Grounds for Oil Painting--Poll

[George O'Hanlon]

What type of grounds do you prefer to paint on regardless of the substrate (panel or stretched canvas)? Please select your top two choices.

[ 23. November 2008, 15:11: Message edited by: Admin ]

[George O'Hanlon]

Please add your comments to this poll.

[Kenneth Freed]

George,
Do you know much about the 17th century Spanish ground as reported by Velasquez's father-in-law that incorporates flour as one of the ingredients?

I would also like to know more about different formulas for 1/2 oil grounds for canvas. At one time, I bought a gallon of half-oil ground from David Davis utilizing lead which costs several hundred dollars. Obviously, I might like to formulate it myself. I am interested in a ground for canvas that has greater absorbency than in a typical oil ground.

[George O'Hanlon]

The type of ground used by Velazquez was typical for the era and made a comeback in the 19th century. It is often called Cawse's ground and was described by him in his book as well as by others.

It is not too difficult to make an oil half ground, and we will publish a recipe for it in the latest Natural Pigments catalog, which should be printed before the end of the month.

[Darren]

Originally posted by Admin:
...Natural Pigments catalog...

You have a 'printed' version?
How would I get a copy?

Kenneth,
I may be connecting the wrong dots here but in this thread you want an absorbant ground but in another you want an isolating varnish. What am I missing? Different needs for different projects I assume. I am not calling you out, I'm just very curious.

[Kenneth Freed]

Darren,
I am preparing a major project into the investigation of Flemish grounds and painting techniques for panels and canvas. I have received alot of feedback from the Royal Museum of Fine Arts, Antwerp which I plan to incorporated into these experiments. My goals are two fold, first to fully and completely understand the painting techniques of Rubens who represents perhaps the greatest technical force in the history of painting. Second, to utilize some of these findings in the production of my own work.

As to the specifics of why I am looking at certain grounds and odd kinds of isolating varnishes, it will become clearer as I restart the Underpainting thread with new information and the results of the experiments.

Hang with me a little while, it should make for some interesting reading.

[Orp]

Back when there wasn't very much choice the grounds available mirrored the chalk gesso ground, but as of late the acrylic dispersion grounds are much more heavily pigmented, smoother, less absorbent, and brush out better. Plus they don't separate in the can as much as they used to. Since I work on panel and cover with a layer of lead white anyway before I start, that's all I need...quick cheap and easy.

I can't see any reason to do it any differently, although I guess I'm in a minority of one. If there was hardwood panel as good as Ampersand at Home Depot I might buy it; I'm using Oak Plywood slightly sanded now. I think it is important to mention how it is being used.

[Kenneth Freed]

Whatever suits your purposes Orp is the ground for you.

[bart johnson]

Orp,

You're talking about acrylic gesso? What brand? How many coats? Then how long do you let the lead white set up? Just wondered how qick and easy.

The Ampersand panels are masonite aren't they? You don't use them because they coat the masonite because it's either claybord or gessoboard surface and they don't sell the panels uncoated?

[Orp]

Ha-ha...I don't use them because they are too expensive! $10.79 for 14" x 18" stresses me when I can pay the same amount for a 4' x 8' ply sheet.

I use Chroma brand 'Professional', I guess they also make a cheaper grade. Two coats and maybe a little scraping with the scraper I got at NP, no sanding. The White (MH Foundation, half Lead half Titanium, also nice to paint with) applied with turp dries in a few days depending on the season.