Society of Equestrian Artists - "Talk about Art!"

First, the lecture.
The chemical side of oil painting is not like acrylics or other similar media. Oils are strong and long-lasting when used properly, but a disaster area if they aren't. You need to know exactly what you're doing with them, making it up as you go along just won't do with oils. This is even more the case if you want to sell them with integrity knowing they won't fall to bits.

You need to get and read a decent book, e.g.-
Emma Pearce's would be a start.
Artist's Materials: The Complete Sourcebook of Methods and Media
ISBN: 0572031467
and for more detail a modern updated edition of Mayer
ISBN: 0571143318
The Artist's Handbook of Materials and Techniques

(Both I have frequently mentioned before.)

Oils take, depending on thickness of paint, oil proportions used, types of oils used, and particular pigments used, between 3 months to a year to dry enough to be varnished- longer for very thick paint. (Pearce says at least a year, but that would be on a painting of average modern thickness. I work thin and lean, as a rule, so can do with less).

Lots of artists varnish earlier than recommended. My feeling is, on their own heads be it. If you want accurate advice on such things, you need to go to books such as the above, which are written by people who know about the chemical side. All sorts of artists do/have done all sorts of things, some sound, some unsound. Some get away with it, the majority don't. Munnings may have mixed varnish with his paints or done any number of other things which made his procedure appropriate, you just don't know, so titbits of information like this are dangerous to follow.

I, for example, have indeed (for a 'rush' job) handed a painting over when touch-dry, which takes from a day to a week, more if there is a lot of slow-drying pigment in it (i.e.Titanium White) or I have used alot of oil,  etc. but only on the strict condition that it is kept in a suitable clean environment and is returned to me for varnishing at the appropriate time. He may have done the same. Unvarnished paintings are normally dull matt on the surface when drying, so one doesn't normally exhibit them until they are varnished.

If the painting is touch dry, some artists use 'retouching varnish'. I don't myself. Never 'oil out' instead as a substitute for varnishing, it offers no protection and just attracts fluff.

(Also, Munnings may have done this painting'alla prima' i.e. in one go. paintings done that way don't have problems with layer adhesion, and other problems which you may well have if you have been working on a painting with big time gaps between layers without preparing the dry layer you are about to work on appropriately. )

Last edited by Seth (2010-02-19 10:40:50)

I undercoated my last painting in acrylics it worked a treat. Early days but been drying a month and so far so good.

I would never use acrylics under oils, but other people do an they seem happy with it.

Everyone just has to decide for themselves about these things, but you should do what you do on the basis of the best information you can get so that at least you know what risks you are taking. And you also need to keep up, as new research evidence emerges over time- I buy new technical books on a regular basis.

But having said that, turps and linseed and fat over lean are pretty sound materials and methods.

Also, while I'm on the subject, my canvas has gone a bit floppy in parts. Is there anything I can do about it or is it another thing which I need to learn from next time. (if so how do I prevent it?).

Oh I must be like those people who call computer helplines and get told to plug it in to the wall. I didn't put the wedges in. They didn't seem to be wedging anything when I tried so I assumed they went in at the end. I'll get my coat...

PS it doesn't matter which way you put traditional wedges in. Some people put them in so the hitting surface is at right angles to the stretcher bar, but I do mine the other way, with the end of the wedge slanting, I find it easier to hit the wedge end square-on that way.

I think the slanting way is the traditional one, but I'd just do whatever was easiest for you.

PPS wedges are sometimes called 'keys' in books, if you can't find them in an index under 'wedges'.

If you want feedback, you had better post it sooner rather than later.
I don't do online critting myself, but I daresay someone may be around to help.

Some people like the colours, and if the problem is that they aren't lightfast, they may be perfectly fine for things like camera-ready work (work for reproduction, like illustration) or book illumination. They may be bad only when mixed with other specific colours, or only a problem in thin glazes. You just have to look stuff up!

Real sap green is a great colour in watercolour. The more permanent greens are pretty much all far too blue, that's one reason why people like it, esp. for sketching out of doors when you haven't as much time to mix things when trying to capture lighting effects. For sketches for reference rather than sale, or work in sketchbooks where it normally won't see much light, there's no reason not to use it if you want.

Some artists just don't care about permanence at all, and buy what they like the look of. Everyone has to decide for themselves.

I use Aizarin as there is no colour substitute, but you have to be careful with it- I use the most permanent ones (check the Pigment numbers and manufacturer's info) and usually avoid using it in very thin glazes, and at that point the risk is acceptable to me.

Some manufacturers try to match fugitive colous with mixes of more stable ones, so a Sap Green (Hue) may be fine. To find out what is in a colour, check the contents with the manufacturer by colour number and then look them up in Mayer.

Most ranges have stars or something on the tubes or their colour charts to roughly indicate permanence. The colour makers do tell us, but most artists just couldn't care less so don't even look....................I bet some manufacturers wonder why they bother half the time!

Last edited by Seth (2010-03-02 18:48:14)