My Blog
Paints and Painting Mediums March 26, 2023 11:05
Recently I decided to switch to a different paint brand. I've got a ton of Williamsburg paints, but a year or so ago, I coveted a tube of Michael Harding Scarlet Lake and bought it for myself as a treat. Well, I loved it. And it was not only the color I loved, but the paint consistency--smooshy without it leaking oil all over. It was just so easy to manipulate, especially compared to the Williamsburg paints I have. They are wonderful and come in a jillion colors, but for me they are a bit stiff. I've always had to add things to them to suit me, usually some walnut oil.
Then I discovered Siccatif de Courtrai, which i've written about. This does affect the consistency slightly because it's based on (real) turpentine. Even though you add just a couple drops per blob of paint on your palette, it helps make the paint be a little more spreadable. It still wasn't enough to make it as spreadable as I would like, but a couple years ago I tried oiling in or oiling out--applying a very thin layer of oil on dry paint, then wiping it off so only a whisper of oil is left. This made it much easier for me to paint some details, although with some pigments, like prussian blue, it would make them bleed across the canvas. I had no idea how much it could extend drying time.
I still had the problem of never having a brush that was stiff enough to move the paint around but not so stiff it would leave tracks. Sheesh.
In February, I came into a little money thanks to a crypto gift, and I used $200 of it to buy a bunch of Michael Harding paints. They have completely changed how I paint.
Because yes, they are smooshy, for the most part (except the titanium), and so they really suit how I want to paint. And the colors are drenched. Gorgeous! Yes, they are more expensive than Williamsburg, but they are totally worth it for me.
At the same time, I found some brushes, quite cheap, that I like--Bristlon Silver. I never usually use rounds, but I bought some to do details. They are great for that. They keep their points but aren't so stiff that they feel like a broom. They work great with the Harding paints and I know I will get more of them. I especially want to add some filberts now, as all my filberts are in ragged shape, partly due to me cleaning them in a stupid way.
I started a new painting and after doing the drawing, I started painting without remembering to oil in first. Because of the consistency of the Harding paint, I found that I did not need to. Wow!
I also found that the paint had dried the next day. I was shocked. I checked and found that none of the pigments I had used were fast driers. I thought it might be a one-off, some kind of accident. But it wasn't. This has been the case day after day. Using just the Siccatif de Courtrai and no oiling in or added oil, the Harding paint is very spreadable in use and still dries the next day.
This is life-changing in terms of my painting. And it comes after trying a number of different mediums in an effort to get away from using the Siccatif, since it has turpentine in it and my place is tiny now and has only two windows instead of eight. I need to have the fan on and both windows open when I paint (and for hours afterward) to ensure there is no buildup of turpentine fumes. I actually like the smell of the real thing, unlike the disgusting formaldehyde-ridden crap that I've purchased from reputable art suppliers. But I know it's toxic and it does irritate my lungs. As for other solvents, no need to go there.
In terms of mediums, I tried sun-thickened poppy oil I made years ago (it's really thick now), poppy oil with driers, and heat-treated walnut oil, and none of them really improved drying time at all compared with what would be the case with the untreated oils. I really dislike the smell of oxidizing linseed oil, so I don't consider that an option in medium form, although as a binder in my paints, it doesn't bother me.
I still have a couple more mediums to try (for instance, I bought some cobalt to add to oil), but now I have the possibility of not having to use mediums at all, just paint straight from the tube. As soon as I finish this painting, I will give that a try.
Back to work September 11, 2020 16:32
I've been trying to consolidate all of the different things I do, from art to teaching classes in magic to growing plants to writing books. So I'm going to be posting here again instead of on Wordpress. Trying to keep everything closer to home and decrease the craziness.
In terms of painting, I finally started exploring the watercolor ground I've had for the past couple of years. I applied some QoR Cold Press watercolor ground to a couple of small canvases I got from Blick to do oil experiments with. That was a year ago, and I didn't accomplish much with those experiments, but I found the unused canvases when I moved and sorted all my supports out so everything is in one place and I can find stuff.
I haven't been using my oils since I moved out of my studio back in I think it was November. It was just not an okay place for a studio. Maybe great for a sawmill, due to the noise, dust, flooding, and old lead paint falling out of the ceiling, but not for a painter. But once I was out of there, I didn't feel okay about using oils in my loft. It wasn't that I was using any solvents or other toxic stuff; I use just walnut oil with an occasional foray into walnut oil + alkyd. But the smell of oxidizing vegetable oil is not that pleasant and also I have cats. And cat hair and oil paints don't mix.
So I've been using my watercolors instead, and honestly although I do miss oils and want to get back to them eventually (I would like to move to a 1-2 BR apartment in a more convenient location in spring), I am really enjoying the challenge of watercolors. I forgot how much I love Daniel Smith's Primatek Colors (made out of rocks!) and all sorts of granulating pigments.
But I've also been missing the easy framing of an oil painting. For instance, my loft is plastered with many of my oil (and acrylic paintings), which can be hung without framing--just throw a wire on the back. I haven't even varnished most of them.
But watercolors are another story. NONE of them are hanging on the walls because of the cost of framing them and because, frankly, I don't like framing behind glass. It is heavy and expensive and just aesthetically not the best, IMO.
So I've explored ways to seal watercolor paintings. One of them is just to spray them with acrylic + mineral spirits spray varnish. It works great but holy hell does it STINK. You HAVE to do it outside, even in the depths of winter, and it is, just as it smells, carcinogenic. No thank you cancer.
So instead, what I've been doing on and off with the watercolors is sealing them with Dorland's Cold Wax. This gives the colors a depth and richness plus protects the work from water. I use three coats, letting it dry thoroughly between each coat and then buffing with a soft cloth. It makes a nice satin sheen, really wonderful and not at all plasticky, like the spray varnishes can be. I have seen videos of people applying it with their fingers, but it does contain odorless mineral spirits (almost no smell), so I would not get this on my skin. I use a soft rag or a shop cloth to apply it. You can actually splash water on the thing when you are done and it will just bead up. You can pop your work into a regular frame with a foam backing and you are good to go.
However, this does mean that some competitions will not allow you to enter your work as a watercolor. Instead, you enter it as "mixed media." That is fine with me. I have found that collectors do not seem to give a damn about medium. :) And if one or two watercolor societies don't allow it, well, I don't need to be part of that.
I still felt a bit weird about framing a piece on paper and I know that many people like to get a painting all ready to hang and furthermore, they just don't like works on paper. To many, if it ain't on a canvas, it ain't art. So I decided I would try the watercolor ground on canvas.
It is fabulous. I am still experimenting with it, in particular in terms of achieving some kind of granulation. But it is fab for lifting. I do think it sucks up paint. But so far I have only tried the QoR watercolor ground and not all the other brands and types.
I was concerned because in the past I had tried it and the cold wax seemed to make any use of titanium a bit dingy. But now that does not seem to be an issue. Also, I have tried going over the titanium with a thin layer of zinc and I don't see any dingyness.
I've got tons of canvases and panels from my oil and acrylic painting days, and I am going to cover them all with watercolor ground.
Next up, using the cold wax to finish these things.
I did contact QoR to ask them about whether they thought cold wax would work on their light dimensional ground, which is some cool stuff. It looks like it has really unusual capabilities with respect to watercolor. I can hardly wait to experiment with that. But they seemed a bit doubtful that cold wax would work with that particular ground, because it is a bit spongy, but I am looking forward to giving it a try.
That said, you can do quite a bit of texture with the watercolor ground, as you can see from this photo of something I was messing around with.
And of course, once you are done painting, you can seal the paintings on watercolor ground other than the light weight stuff with cold wax, and you have a painting that is ready to hang. I love it!