February 1, 2007
Water-miscible oils and Naples Yellow
This post will begin a new category: Technical Art Matters.
I realize that there is a limited audience for this stuff, but for those who want to know about it, it will be here. Basically the division will be as follows:
For the technique of drawing and painting itself, the Art category will suffice.
For discussion of materials, chemistry of paint, etc., this category will do.
There will be some overlap, though.
Mr. Luse has asked me what I thought of water-miscible oil paints. I told him that I don't trust them. The third generation lithographer in me screams "but, oil and water don't mix!" The way they work is by emulsion, sort of. The water evaporates, leaving just old fashioned oil paint.
Now, I consulted Ralph Meyers' book, and he doesn't even touch the subject, even though the book is quite current on new media.
My guess is that the water could leave the paint film spongy and weakened, and could promote yellowing. I would love to be corrected by someone who knows more about these paints, but that is my suspicion.
As to Naples Yellow in acrylic, the pigments cited are not true Antimony Yellow. I am sure they are the same color, and a quick look at the color reflection charts makes it seem that they are close enough in hue. The paint handling, however, would be different, and I will go on the record to say that I am in love with the way lead handles. So, for me, used to true Naples Yellow, the paint handling would be unsatisfactory. However, if I had never used the real thing, the color would be just fine, and the paint handling would not bother me.
So, if you are not used to the true Naples Yellow in oil, then the hue should be just fine. Go for it!
Posted by erik at February 1, 2007 10:12 PMI generally recommend painting the foreground first
Well, that pretty much solves the problem. Thanks.
Posted by: William Luse at February 4, 2007 2:47 PMArt masking fluid is a mix of latex and ammonia used to block watercolor. In the painting that I describe as "Rousseau meets Diebenkorn" the white spider lines came from the use of art masking fluid. I would mask out lines and areas, paint, remove the fluid, apply a different set of lines with it, paint, remove, repeat.
I generally recommend painting the foreground first, because it is (generally) the focus of the painting. The colors in everything else should submit to the general scheme, and that is determined by the focus (all artists really are fascists in the end). And it is not just about color, but line, texture, everything. The focus must take priority. That way the background is simply that: background.
Also, even opaque paints can become more transparent with time, so if you are painting a foreground object over a background you can end up with the background showing through in a few years (think of the Picasso blue period painting of the old man with the guitar. You can see the outline of a nude woman peering through the paint).
Posted by: Erik Keilholtz at February 4, 2007 7:53 AMForget the salts. I'll destroy the painting.
My wife bought me a bottle of art masking fluid for Christmas. Can this be used with oils, that is, mask the area before I start painting?
Also, in this one demonstration in a book I've got (another Xmas gift), this guy actually painted the foreground fruit in a still life first, then painted the background around it, then came back and put the final touches on the fruit to clean up the edges.
I should probably just shut up and paint. I'm always thinking of questions and there's no teacher like experience.
Posted by: William Luse at February 4, 2007 12:48 AMYou have a few options:
1. You can use drying salts or oils. You need to use these sparingly (and should read up on them), as they can be detrimental to the paint film.
2. You can thin your paint, although not so much as to underbind it. Just make sure you are always remembering fat over lean.
3. You can use a synthetic resin, such as Alkyd. This is what I recommend (and do). It speeds drying time, is flexible and durable, and reduces the risks associated with cobalt salts and other drying agents. You still want to think fat over lean, but alkyd gives you a little leeway that is not there if you are using straight oils.
Posted by: Erik Keilholtz at February 3, 2007 2:38 PMMy gratitude. Been gone a couple days grading fracking papers. The agony will continue for a few more. But I do have another question. One thing I like about acrylics' fast drying time is that it allows me to sketch detailed objects in the foreground over dried paint. How is this handled with oils?
Posted by: William Luse at February 3, 2007 2:03 PM