Old Masters Medium VI

July 2, 2011 at 1:55 pm , by conte , Category: Uncategorized

Ingredients:

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1 Part -Venice Larch Turpentine

1 Part – Stand Oil or Sun-Thickened Linseed Oil

1 Part – Double Mastic Varnish

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· Combine Venice Turpentine (pre-warmed in a bain-marie) with Stand Oil (or Sun-Thickened) into a homogeneous soft paste.

·Add the mastic varnish and mix well.

· Please note that this medium is very high in soft resins, take this into account as a high presence of soft resins may be counter-productive for permanence and stability of the paint film.

About Old Masters Medium

Studies carried out by many academics and artists painters have produced several proposals for the ever interesting quest for the Old Masters Oil Painting Mediums. Of these, of course, some can be considered unlikely, but other authoritative studies should be taken into account.

Oils Studio made some trials on the probability of such mixes and arrived at some interesting oil painting mediums. The recipes presented here have been tested and the mediums have been prepared at room temperature. Some recipes were adapted to comply with easier preparation.

Drying
All 6 Old Masters oil painting mediums discussed should dry within a period of time between 12 hours and 3 days. Drying times depend enormously of the oil paints being used, atmospheric conditions and climate characteristics of the area where you live. You may use a drier to speed the drying process. However, the presence of balsam turpentines imparts a smooth flat glossy finish as the balsams flat out in the drying process. A shortened drying time may not be sufficient to allow the balsam to flatten out completely, so be careful to calculate how long you want the drying time to be.

Both driers below may be used safely in the ratio of 1% up to 5% calculated over the total volume of oil painting medium. To remain 100% safe, an average 3% should be used. Suppose one of the painting mediums above was prepared, making a total
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A drier or siccative may be used safely. We do not recommend cobalt siccatives because these tend to dry the surface leaving a softer under-layer. If you decide to use a drier, use a lead oxides based drier.
The French Manufacturer LeFranc & Bourgeois makes produces 2 distinct driers:

·Brown Courtrai Drier: Prepared with suspended manganese and lead oxides, it is the strongest siccative available. This siccative has gained some bad reputation in the past due to abuse from artists. Used in the recommended doses, it is perfectly safe to employ in oil painting.

·White Courtrai Drier: Prepared with suspended lead oxides, it is less powerful and due to its pale colour, it is to be preferred by many painters. Application rules applying to this siccative (illustrated above) are exactly the same as for Brown Courtrai Drier.
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Both above driers speed up drying times considerably and help drying and stabilising the paint film from the inside out.

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