will find the recordings in the Past Meetings tab. Some recordings will not be available because we had to move them to a different location, which we will announce later this month.
-
In regards to water-miscible oils (WMOs), this statement by Brynn Sundberg and Anthony Lagalante provides an important reason why we should examine the properties of WMO paints:
Water-mixable oil (WMO) paints are a relatively new addition to the artists’ palette that have increased in usage and popularity over the past few decades. Understanding the composition and properties of WMO paint is essential for the artists who use them and for the people who work with WMO paintings—particularly art conservators. However, the formulations that make WMO paints possible remain undisclosed by paint manufacturers.
Winsor & Newton released their Artisan Water-Mixable oil paints and mediums in 1997. Today, WMOs are available from more brands, including Royal Talens (Cobra), Grumbacher (Max), Holbein (Aqua Duo), and Lukas (Berlin). Each brand has its proprietary means to create water-miscible products.
Due to the rising popularity of WMOs, there is a need to uncover and understand their chemistry. In addition, many artists are combining traditional oil (TO) with WMO paints in ways most likely not anticipated by manufacturers. It is essential to learn more about their use in contemporary painting. Artists can make informed decisions about using WMO paints in their works, and conservators can improve their treatment of paintings.
In their paper, the authors analyzed Winsor & Newton Artisan WMO paints and found the following:
An exudate that formed from the cured paints was also analyzed. More-saturated fatty acid esters, POE oleate and POE stearate, were detected; however, more-reactive POE fatty acid esters were found absent, providing insight relating to the stability of surfactants in the Artisan WMO paints as well as potential curing reactions.
Surfactants can provide positive benefits to paint, but their use does not always positively affect all properties. The addition of surfactants can decrease the water resistance of the coating since surfactants can be very water-soluble and will easily wash out of the paint. Moisture resistance is a particularly prevalent problem for art conservation and issues with adhesion, loss of optical clarity, and dirt pickup caused by surfactants in contemporary acrylic emulsions used in artworks with acrylic paints.
The use of surfactants in paint is a concern because of its potential for phase separation. When a solution undergoes phase separation, it becomes cloudy; hence, the process in surfactant solutions is often referred to as the clouding phenomenon. It has been well-established that phase separation is primarily due to the dehydration of the surfactant’s hydrophilic groups when the temperature is increased.
HPLC-MS studies were contextualized with physical observations and surface measurements that were performed on the cured samples. Tacky surfaces observed on the cured paint films showed significantly higher surface gloss and surface hydrophilicity; these observations were quantified using glossimetry and droplet contact angle measurements. These results provide insight into the unique chemistry present in WMO paints and provide a basis for future studies for art conservators and conservation scientists working with this new media.
Based on their study, the authors made several conclusions regarding the crucial physical properties of WMO paints:
The clear variation in surface gloss and the persistent tackiness on the surfaces of the film likely result from surfactants that have migrated to the boundaries of the paint films.
Evidence of surfactant migration was found in the samples studied, which supports the general observation that surfactants tend to separate from dried paint films and migrate to the surface, leading to glossier and tackier paint films.
More conclusive evidence of surfactant migration was found in the fatty acid ethoxylates and other POE surfactants exuding from the WMO paint-outs. While the exudation of polyethylene glycol, fatty acid ethoxylates, and other POE surfactants is of concern, it has not yet been observed in other studies. Again, more complex, layered paint models will change whether such outcomes are observed, but the tendency for medium separation seems to be inherent to the less-cured WMO paints. Initial solubility results indicated that if such an exudate was to be removed from a painted surface, polar solvents should be avoided.
The exudate also makes cleaning more complex when compared to traditional oil paints, and polar solvents are to be avoided.
The paper recommends further studies to verify the findings and to understand the long-term mechanical behavior of dried WMO paintings.
Source
Brynn N Sundberg, Anthony Lagalante (2021). Characterization of non-ionic surfactants in Winsor & Newton’s water-mixable oil paints. Journal of Cultural Heritage. January 2021. DOI: 10.1016/j.culher.2020.12.008.
-
Trevor, it is as simple as that. Please refer to these articles for more information:
https://www.naturalpigments.com/artist-materials/earth-pigments/
https://www.naturalpigments.com/artist-materials/more-natural-earth-pigments/ -
The main oil constituents of clove oil are eugenol (70–95 %), eugenol acetate (up to 20 %), and β-caryophyllene (12–17 %). Eugenol is an anti-oxidant that interferes with the drying process of vegetable drying oils. This 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.
-
Tammy, follow the recommendations on this page for preparing the coated surface of the ACM:
https://www.naturalpigments.com/lead-alkyd-ground.htmlYou will get better adhesion with the Rublev Colours Lead Alkyd Ground than the Rublev Colours Lead Oil Ground ON ACM.
We do not recommend painting directly on the coated surface of ACM, because oil paint does not exhibit the best adhesion on this surface.
-
You can use clove oil in this manner to retard the skinning and drying of oil paint on a palette. Read more about this here: https://www.naturalpigments.com/artist-materials/clove-oil-paint
-
It is only about oiling out between paint layers and not the final layer.
-
Weakening the binding agent in the paint—the glue that holds the pigment together and to the substrate.
Social Links