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glazemedium lo


Painting base formation on wood

Glazing With Oils
Glazing with oils can be a
very tedious process. One
has to be very patient and
allow each layer of glaze
to dry thoroughly so the
layers won't blend or
merge with one another.
Also, a glaze painting
must be placed on a
proper foundation or the
life of the painting and
array of glazing effects
will be greatly altered.
A good base for
supporting a glaze
painting is wood. A
wooden panel (of any
good acid free hard wood)
cut very thinly makes a
very good base. The old
masters created many
paintings on wooden
In today's market, and
with the present
technology in the press
board manufacturing, we
can find many good
supporting materials. Be
cautious of the
inconsistency of cheaply
made pressed wood
products as sometimes
the binding material is not
evenly distributed within
the panel. This can lead to
chipping or bubbling.
Masosnite panels is one of
the finest to use. The
name Masonite is a trade
marked name for a
specific product that is
created by using steam to
form the particles into
boards without the use of
additive glues.
Unfortunately in many
instances, the inferior
cheap boards are referred
to as Masonite panels.
Canvas, especially linen is
very flexible and changes
or sags according to the
moisture in the air. In my
opinion, this alone makes
canvas one of the least
desirable supports for use
in the art of glazing.
Preparation can be
accomplished using either
fine art oil underbase
paint or finely ground
Gesso. Whether canvas or
wood, the support must
be properly prepared to
accept the layers of paint
glazes and should be of
good quality material that
will remain very stable
throughout the life of the
painting. Atmospheric and
temperature changes can
affect glaze painting...or
any other painting. When
coating a surface to accept
a glazing, I use two
methods of preparing my
surfaces. One is with a fine
brush and the other is
spraying a smooth
coating. Either technique
can be used whether you
are preparing with oil
underpaint or Gesso.
BRUSHING: I usually apply
a fine, art grade Gesso in a
thin and consistent
coating, brushing in one
direction only. If I wish to
obtain a canvas look to
the surface I wait for the
first coating to dry, then
lightly sand with an 800
grit wet-or-dry paper and
then apply another
coating of Gesso on top of
the first layer in the
opposite direction. This
creates a canvas look
similar to fine linen.
Use a fine spray unit and
paint three smooth
coatings on the board,
sanding lightly between
each coating. This gives
good adherence to each
coat and the end result is
a smooth surface for glaze
Oils used in oil paints are
considered "drying oils"
and are selected for this
reason. Other oils that are
not drying oils are used
for lubrication and not
selected for paint making
A few examples of oils
used in fine art painting
are listed below.
Linseed Oil
(Cold Pressed), Usual
ingredient in oil paints
and works well as a
medium. Does yellow
with age.
Sun Thickened Oil,
made from linseed oil,
enhances gloss of paints,
increases transparency
and accelerate drying time
of paints.
Stand Oil
, (one of my favorites)
Very similar to Sun
Thickened oil and is a
good medium. Excellent
gloss and drying hardness.
does dry with a shiny
surface film however so
must be lightly rubbed so
that it will not repel the
next layer of glaze. Does
not yellow and adds to
the smooth flow of glaze.
Poppy Seed Oil,
Slower drying oil than the
oils made from linseed
but is weaker and softer
oil in the area of film
forming. Can become
I like to mix my own
mediums for glazing.
Below are three that I
have concocted over the
years and I use them in
my work. In some of them
I use Copal Concentrate.
Natural Copal is a natural
resin such as amber and is
very scarce. However
modern versions of copal
in synthetic form are
available. Copal slows the
yellowing of oil paints and
creates a flexible film that
resists becoming brittle
with age. Refer to the
callouts in each image to
see the correct amounts of
each ingredient.
There are many oils
available that can be used
as painting mediums.
Stand oil (a derivative of
linseed oil) has been used
by glazing masters for
years. It is made by
treating the linseed oil
with heat until slight
polymerization begins to
occur. The result is a thick,
pale to light amber liquid
that can be thinned with
rectified turpentine or
rectified petroleum
thinner to the proper
consistency. Stand oil
should be thinned in most
cases because it is difficult
to use in its natural, thick
state. When thinned,
Stand oil improves the
gloss and flow of the
paint and produces a
flexible but tough film
that is superior in resisting
yellowing and cracking
with age. In my opinion,
stand oil is one of the best
mediums for painting; it is
especially good for
glazing because the oil
flows so beautifully that it
lays down smooth and
when dry, can hide any
trace of brush marks.

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