Oleogel based Medium

[Benjamin Salley]

Has anyone had experience making oil painting mediums with Oleogel?

I love the slippery nature of Oleogel as a medium but it doesn't facilitate drying like a lot of mediums. I was using Balsam Essential Oil Medium and love the finish it dries to and how the Spike content will "open up" the underlying layer but I've had too many dust magnate problems with it (I think due to the tacky nature of Balsam). I've tried a basic Oleogel and Epoxide 1-to-1 combo but it's got it's own issue- dries to a film so tough that if you don't paint on it the next day it won't accept new layers. Oiling out will let me paint on it but that layer will wipe right off even days later.

I'm looking to make a medium with the slip of Oleogel, the drying quality of a bodied oil yet still maintain the ability for layers to fuse even if outside forces conspire to keep me from a pinging for a few days. I'm a figure painter and paint in thin layers. Also, Spike is the only solvent my breathing can tolerate (preexisting lung condition). Any ideas?

[George O'Hanlon]

You may want to try Oleoresgel, which contains alkyd resin, bodied linseed oil and fumed silica. I think it will give you the qualities you are seeking.

[Benjamin Salley]

Thanks George!

I know since you sell it you most likely consider the alkyd component to be archival. For the most part I've keep my oils and mediums simple and with long term proven ingredients. That said are there any restrictions I should keep in mind when dealing with a medium containing an alkyd component?

Also, since there is no solvent component, will I have and layer fusion issues? The ability of spike to grab into previous layers is one of the qualities I like about your Balsam Essential Oil Medium. Could I reasonably incorporate spike into Oleoresgel?

I was also considering a self made medium of Oleogel, Pale Drying Oil and Spike. Any obvious issues you can see with that mixture.

Thanks for the forum and ESPECIALLY for your company and technical transparency!

Ben

[George O'Hanlon]

I know since you sell it you most likely consider the alkyd component to be archival. For the most part I've keep my oils and mediums simple and with long term proven ingredients. That said are there any restrictions I should keep in mind when dealing with a medium containing an alkyd component?

We completely agree with the view of keeping the paint film simple by using less ingredients in your paint. Instead of using many different ingredients all over a painting, why not keep things to simply pigment and oil, except where a specific passage needs special handling? That said, alkyd resins are long-lasting components of an oil paint film as long as the artist keeps in the medium-containing alkyd resins in a sealed container and does not expose it to the atmosphere for long periods.

Could I reasonably incorporate spike into Oleoresgel?

Yes, you can add spike oil to Oleoresgel.

I was also considering a self made medium of Oleogel, Pale Drying Oil and Spike. Any obvious issues you can see with that mixture?

No, this mixture should be compatible.

[Benjamin Salley]

Forgive me if I'm hogging your time but it tough to get good answers like these!

Now that I said that, one last question: You mentioned in a past post a medium the would have possibly been used by Bouguereau (don't remember the exact medium name you listed). I'm curious if you sell or know of a formula for a medium that would function similar to what he would have used? I believe the current belief is that he used a fast drying medium that facilitated layering with in the same session (which probably contributed to the surface cracking of his paintings). In addition to the medium I asked about above I'm also looking for a medium that will let me layer in such a manner. Does such a medium exist? If so, would it be safe to use? Non-yellowing and so on...

I'll quickly describe my process as that may help explain what I'm after:

1. I transfer my drawing to a light valued Yellow/Orange toned panel.
2. I do an ebauche. In this stage I like to maintain the brush strokes to enliven shadows and for a loose quality (its what the Oleogel based medium in the above posts is for).
3. Once the ebauche is dry, I lay in thin layers to build up my mid to light valued skin-tones. It is this part of the process that I would like to have something that has the qualities of the medium you spoke of in that past post I can't find.

Thanks again and no rush on a answer. And please, if any other forum members have any insights that would be great!

[George O'Hanlon]

You mentioned in a past post a medium the would have possibly been used by Bouguereau (don't remember the exact medium name you listed). I'm curious if you sell or know of a formula for a medium that would function similar to what he would have used? I believe the current belief is that he used a fast drying medium that facilitated layering with in the same session (which probably contributed to the surface cracking of his paintings). In addition to the medium I asked about above I'm also looking for a medium that will let me layer in such a manner. Does such a medium exist? If so, would it be safe to use? Non-yellowing and so on...

In regards to the painting medium used by Bouguereau, it is believed that he used Siccative of Haarlem and/or Siccative of Courtrai with additional turpentine and linseed oil. These driers are not really driers in the sense we know them today, but rather copal mediums made with large amounts of lead monoxide and manganese dioxide. The excessive use of these materials can give rise to cracking.

There is really no guaranteed medium for oil painting that dries quickly, has good color retention (little or no post yellowing) and does not cause embrittlement of the paint film with age. Alkyd mediums may be the best answer, and perhaps copal mediums prepared with the appropriate amount of driers is another choice, but there is no good way to paint quickly in oil without risking some problems later as the paint film ages.

[Benjamin Salley]

That was my suspicion. Thanks again for the great info!

[Benjamin Salley]

George or perhaps Kenneth, would you be able to tell me what Bodied Oil is used in Oleoresgel? I ordered some to try after George's recommendation above. Also, can Oleoresgel be used as liberally as Oleogel? I thought perhaps there might be a difference because of the use of a Bodied Oil and Alkyd component. I've treated Oleogel as if it we a transparent pigment.

[George O'Hanlon]

...would you be able to tell me what Bodied Oil is used in Oleoresgel? Also, can Oleoresgel be used as liberally as Oleogel?

We use vacuum-bodied linseed oil in Oleoresgel. You can use Oleoresgel liberally as it does not contain driers, but please note that it does contain a certain amount of solvent (odorless mineral spirits) and alkyd resin, so it should be mixed into your paint on the palette and not mixed on the canvas (we call this "brush dipping" because you dip your bush in a cup of medium and dip your brush in the color and mix on the canvas). This helps to reduce the evaporation of the solvent.

[John Kennedy]

This is a recipe I like to use that maybe useful, but it is quite expensive, but works for me. I like to think of it as being close to olio d' Abezzo or even Strasbourg turpentine. It is fragrant, viscous like Venice turpintine, and dries pretty clear.

Ingredents:
4 parts Canada Balsam
1 part Sun Thickened Linseed Oil
1 part Oleogel ( I make my own, but NP's should work)
1 part Turpentine
1 Part Spike Oil

Preparation:
Combine all ingredients together in a double boiler and stiruntill they are completly mixed together or you can also use a jar to mix the ingredients and set them in the hot sun, shaking until completely mixed together. Let cool and its ready to go. Mix with tube paint on your palette for glazing or final paint layer. It can also be used as a varnish by thinning with turpentine or Spike oil and applied very thinly.

Hope this is helpful, as it sounds like what you are looking for, based on what was said above.