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Items 1 to 10 of 31 total

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Sir Joshua Reynolds, Countess of LincolnDuring the first decade of the 20th century a startling phenomenon was witnessed in exhibitions of oil paintings throughout France: “at retrospective exhibitions of art, many modern pictures which on their first appearance were greatly admired for their brilliance and freshness, seemed so darkened and tarnished as to be hardly recognizable.” The reason for this phenomenon is linked by the author to the practice of oiling out and the application of retouch varnish. In his first part article of a five part series, James Robinson, exposes this faulty practice and shows how it developed as a remediation of sinking in from the 18th century to the present.

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11/30/2018 10:00 AM By James N. Robinson oiling out, sinking in, retouch varnish, , Mediums, Paints,

Rublev Colours Oil Painting MediumsOil paint is a slow-drying paint consisting of pigment particles suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent, such as turpentine or mineral spirits (white spirits), and varnish may be added to increase the glossiness of the dried film. In this article, you will find complete descriptions of oil painting mediums or additives (or as we prefer to call them "amendments") made by Natural Pigments. These amendments are designed to alter the consistency of oil paint in novel ways, different from the varnishes that were introduced into common use during the eighteenth and nineteenth centuries.

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1/1/2018 1:00 PM By George O'Hanlon Mediums,

Lord Heathfield of Gibraltar by Joshua Reynolds, National Gallery, LondonResins-based mediums are those made with resin dissolved in a solvent, such as dammar spirit varnish (dammar or damar in turpentine), mastic spirit varnish (mastic gum dissolved in turpentine) or megilp (oil and resin based medium and later Maroger mediums) added to oil paint. Resin-based mediums and varnishes have become popular additions to oil paint since the nineteenth century. Aside from picture varnishes, the major use of resins in oil paintings were glazes. The use of resinous mediums in oil paint is certainly not new. Researchers have found natural resins, such as mastic and, more commonly, those from pine trees, in the earliest European oil paintings of the fifteenth century. However, the use of natural resins in oil paint was confined to specific passages of paintings. It was not until the latter half of the eighteenth century do we find paint films incorporating resins throughout paintings.

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Poppet, Katherine Stone, 2015, oil on panel, 20 x 30 inches

Katherine Stone, an artist living on Vancouver Island, British Columbia, uses a palette based primarily on earth colors from Rublev Colours Artists Oils and other Rublev Colours oil painting mediums, such as Velazquez Medium. In this article, she discusses her technique in the portrait painting Poppet, which is one of the finalists in the 2015 Portrait Society of America competition.

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3/31/2015 12:00 PM By Katherine Stone Mediums,

Dammar gum resinThe word resin when used in its most specific sense is a hydrocarbon secretion of many plants, particularly coniferous trees. The resin produced by these plants is a viscous liquid, composed mainly of volatile terpenes. Oleoresins are naturally occurring mixtures of oil and resin. Other resinous products in their natural condition are a mixture of gum or mucilaginous substances and are known as "gum resins." Mastic gum is a good example of a gum resin.

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2/7/2014 10:00 PM By George O'Hanlon The Director's Blog, Mediums, Varnish,

The Artist's Magazine October 2013Oleogel was featured in Rob Anderson's Road Test column in the October 2013 issue of The Artist's Magazine. Rob writes about Oleogel: “What exactly does adding Oleogel to paint do? Oleogel maintains the body of the paint—say goodbye, in other words, to drippy paint—at the same time it increases the paint’s transparency. The medium is versatile enough that it can be used for a thick impasto and also for glazing. The fact that this medium is this versatile is something I’ve never seen before. In my experience, a medium typically is only good for one thing, either glazing or helping to extend and thicken the paint, but not both. All in all, I had a very positive experience using Oleogel. The increase in fluidity and simultaneous control were wonderful surprises. I plan on continuing to use the medium, making it a part of my painting process.”

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10/8/2013 12:00 PM By George O'Hanlon Oleogel, oil, paint, medium, thixotropic, The Director's Blog, Mediums,

Kate Stone paintingI push Oleogel on all my friends and I've even done time for selling it in a schoolyard. After using it regularly for the past year and half I've come up with a variety of uses for it and I thought I might share them.

For those who haven't come across this term before,"couche" is French for "paint layer," and in the context of classical technique, a couche is a thin layer of oil that you spread over an area that you are about to work on, usually an area that you are going to bring to a finish with fine detail and blending. The oil makes the fresh paint flow onto the surface better (great if you're working with tiny amounts of paint on little itty bitty brushes) and at the same time saturates the old paint layer so that you can match your colours perfectly. Snort. As if anyone manages that.

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9/30/2013 12:00 PM By Kate Stone Oleogel, oil, paint, medium, thixotropic, Mediums,

Alpine by Julio Reyes (detail)The simplest way to create an impasto surface is to apply paint in large amounts, usually with either a brush or palette knife. Commercial oil colors have a heavy consistency, so this can be achieved by working directly from the tube applying the colors in thick layers. Opacity and built-up texture are usually interrelated, with much of the thickest impasto consisting of solid and opaque pigments, such as lead white or titanium white. Passages of thickly applied paint can also be translucent, so extender pigments are chosen that supply both bulk and transparency.

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9/23/2013 1:00 PM By George O'Hanlon impasto, oil, paint, medium, calcite, bodied, Mediums,

Linseed oilWhere do all the different brands of drying oils in artists’ supply shops originate? Artists’ materials manufacturers do not process their own oil, but rather purchase it in bulk from large industrial sources. For example, there are two major producers of linseed oil in North America and several in Europe, but there are many brands of linseed and stand oils offered by artist materials companies. Artist materials companies do not have the resources to process linseed oil, which today is a very specialized and large-scale industry.

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6/10/2013 11:00 AM By George O'Hanlon Mediums, Paints,

Clove OilWe are often asked about the use of clove oil to retard the drying of oil paint. Like many others, you may have heard that it darkens upon exposure to light. Clove oil works well as a retarder but there is a note of caution: over time (a long time) it does actually darken as it dries. It starts off light but can eventually turn black. This is over years and is dependent on the amount of direct light. We recommend using slower drying oils to retard drying—walnut or bodfied oil—instead of adding clove directly to paint.

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6/10/2013 1:07 AM By George O'Hanlon clove, oil, Mediums, Paints,

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