Six Maroger Medium Recipies

Note of Caution: I do NOT recommend making Maroger mediums. They are very toxic to make!

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Darwin #5 Medium

Ingredients By Volume:

1 Part – Raw Cold Pressed Linseed Oil
1 Part – Damar Varnish (5 pound-cut)
1 Part – Pure Un-bleached Bees Wax
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Mix the oil with the wax pellets in a pan and heat together until the wax melts and blends with the oil. Remove from the heat and pour in the Damar varnish. Place the pan in a basin with cold water to cool the mix sharply, keep stirring into a soft smooth paste while it cools. Pour into a clean glass jar.

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Darwin #1 Medium

INGREDIENTS BY VOLUME

Consider 1 Part = 100 ml.
1 Part – Raw Cold Pressed Linseed Oil
1 Part – Double Rectified Turpentine
1 Part – Damar Varnish (5 pound-cut)
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Mix the 3 ingredients in a clean glass bottle, shake energetically until all are perfectly blended. Use up to 20% maximum medium per volume of tube oil paints. This medium is fat in this combination. Thin with turpentine for lean layers. Do not add more oil for upper layers, the oil content is high enough in keeping with the fat-over-lean rule.

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BASIC BEES WAX MEDIUM

Ingredients By Volume:

1 Part – Pure un-bleached yellow bees wax pellets
3 Parts – Cold Pressed Raw Linseed Oil
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Make enough medium to fill 2 glass jars:

Jar A – Wax Coarse Medium
Jar B – Wax Soft Creamy Medium

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Jar A

· Pour the oil in a pan.

· Mix in the bees wax pellets.

· Heat the pan until the wax pellets melt in the oil stirring a little.

· Remove the pan from the heat and pour the 1/2 of the mixture into your first glass jar. This will be your coarse wax medium.

· Leave to cool down to room temperature

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Jar B

· Now the remaining wax medium in the pan!… Place the pan in a basin containing cold water and keep stirring the mix while it cools down sharply.

· When the mix in the pan is cool enough (dull opaque) but still somewhat soft, scoop the whole contents into a food processor equipped with a blade.

· Process the mixture at a high speed. You will notice that the medium changes from a dull appearance to a shiny creamy texture very similar to mayonnaise at which point it should be ready. Turn off the processor and check that there are no lumpy bits left.

· Pour the creamy bees wax medium in a clean glass jar.

· Wash the food processor immediately after!!!

Although a little “original”, this method of processing the bees wax media is actually highly effective. It requires a little patience and some work but it pays off having 2 wax media different in texture, allowing coarse and smooth paint work when mixed with oil colors.

Jar A

Medium A sets in the jar a little hard, scoop it out with a metal spoon or a stiff palette knife onto the palette, crush it with a fork into a coarse paste and mix with oil colors. This medium is ideal for all abstract techniques, landscapes, painterly styles and impressionistic painting. It brings life and texture and creates random areas of interest across the picture. Dries to a soft sheen, due the presence of linseed oil. Also very good for all knife work. It can be thinned with turpentine.

Jar B

Medium B is a very smooth creamy paste. Immediately after processing it looks smooth and very shiny, like mayonnaise and after being poured into a jar and let to stand for 24 hours, it has the appearance of butter and feels like butter. Mixed with oil colours, allows really interesting brush work. Brush marks keep their shape, retaining their natural beauty for very expressive painting. Medium B is also the ideal for mixing with Maroger Medium in small quantities (up to max. 10% by volume) for an “Italian School of Painting” approach in still lives, portraits, etc. Dries to a soft sheen. It can be thinned with turpentine.

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Old Masters Medium IV

Ingredients:

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2 Parts – Damar Varnish (5 POUND-CUT )

1 Part – Linseed Oil

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· Combine the two ingredients in a bottle, seal the bottle hermetically and shake it energetically for about 5 minutes. Leave to rest at room temperature until next day.

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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Medium 1-1-3

Fat (oily) painting medium recipe. I call it simply 1-1-3. Density of this medium you can adjust with more or less turpentine.

Ingredients By Volume:

1 part Stand oil
1 part Dammar varnish
3 part Turpentine

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1-1-3 Painting Medium

One of the most common medium recipes…

1 part Linseed Oil

1 part Dammar Varnish

3 part Turpentine

…put a couple of drops of cobalt drier

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dt 1-2-3 Painting Medium

After a lot of experiments and use of self made and manufactured mediums, I was urged to make something different. Medium that will dry fast, hide some brush strokes and finished painting to have shiny look.

Here is my medium recipe:

1 part Linseed Oil

2 part Dammar Varnish

3 part Turpentine

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Magic White * Liquid White Recipe

If you wish to paint wet on wet and to use technique of William Bill Alexander and Bob Ross, you will need Magic White or Liquid White. Here is the recipe for that famous medium:

Ingredients By Volume:

1 part Titanium White

1 part Linseed Oil

1 part Turpentine

When I make that medium I use kitchen scale to measure parts… Mix it all together, stir/shake well… HAVE FUN!

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