Gri Treatiseofpa00c2da

8/10/2019 Gri Treatiseofpa00c2da

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SUPPORTS AND GROUNDS FOR OIL AND

TEMPERA PAINTINGBy Ralph Mayer

Annotation and foreword y Matthew !in"ey#

Utre$ht Art S%pplie" Art Material" Infor&ation Spe$iali"t

Questions?Ask the Expert

Intended for reference only. Observe all package instructions. Dick Blick oldings!"trecht Art #upplies is not responsible for any

da$age to personal property that $ay result fro$ use of the infor$ation presented herein. % &opyright '()* Dick Blick oldings

Inc. All rights reserved.
mailto:[email protected]?subject=Ask%20the%20Expertmailto:[email protected]?subject=Ask%20the%20Expert


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Foreword

Thi" oo'let wa" in$l%ded a" part of the ()*+ edition of the Utre$ht Linen" $atalo,- Fro& the

e,innin, Utre$ht Art S%pplie" led the ind%"try in pro&otin, "t%dio $raft thro%,h t%torial"#

&aterial" data and arti$le" that &ade the $o&pany a .al%ed re"o%r$e for arti"t" and ed%$ator"- The

a%thor# Ralph Mayer en$o%ra,ed painter" to ta'e a &ore in.ol.ed role in the per&anen$e of their

wor' thro%,h arti$le" li'e thi"# hi" oo' /The Arti"t0" 1andoo' of Material" and Te$hni2%e"3# a

$ol%&n in A&eri$an Arti"t Ma,a4ine a" well a" n%&ero%" other re"ear$h and $on"%ltin, pro5e$t"-

At the ti&e thi" arti$le wa" written# there wa" "till a$ti.e deate o.er the "%itaility of a$ryli$

pri&in," and "%pport" other than linen- Mayer0" $hara$teri4ation" of titani%& and 4in$ white a"

new and %nte"ted and $otton d%$' a" /i&itation3 $an.a" &ay "ee& "%rpri"in, $on"iderin, the

%i2%ity of the"e &aterial" in the $onte&porary "t%dio# %t "%$h a""ertion" "er.e to ill%"trate the

pro,re"" of $on"er.ation "$ien$e and the art &aterial" ind%"try- In the period followin, 6orld 6ar

II arti"t" adapted ind%"trial paint" and %tility $loth for paintin,# "o&e of whi$h were not of the e"t

2%ality- Art "%pply &an%fa$t%rer" were e,innin, to offer hi,h 2%ality $otton d%$' and a$ryli$

paint" and pri&er" to "ati"fy the need for alternati.e" to traditional "%pport" and ,ro%nd"- A" a

re"%lt# today7" arti"t" en5oy $on.enient# affordale and d%rale art &aterial" that are ready to %"e"trai,ht fro& the pa$'a,e-

6hile $%rrent re$o&&endation" for $onte&porary paintin, "%pport" &ay differ "li,htly fro& the

&ethod" de"$ried in /S%pport" and Gro%nd"3# $onte&porary arti"t" will find that &odern

&aterial" perfor& e8tre&ely well when adapted to Mayer0" in"tr%$tion"- For the traditional painter

the"e t%torial" re&ain a%thoritati.e and reliale 5%"t a" in ()*+-

Matthew !in"ey

Utre$ht Art S%pplie"

/A"' the E8pert"3 Tea&


3/15

Introduction

The arti"t &%"t e $o&pletely fa&iliar with the nat%re and te$hni$al detail" of the "%rfa$e" onwhi$h he paint"- A paintin, i" a phy"i$al "tr%$t%re# and it i" a" i&portant for the $an.a" or panel to

e d%rale and per&anent# a" it i" for the fra&ewor' of a %ildin,# and it i" a" i&portant that it

"%r.i.e witho%t $han,in,- 9ertainly# a pi$t%re will e no &ore d%rale than the &aterial on whi$h it

i" painted-

The te8t%re# de,ree of a"oren$y# and other 2%alitie" of the paintin, "%rfa$e# ha.e the "tron,e"t

"ort of infl%en$e on the final paintin,# oth a" to it" effe$t %pon the te$hni2%e# or the &anner in

whi$h the paint $an e applied# and e"pe$ially# it" effe$t %pon the final appearan$e or .i"%al 2%ality

of the fini"hed paintin,- Good re"%lt" in the"e &atter"# a" well a" per&anen$e# de&and the %"e of a

,ood paintin, ,ro%nd-

In the fir"t pla$e# the &aterial" fro& whi$h it i" &ade &%"t e $ho"en fro& a hi,hly "ele$ti.e li"t#oth a" to "%pport &aterial"# and the pri&in, in,redient"- Mo"t of the"e &aterial" ha.e "%r.i.ed

the te"t of lon, $ent%rie" of %"e# and e$a%"e of thi"# "pe$iali"t" and te$hni$ian" p%t their faith in

the rather than to rely on &ore re$ent %ntried &aterial"# ao%t whi$h le"" i" 'nown(- B%t there

are "o&e e8$eption"# a few &odern &aterial" of %n2%e"tioned 2%ality are al"o %"ed: they will e

&entioned in thi" arti$le-

6e $all the $an.a"e" and panel" on whi$h we paint ,ro%nd"- Stri$tly "pea'in,# the ,ro%nd i" the

pri&in,# and the $loth# wood or oard whi$h $arrie" thi" i" the "%pport-

Arti"t" lon, a,o learned that te8tile"# ori,inally %"ed y arti"t" only for "%$h p%rpo"e" a" anner"

for pro$e""ion"# de$oration" for to%rna&ent" or 5o%"t"# et$- were "%itale for per&anent ea"el

paintin, in oil- 9an.a" $o%ld e %"ed e$a%"e the dried layer" of oil paint are &ore per&anentlyfle8ile than any other 'ind of paint- Arti"t" "ho%ld reali4e that $an.a" i" e8$l%"i.ely a part of the oil

paintin, te$hni2%e# and i" a $ontri%tory rea"on for it" pop%larity o.er the year"# a&on, it"

ad.anta,e" o.er panel" are it" li,htne"" and ea"y portaility- It i" not re$o&&ended for $a"ein and

te&pera paintin,-

THE SUPERIORITY OF THE PROPER ARTISTS' LINEN SUPPORT

( O.er fi.e de$ade" after thi" wa" written# &%$h &ore i" 'nown ao%t the lon,;ter& perfor&an$e of

"yntheti$ .ehi$le"# "i4in," and ,ro%nd"- 9on"er.ation "pe$iali"t" and paint $he&i"t" ha.e $o&e to $on"ider

a$ryli$" and al'yd" hi,hly d%rale and "%itale for per&anent art# in &any $a"e" "%perior to traditional

&aterial"-


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Fro& lon, e8perien$e# the "tandard and e"t;li'ed &aterial for an oil paintin, "%pport i" p%re linen

wo.en e"pe$ially for arti"t"0 p%rpo"e"- And with the de.elop&ent of e.er;i&pro.in, &ethod" for

lon,e.ity and d%raility o.er the year"# we now ha.e &odern linen" that are "tron,er# &ore "t%rdy

or "to%t# and of "%ffi$ient wei,ht to "%r.i.e ro%,h treat&ent and to re"i"t de"tr%$ti.e effe$t"- No

other te8tile fari$ &eet" the re2%ire&ent" of a paintin, ,ro%nd "o well a" linen-


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The paintin, "%rfa$e "ho%ld ha.e a de,ree of a"oren$y or poro"ity# "o that the paint layer

whi$h i" to e p%t %pon it# $an ,rip the "%rfa$e and a$hie.e a &ore thoro%,h an$hora,e to it-

The white lead pri&in, of a $an.a" wo%ld e $alled non;a"orent ?a" $o&pared with

,e""oC@ %t within thi" ,eneral de"$ription it ha" a $ertain de,ree of a"oren$y# needed for

oil paintin,# whi$h i" of a"ol%te i&portan$e-

# S$oot% Te&ture or Toot%(

The paintin, "%rfa$e "ho%ld ha.e a $ertain de,ree of $oar"ene"" or ro%,hne"" in the

inter"ti$e" of whi$h the dryin, paint $an al"o ,et a ,rip or foothold- Both of the"e point"

poro"ity and te8t%re $ontri%te to the ,ood r%"haility and &anip%lati.e $ontrol of the

paint# y $reatin, the proper dra, or re"i"tan$e to the r%"h# it al"o pro&ote" the ,ood

"tr%$t%ral "taility of the pi$t%re-

/Tooth3 i" a word that de"$rie" a &i$ro"$opi$ ro%,hne"" or "andpaperi"hne"" on an

otherwi"e "&ooth le.el "%rfa$e- In i&pa"to paintin,# it i" i&portant that the $an.a" "ho%ld e

of a $oar"e te8t%re "o a" to pro.ide the &e$hani$al ,rip to hold# hea.ier applied paint layer"-

The hea.ier the i&pa"to the $oar"er &%"t e the te8t%re ?or wea.e of $an.a"@ "o that the

,ro%nd pro.ide" a per&anent fo%ndation-

In .ery hea.y paintin,# the fat o.er lean prin$iple alone doe" not "ee& to e "%ffi$ient-

Me$hani$al ,rip of a te8t%red ,ro%nd i" re2%ired a" an additional fa$tor to a""i"t adhe"ion of

the paint layer" to the ,ro%nd- Thinner paint layer" $an e applied on any ,ood "%rfa$e

e$a%"e they pre"ent no wei,ht prole and the pi$t%re with little i&pa"to $an e done on a

"&ooth $an.a"- It i" po""ile that one $an ,et ade2%ate adhe"ion with either n%&er one or

n%&er two alone# %t the n%&er of fail%re" d%e to non;a"orption or too "li$' "&oothne""#

&a'e" it wi"er to ha.e oth-

An additional fa$tor in the $reation of per&anent adhe"ion of i&pa"to paintin,# i"

$on"ideration of the wei,ht of the linen $an.a" ?wei,ht of linen per "2%are yard @- The,reater the 2%antity of paint applied# the hea.ier the load the linen ha" to $arry- It then

e$o&e" ne$e""ary for the arti"t who"e "tyle $all" for hea.y i&pa"to to $hoo"e a $an.a" of

hea.y wei,ht in order to pro.ide a reliale "%pport for the e8$e"" wei,ht of the paint

) Ad%e!i*e Power o+ t%e P,int

The third of the"e i&portant fa$tor" in per&anent adheren$e i" the nat%ral adhe"i.ene"" of

paint# a "%5e$t that "ho%ld e ta'en %p %nder the "t%dy of paintin,# rather than %nder

,ro%nd"- Fre"h paint a" it $o&e" o%t of the t%e"# i" at it" pea' of nat%ral ,l%ine""- It i" ne.er

ad.i"ale to %"e paint that ha" re&ained too lon, on the palette-

Thi" a"pe$t of paintin, ,ro%nd" i" "till $on"idered i&portant- Utre$ht A$ryli$ Ge""o i" for&%lated to offer

the opti&al de,ree of a"oren$y that prod%$e" ,ood adhe"ion and a lean fir"t paint layer-

C In thi" $onte8t /,e""o3 refer" to a &i8t%re of $hal'# white pi,&ent and protein ,l%e# not to the a$ryli$

di"per"ion paintin, ,ro%nd $o&&only 'nown y the "a&e na&e-


6/15

The $an.a" te8t%re and paint 2%ality $an play an i&portant part in the enri$h&ent of the "%rfa$e of

a paintin,- The arti"t &%"t $hoo"e the te8t%re of the $an.a" whi$h i" &o"t "%ited for hi" ai&"- In

thinly applied paint layer" the $an.a" te8t%re i" &ore apparent- Thi" $an al"o e %tili4ed in a

paintin, done in i&pa"to where the arti"t paint" $ertain area" thinly "o a" to re.eal the $an.a"

te8t%re- The te8t%re of the $an.a" ha" an infl%en$e on the paint 2%ality of the phy"i$al appearan$e

of paintin,"- To learn thi"# one ha" only to .iew the pi$t%re" in the a.era,e ,ro%p e8hiition where

tho"e of poor 2%ality "%ffer y $o&pari"on- The arti"t $an "o&eti&e" e.en inte,rate the phy"i$al

$hara$teri"ti$" of the $an.a" te8t%re

a" a &ean" toward" hi" arti"ti$

e8pre""ion-

THE IDEAL PROPERTIES OF THE

-HITE LEAD OIL GROUND

6hite lead i" $on"idered to e the

e"t pri&in, &aterial a.ailale

e$a%"e it ha" the lowe"t oil $ontent

of all pi,&ent" and therefore it i"the leane"t- It i" a finely di.ided

"&ooth $o&po%nd# $o&po"ed of

a"i$ $aronate of lead- Sin$e

$la""i$al ti&e" white lead ha" een

%"ed in paintin,"- It i" one of the

&o"t thoro%,hly ti&e;te"ted

pi,&ent"- It po""e""e" the fine"t

phy"i$al propertie" of any pi,&ent#

and when it drie" a to%,h# d%rale

fil& re"%lt"- It i" a"ol%tely perfe$t

for oil paintin, and the old &a"ter"

who had no other oil white

a$hie.ed rilliant effe$t" with it- B%t

it i" a" an oil fil& "tren,thener that

it i" &o"t .al%ale to the arti"t- Of

all the pi,&ent"# la$'# white or

$hro&ati$# not one $o&e" $lo"e to it

in e2%alin, it" to%,hne""# "tren,th

and d%raility- It i" a fa"t drier and

"o&eti&e" "ee&" to tran"$end

&any of the r%le" and pre$a%tion"

that apply to other pi,&ent"-

THE SIMPLE PREPARATION OF

THE CAN.AS

Editors' Note:

+he follo,ing section- originally titled +E "/#"I+ABI0I+1 O2

+I+A/I"3 A/D 4I/& 2O5 OI0 65O"/D#7 is presented here in order to

preserve the co$plete text. 8hile it is true that lead grounds perfor$

extre$ely ,ell over ti$e- it should be noted that titaniu$!9inc blends are

not susceptible to the sa$e sort of discoloration as lead. 3ost i$portantly-

titaniu$ and 9inc ,hites are also free of the health risks associated ,ith

lead paint. In the decades since this ,as published- paint che$ists and art

supply $anufacturers have developed alternatives to lead ,hite grounds

based on titaniu$ and 9inc that can provide a durable- lean foundation for

oil painting.

/Titani%& and 4in$ white" are rilliant "nowy white"- Titani%&

white didn0t ,et into arti"t"0 hand" %ntil ()=+- in$ white wa"n0t

%"ed y arti"t" %ntil late in the ()th $ent%ry- They are oth hi,her in

oil $ontent than white leadin$# and to a le""er e8tent titani% dry

to for& paint fil&" of a &ore tender# le"" d%rale and &ore rittle

nat%re than doe" white lead- Therefore they are not "o "%itale

"tr%$t%rally a" oil pri&in, &aterial" a" white leadin$ and titani%&

white" when "tored in the dar' tend to retain their whitene"" and to

t%rn yellow le"" than white lead# whi$h ha" a tenden$y to a$2%ire a

yellowin, tint when "tored in the dar' for a len,th of ti&e- It"

whitene"" $an e re"tored y p%ttin, the $an.a" in a well li,hted

roo& for "e.eral day"- 6hite lead re&ain" %n$han,ed in $olor when

o.erpainted- If anyone do%t" the per&anen$y of fla'e white a" an

arti"t"0 $olor# a ,lan$e at the la$e $ollar" of Fran4 1al" or of 6illia&

1o,arth will e rea""%red- Be$a%"e of the "%perior 2%alitie" of white

lead# na&ely it" 2%i$' dryin, ti&e# fine fil&;for&in, propertie"# and

low oil $ontent# there i" no real "%"tit%te for it a" an oil pri&in,

&aterial- In water$olor# $a"ein or any paint other than oil the

"it%ation i" re.er"ed: white lead i" ne.er re$o&&ended# while 4in$

and titani%& are fa%ltle""-

One of the point" to wat$h o%t for a&on, the prepared $an.a" in the

"hop" i" the in"%ffi$ient ody or wei,ht or "to%tne"" of the linen on

whi$h "o&e of the& are &ade- Good ti,ht wea.e" are &ore a.ailale

now than in the re$ent pa"t: for&erly# e.en "o&e of the e8pen"i.e

'ind" were &ade on rather fli&"y# open;wea.e &aterial"- In

p%r$ha"in, ready &ade $an.a"# &a'e "%re the $loth i" p%re arti"t"0linen# with a ,ood ti,ht $lo"e wea.e of proper wei,ht- There are a

few reliale te"t" that the arti"t $an &a'e to a""%re hi&"elf of the

2%ality of the ready &ade pri&in,- Bendin, and twi"tin, a $orner

will re.eal the wor"t $a"e" of ad an$hora,e# and al"o the r%ery#

o.erfle8ile type that &%"t e re5e$ted-3


7/15

Many arti"t" ha.e alway" preferred to prepare their own $an.a"e" y pri&in, linen $loth with a

$oatin, of white lead in oil- There are &any ,ood rea"on" for thi" ; to in"%re the %"e of ,ood

&aterial": and for e$ono&y- Al"o e$a%"e the dan,er of e&rittle&ent of the prepared ,ro%nd on

a,in, in ti,ht roll"# and "%"e2%ent dra"ti$ ordeal of "tret$hin, whi$h $an prod%$e %nde"irale

"train" in the already prepared ,ro%nd- 9an.a"# indi.id%ally prepared# on it" per&anent "tret$her i"

not "%5e$t to thi" ha4ard# for it ne.er lea.e" it" ho&e a"e-

THE EASY STRETCHING OF UNPRIMED LINEN

Unpri&ed linen $an.a" "tret$he" witho%t any wrin'le" or %&p"# far &ore ea"ily and 2%i$'ly than

prepared $an.a"- Unpri&ed linen $an.a" ha" a de,ree of nat%ral ela"ti$ity whi$h allow" for ea"y

"tret$hin,- The prepared $an.a" ha" een "tiffened y the "i4in, and the pri&in, whi$h &a'e" it

&ore diffi$%lt to "tret$h- After "tret$hin, the %npri&ed linen# any "li,ht wrin'le" that &ay e

pre"ent will di"appear# e$a%"e after the "i4in, ha" dried the %npri&ed linen will ti,hten %p &ore-

In $an.a"e" lar,er than >+ y >+ the arti"t "ho%ld allow a little "la$' for the "li,ht "hrin'a,e of

the linen- The "elf;prepared $an.a" will re&ain well "tret$hed indefinitely# %"%ally witho%t e.er

ha.in, to re"ort to the %"e of 'ey"-

There are "e.eral e2%ally ,ood way" to "tret$h %npri&ed $an.a"- One widely %"ed "y"te& i" the

followin,

(@ Before "tartin, to p%t the

"tret$her "trip" to,ether &a'e "%re

that the parallel "ide" are of e2%al

len,th- After p%ttin, the "tret$her

"trip" fir&ly to,ether# $he$' with a

$arpenter "2%are to "ee if they are

$orre$tly 5oined*- Then e8a&ine the

front "%rfa$e of the $orner" o.er

whi$h the linen will e "tret$hed and

will $o.er to "ee if the "tret$her

"trip" are 5oined "&oothly- If any

%ne.enne"" e8i"t" at the $orner"#

that i" if one "tret$her "trip i" a little hi,her than the other it "ho%ld e e.ened o%t y

"andpaperin, it or %"in, a fine ra"p- If thi" wa" not done the %ne.enly 5oined "trip"

wo%ld $a%"e a wrin'le in the $orner of the $an.a"-

* 6hen a "2%are i" not handy# a ro%,h $he$' $an e perfor&ed y &ea"%rin, the di"tan$e dia,onally

etween $orner"- If the &ea"%re&ent" a,ree# the $orner" "ho%ld e relialy in "2%are-

SMOOTHING THE CORNERS OF STRETCHERS


8/15

=@ 6ith the "tret$her lyin, fa$e down#

pla$e (= in$h ta$'" at the $orner" to

pre.ent the ton,%e;and;,roo.e 5oint" fro&

&o.in, and th%" di"tortin, the "hape of the

$an.a" while it i" ein, "tret$hedH- After the

linen i" $o&pletely "tret$hed# yo% $an

re&o.e the ta$'" if yo% wi"h- It "ho%ld e

pried off with a "$rew dri.er- It i" i&portant

for the $an.a"e" to e "2%are "o that they

will ,o in their fra&e"-

>@ If the arti"t plan" a paintin, lar,er than >* y >* it i" wi"e to reinfor$e the

"tret$her" with a $ro""ar or $ro""ar" dependin, on the "i4e# to eli&inate twi"ta,e-

1ea.y wei,ht "tret$her" with $ro""ar" are %"ef%l in e8tre&ely lar,e "i4e"-

@ Then $%t the linen at lea"t ( (= in$he" lar,er than the "tret$her "i4e# at e.ery "ide-

C@ After $enterin, the linen on the "tret$her# "o that the wea.e i" parallel to the "ide#

e,in atta$hin, the $an.a" to the "tret$her" y pla$in, a > or (= in$h ? dependin, onthe wei,ht of the linen $an.a" @ $arpet ta$'" in the $enter of the "hort "ide of the

"tret$her"-

*@ Then p%ll the linen ti,htly toward the $orner of the "hort "ide and fa"ten the linen

with a ta$' at the end of the "tret$her "trip- Repeat thi" on the oppo"ite $orner of the

"a&e "ide- The fir"t "ide of the linen ha" now een fa"tened with > ta$'"-

H@ Then e,in "tret$hin, the linen fro& the oppo"ite "hort "ide- P%ll ti,htly fro& the

$enter and fa"ten with a ta$'- Then p%ll one $orner at a ti&e# in a dire$tion away fro&

the $enter of the "tret$her and away fro& the oppo"ite "ide- Thi" will ti,hten the area

etween the $orner and the whole linen "%rfa$e and al"o the other "ide-

@ At thi" point# oth "ide" of the "hort "ide" ha.e > ta$'" ea$h holdin, the linen in

pla$e- Then "tart "tret$hin, and nailin, the ta$'" e.ery two in$he" fro& the $enter of the

"hort "ide"-

)@ Then repeat the "a&e pro$ed%re for the lon, "ide"- If the $an.a" i" "2%are or al&o"t

"2%are "hape it doe" not &atter on whi$h "ide one "tart"-)

(+@ Lea.e the $orner" %nta$'ed %ntil the end# then fold in the linen# and pla$e the ta$' in

the wider part of the "tret$her 5oint# whi$h i" either at the top or the otto& of the ed,e#

at alternate end" of the ar"- Preferaly %"e a J in$h ta$' here-

H Thi" $an e a$$o&pli"hed with "taple" a" well a" ta$'"- = or > "taple" a$ro"" the 5oint will help pre.ent

di"tortin, the "tret$her $ha""i" d%rin, "tret$hin,-

Thi" &ethod i" "tret$hin, /on the ia"3# dia,onally a,ain"t the ,rain of the fari$- Thi" di"tri%te" ten"ion

e.enly a$ro"" the $an.a" and pre.ent" "$allop;"haped &ar'" alon, the ed,e"-

) For hea.y;d%ty or deep profile "tret$her"# two row" of ta$'" $an e %"ed parallel to one another: the two

row" "ho%ld e off"et dia,onally a,ain"t one another- If %"in, "taple"# they "ho%ld e po"itioned dia,onally

to the "tret$her"-

STRETCHING THE LINEN CANVAS


9/15

THE SIMPLE TIME/TESTED METHOD FOR THE PREPARATION OF THE CAN.AS

The preparation of arti"t"0 $an.a" i" a "i&ple %n$o&pli$ated pro$ed%re whi$h ha" $o&e down

thro%,h fi.e $ent%rie" of e8perien$e- Arti"t" find it $on.enient and effi$ient to prepare a n%&er of

$an.a"e" at one ti&e- The arti"t "ho%ld ne.er apply paint on an %n"i4ed linen- The oil fro& the paintwill e a"ored y the linen and e&rittlin, of the "%pport will re"%lt- The p%rpo"e of the "i4in, i"

to i"olate and per&anently prote$t the linen fro& ein, a$ted %pon y the oil fro& the paint layer"-

Rait"'in ,l%e and ,elatine elon, to the $o&ple8 $la"" of or,ani$ $o&po%nd" 'nown a" protein"#

who"e $o&po"ition $ontain" lar,e &ole$%le"- A" a re"%lt of thi" "tr%$t%re# it i" %naffe$ted y oil#

th%" &a'in, it an e8$ellent prote$tor for linen-

SI0ING PROCEDURE

Rait"'in ,l%e and ,elatine $o&e in a fine ,ran%lated for "o that they &ay e ea"ily and dire$tly

di""ol.ed witho%t preli&inary "oa'in,(+((-

* Le.el Tale"poon" of Gro%nd Gl%e( K%art of Boilin, 6ater(=

Do not oil the "i4in, "ol%tion e$a%"e thi" will de$rea"e

the adhe"i.e property of the ,l%e- To pre.ent thi" fro&

o$$%rrin,# after the water ha" e,%n to oil# t%rn off the

heat efore addin, the ,l%e- Add the * le.el tale"poon"

little y little to the hot water- !eep "tirrin, %ntil ea$h

at$h of the ,l%e i" di""ol.ed- The dry ,l%e $an e "tored

indefinitely and %pon a,in, it "li,htly in$rea"e" in

adhe"i.e "tren,th-

Gelatine di""ol.e" &ore readily in hot water than

rait"'in ,l%e- So&e arti"t"# e$a%"e of thi" fa$tor

di""ol.e rait"'in ,l%e in the followin, &anner 1eat a

2%art of water to the oilin, point- Po%r off half into another $ontainer and add into it * le.el

tale"poon" of the ,ran%lated ,l%e# "tirrin, %ntil a "&ooth "ol%tion of a thi$' $on"i"ten$y i" rea$hed-

Then "tir in the re"t of the hot water to otain the proper $on"i"ten$y-

APPLICATION OF LIUID SI0E

(+ Rait "'in ,l%e and ,elatin were on$e &ore $o&&only "old in "heet"# &a'in, &ea"%re&ent &ore

$hallen,in, than with ,ran%le"-

(( Today "yntheti$ alternati.e" are $on"idered "%perior to protein "i4e" li'e rait "'in ,l%e# ,elatin and

$a"ein- Protein ,l%e" are hy,ro"$opi$ ?a"or &oi"t%re fro& the air@ and $an "well or "hrin' dependin, on

h%&idity- A$ryli$ and PA "i4e" wor' well %nder oil and al'yd pri&in,": a$ryli$ "i4e &ay e %"ed %nder

a$ryli$ ,e""o- Rait "'in ,l%e "ho%ld not e %"ed %nder a$ryli$ ,ro%nd"-

(= Thi" for&%la prod%$e" a relati.ely "tron, ,l%e- Mayer0" $onte&porary Frederi$ Ta%e" re$o&&ended a

wea'er ,l%e "ol%tion- 9on"er.ator" ha.e "in$e deter&ined that a "tron,er hide ,l%e "ol%tion perfor&"

etter in ter&" of retainin, di&en"ional "taility and "tiffne""# whi$h in t%rn help" pre"er.e paint

adhe"ion-

APPLYING THE LIQUID GLUE SIZE


10/15

The "%rfa$e of the $an.a" "ho%ld e r%"hed in it" entirety with li2%id ,l%e "i4e with the aid of a

"pon,e or a lar,e ho%"epainter"0 r%"h# appro8i&ately = to in$he" wide- In order to a.oid# &i""in,

any area"# it i" e"t to $on$entrate on one "pot at a ti&e- The r%"h "ho%ld e wor'ed a$' and

forth# in one dire$tion and then another- Si4e the ed,e" of the linen to pre.ent %nra.ellin,- So&e

arti"t" after they apply the "i4e# r%n their fin,er" o.er the entire $an.a" "%rfa$e# "o a" to &a'e "%re

that no "pot" re&ain %n"i4ed-(>

SMOOTHING THE DRIED SURFACE After "e.eral ho%r" ha.e

elap"ed# the water will ha.e e.aporated and the "%rfa$e will e

dry# howe.er# it &ay ha.e a little ro%,hne""- Thi" $ondition &ay

e re&edied with the aid of a fine ,rained "andpaper- Sand the

"%rfa$e y r%in, "oftly o.er it- 6hen "andin, o.er the ri& of

the "tret$her"# yo%r pal& "ho%ld e pla$ed %nderneath in order

to rai"e the linen %p fro& the "tret$her" "o that the ri& will not

appear- Thi" &ay al"o e done y pla$in, a thin "trip of

$ardoard etween the linen and the "tret$her" "o a" not to

allow the "andin, to $a%"e the for&ation of a ri&-

SECOND SI0ING

The "e$ond appli$ation of "i4e "ho%ld e &ade in a li'e

&anner- Additional "andin, i" not ne$e""ary-

Ne.er %"e artifi$ial heat to a$$elerate the dryin, of the

"i4in, or pri&in,- Let it dry %nder nor&al roo&

te&perat%re in a well li,hted roo&-

PRIMING PROCEDURE

Material" The ine8pen"i.e rand 'nown a" D%t$h Boy

6hite Lead Pa"te that &ay e otained in all paint and

hardware "tore" i" re$o&&ended-(It $o&e" in $an"

.aryin, in "i4e" fro& ( l- # C# (=# =C# and (++ po%nd $an"#

? $o&&only $alled 9re&nit4(Cor fla'e white @ i" $o&po"ed "olely of )+ a"i$ lead $aronate and

(+ lin"eed oil- A "i&ilar prod%$t of other leadin, fir&" &ay e %"ed a" well

(> So&e arti"t" opt to da&pen $an.a" efore "i4in, to help the "i4in, "in' into the wea.e# la%nder fari$

efore "tret$hin, or wet the $an.a" after "tret$hin, and allow it to dry efore "i4in, to i&pro.e ten"ion-

6hile Utre$ht doe" not $on"ider the"e "tep" ne$e""ary# there i" "o&e data to "%,,e"t that pre;wettin,i&pro.e" retention of a ti,ht "tret$h-

( 6hite lead pa"te wa" on$e $o&&only a.ailale for ho%"e paintin,: thi" prod%$t wa" "%itale for arti"ti$

paintin, a" well- Lead i" no lon,er per&itted for %"e in ar$hite$t%ral paint"# %t "o&e &an%fa$t%rer"

$ontin%e to offer lead a"ed pri&er" and t%e paint"-

(C /9re&nit43 on$e referred to a "pe$ifi$ pro$e"" for prod%$in, lead white pi,&ent fro& lithar,e ?a" oppo"ed

to the D%t$h pro$e"" whi$h %"ed &etalli$ lead in the "hape of /%$'le"@- The 9re&nit4 pro$e"" prod%$ed a

&ore $ry"talline pi,&ent than fla'e white# whi$h tended to ha.e le"" re,%lar parti$le"-

SANDING THE DRIED SIZING

A -ord A2out S,+et"3

The ri"'" a""o$iated with lead;a"ed paint"

are etter %nder"tood today than half a

$ent%ry a,o- 6hile we en$o%ra,e arti"t" to try

the pro$ed%re" de"$ried in thi" arti$le#

ao.e all# plea"e o"er.e all ne$e""ary

pre$a%tion" to prote$t health and the

en.iron&ent-

The D%t$h Boy 6hite lead pa"te de"$ried

here i" no lon,er a.ailale# %t lead;a"ed

white oil paint" are "till &an%fa$t%red for

arti"t"7 %"e- Plea"e refer to the health and"afety warnin," po"ted on the pa$'a,e for

handlin, and di"po"al-


11/15

THINNING THE -HITE LEAD

The white lead "ho%ld e thinned to the point of a "e&i;li2%id

$on"i"ten$y# enalin, ea"y appli$ation to the $an.a"- It $an e

thinned with either ,%& t%rpentine or reto%$hin, .arni"h- G%&

t%rpentine i" otained 2%ite ea"ily in any paint or hardware

"tore-

Start y addin, "&all a&o%nt" of the thinnin, a,ent "o a" to

enale yo% to &i8 it with the white lead pri&in, &ore

$o&pletely with a "tiff palette 'nife- 6hen &i8in, i" ein, done#

paint &ay a$$%&%late on the 'nife- It &ay e re&o.ed with the

aid of another palette 'nife- To te"t if ade2%ate $on"i"ten$y ha"

een rea$hed# pi$' %p a lar,e a&o%nt of paint on the 'nife and "ha'e &ore than ,ently- Sho%ld any

paint fall fro& the 'nife it &ay e $on"idered to e ready for %"e and of proper $on"i"ten$y to wor'

into the ,rain of the linen ea"ily-

APPLICATION OF SEMI/LIUID -HITE LEAD

The pri&in, i" applied %"%ally with a lar,e palette 'nife- Pla$e a

,ood portion of the pri&in, &aterial in the $enter of the $an.a"

with the 'nife- Spread the pri&in, &aterial in one dire$tion and

then in the oppo"ite dire$tion- The operation allow" yo% to wor'

into the ,rain ea"ily and $o&pletely- 9on$entrate on one area at a

ti&e "o a" not to &i"" any "pot"-

PRIMING THE EDGES

Fir"tly# pla$e a "&all portion of white lead parallel to and an in$h

away fro& the ed,e with a 'nife and then "pread it toward the

ed,e- A "trip of thin $ardoard &ay e pla$ed etween the $an.a"

"tret$her" for the a.oidan$e of a ri&- Thi" &ay e done &ore

"i&ply y rai"in, the $an.a" fro& %nderneath with the pal& of

the hand-

TO FINISH

The arti"t &ay eli&inate any %ne.enne"" y ,lidin, a $lean palette 'nife o.er the "%rfa$e of the$an.a"- On the .ery ne8t day# a "e$ond pri&in, &ay e applied- In the period of a wee' to ten day"#

or &ore# the $an.a" will e entirely dry and ready to %"e-

PRIMING -ITH A 4RUSH

So&e arti"t" pri&e the $an.a" with a lar,e ri"tle r%"h- Apply the pri&in, y "tro'in, the r%"h in

all dire$tion" with a wri"t wa,,lin, &otion "o a" to $o.er the entire "%rfa$e- After e.enly

THINNING THE WHITE LEAD

APPLICATION OF THE WHITE LEAD

SMOOTHING THE WHITE LEAD PRIMING


12/15

di"tri%tin, the pri&in, o.er the "%rfa$e# fini"h y ,oin, o.er li,htly with a $lean r%"h $aref%lly in

line with the wea.e-

TONED GROUNDS

The nor&al a.era,e ,ro%nd for oil paintin, i" white# and e$a%"e of it" hi,h refle$ti.e .al%e it i"

%"ed e"pe$ially where the %t&o"t de,ree of $olor rillian$e i" wanted- 1owe.er# &any arti"t" in.ario%" "$hool" of paintin,# pa"t and pre"ent# ha.e een willin, to "a$rifi$e thi" 2%ality for "o&e

other $olor property or effe$t whi$h $an only e otained y the %"e of a $olored ,ro%nd# %"%ally

$alled a toned ,ro%nd- Toned ,ro%nd" are &ade "i&ply y tintin, the white lead pri&in, with any

"%itale t%e $olor- Nat%rally# the leanne"" of the ,ro%nd i" therey di&ini"hed "o&ewhat and "o it

i" e"t to "ele$t tho"e pi,&ent" with the hi,he"t tintin, power# e-,- phthalo$yanine l%e or ,reen#

li,ht red# et$- The 2%i$' dryin, pi,&ent" "%$h a" the %&er" will "peed %p the dryin, of the

,ro%nd(*-

IMPRIMATURA

An i&pri&at%ra i" a thin .eil of tran"parent layer of $olor or &i8t%re of $olor" applied o.er an

already pri&ed white or toned $an.a" "o that the rillian$e of the white or toned $olor i" notentirely o"$%red- Th%" the arti"t $an %"e an %nder $olor and "till retain the ad.anta,e of a

refle$ti.e white ,ro%nd- The $olor "ho%ld e thinned with reto%$hin, .arni"h(Hto a "yr%py

$on"i"ten$y- The i&pri&at%ra $an e applied with a r%"h# 'nife or lint;free ra,-

GESSO PANELS FOR TEMPERA PAINTING

There i" a "%r.i.al of the earlier 'ind" of paintin, de.eloped in E%rope efore oil paintin, $a&e in#

and de"pite the ,reater pop%larity of te8tile $an.a"e"# ha.e alway" een "ele$ted y "o&e painter"

for "o&e "pe$ial $on"ideration or re2%ire&ent# either of the pla$e&ent or f%n$tion of the paintin,#

or e$a%"e of "pe$ial paintin, pro$ed%re"- So&e painter" prefer the ri,id or "olid "%rfa$e# rather

than the re"ilient or "prin,y $an.a" %"%ally preferred# and "o&e painter" li'e the le.el "&oothne""#

rather than the &ore fre2%ently preferale $an.a" wea.e-

PREPARATION OF GESSO PANELS

Ge""o i" a "&ooth a"orent white $oatin, perfe$ted d%rin,

the Renai""an$e period for ea"el paintin," and for preparin,

wood "%rfa$e" for ea"el paintin, and to re$ei.e ,ildin,- The

traditional for&%la ha" not $han,ed fro& the re$orded $la""i$

re$ipe of 9ennino 9ennini# e8$ept that in .ario%" area" and

$o%ntrie"# the e"t a.ailale pi,&ent .arie"- In 9ennini0" day it

wa" "la'ed pla"ter of Pari"- In o%r ti&e it i" pre$ipitated $hal'-

Ge""o i" "i&ply a "ol%tion of rait"'in ,l%e or ,elatine a" the

inder# with inert white pi,&ent" "%$h a" whitin,# ,yp"%&

and $hal' with a "&all addition of titani%& white- 6ood or

(* Raw and B%rnt U&er $ontain &an,ane"e# a /thro%,h drier3 whi$h "%pport" o8idation thro%,h the entire

thi$'ne"" of the fil&- In addition# &an,ane"e i" al"o a poly&eri4ation $ataly"t whi$h "peed" thi$'enin, and

"ettin, %p of fre"h paint-

(H Reto%$h .arni"h re&ain" per&anently "ol%le in t%rpentine- More d%rale re"%lt" $an e a$hie.ed %"in,

al'yd paintin, &edi%& in"tead-

GESSOING THE LINEN COVERED PANEL


13/15

plywood panel" are %"ed today le"" fre2%ently than the "pe$ial hard walloard $alled Pre"dwood(-

Ge""o ha" een fo%nd to e &%$h too rittle to e %"ed on "tret$hed $an.a"-

In the appli$ation of# ,e""o# a wide = (= or > in$h r%"h i" preferred# and the &i8t%re i" applied in

"e.eral thin $oat"# to &aintain a %nifor&ity thro%,ho%t- The te&perat%re "ho%ld e fairly hi,h# y

'eepin, it war& in a do%le oiler# %t not y $ontin%o%" heatin,- Air %le" are the prin$ipal

defe$t of $arele"" &anip%lation- 6hen the "ol%tion e,in" to $ool# the r%"hin, will e$o&e &ore

diffi$%lt# and in ti&e the "ol%tion will ,ell- Li,htly "and the "&ooth "ide of the Pre"dwood efore

applyin, the ,e""o-

After applyin, the fir"t $oat# any air %le" for&ed are "&oothed away with the fin,er tip"- Ea$h

"%"e2%ent $oat i" applied a" "oon a" the pre$edin, one i" dry eno%,h to a.oid ein, pi$'ed %p y

the r%"h- The r%"hin, i" "topped when the r%"h e,in" to dra, and the ,e""o e,in" it" initial

"et- and ea$h "%$$eedin, $oat i" r%"hed at ri,ht an,le" to the pre.io%" one to pre.ent the %ild %p

of o.erlappin, r%"h "tro'e"-

After the $o&plete dryin, of the final $oat# ?%"%ally fo%r or fi.e $oat" are r%"hed on @- a "&oothin,

pro$e"" i" e&ployed to eli&inate any r%"h &ar'" and to "&ooth any irre,%laritie"- Generally the

&aterial %"ed i" an e8tre&ely fine ? *+ @ ,arnet paper- The ,e""o pri&in, $an e "anded to a

"&ooth i.ory li'e fini"h- The &o"t $o&&on defe$t i" pinhole"# $a%"ed y air %le" of whi$h &o"t

are for&ed %"%ally y a poor fir"t $oatin,- A" a ,eneral r%le# any $ra$'in, that i" ,oin, to de.elop in

a ,e""o panel will do "o i&&ediately after dryin,- If no "i,n" of $ra$'in, are in e.iden$e within a

wee' after dryin,# one $an e pretty "%re that no defe$t" will "how %p- Standard Ma"onite

Pre"dwood ( i" $on"idered e8$ellent for ,e""o ,ro%nd" e$a%"e of it" "%perior end%ran$e and

non;warpin, 2%alitie"# and the ,ood adhe"ion of ,e""o to it- One "ho%ld a.oid applyin, ,e""o in

$ontin%ally da&p "%rro%ndin,"# thi" ha" een 'nown to $a%"e $ra$'in,-

LINEN CO.ERED PANELS FOR IMPASTO PAINTING

Arti"t" $an ,l%e a ,ood ,rade of fine linen that ha" a old wea.e of real $hara$ter to Pre"dwood- 9%t

the linen a (= in$h to an in$h e8tra all aro%nd# $%t the $orner" and pre"" the &ar,in down at the

rear of the panel- A "ol%tion of > o%n$e" ? or tale"poon" of the powdered rait"'in ,l%e @ to a

2%art of oilin, water &a'e" a ,ood adhe"i.e()-9oat the panel with ,l%e "i4e# and the a$' and

front of the linen- Ma'e "%re that the linen i" $o&pletely "oa'ed with ,l%e# "pread the linen down

"&oothly with the fin,er"# and ,l%e the &ar,in down on the a$' "ide- 6hen dry# the linen will ta'eany pri&in,# ,e""o# e&%l"ion# or oil- The "&ooth "%rfa$e of the ,e""o panel" doe" not pro.ide the

&e$hani$al ,rip for i&pa"to paintin,-

( /Pre""dwood3 refer" to hardoard" li'e Ma"onite and MDF-

() A$ryli$ Glo"" Gel Medi%& i" now re,arded a" a "%perior adhe"i.e for &o%ntin, fari$ to panel-


14/15

Paintin," done on panel" &%"t e re"tri$ted to "&oothly applied paint layer" %nle"" a linen ha"

een ,l%ed to the panel to ,i.e it the proper &e$hani$al adhe"ion ne$e""ary for te8t%red or i&pa"to

paintin,"-

CRADLING OF GESSO PANELS

Pre"dwood doe" not warp y it"elf# %t %nfra&ed panel" &ay end of their own wei,ht=+-They &ay

e ra$ed y ,l%in, the& to wooden "%pport" &ade ao%t the "a&e di&en"ion" a" "tret$her "trip"-

%t perfe$tly flat witho%t e.elin,=(- They &ay e 5oined at the $orner" y &iterin, y ton,%e and

,roo.e# with dowel"# or y any other $arpentry &ethod# profe""ional or a&ate%r- The panel" "ho%ld

not e nailed or "$rewed# %t with 9a"$o==? $a"ein @ or "yntheti$ re"in ,l%e# held with $ainet

&a'er" $la&p" while "ettin,- Si4e" %nder ( = are "eldo& $radled# "i4ed o.er >+ in$he" are

fre2%ently $radled- 6arpa,e of "&aller panel" &ay e $ontrolled y ,e""oin, oth "ide" to e2%ali4e

the ten"ion" $a%"ed y one "ide ein, only ,e""oed-

TEMPERA UNDERPAINTING ON GESSO

Ge""o pri&in, $an re$ei.e a $a"ein# e,,# e,,;oil or ,%& te&pera %nderpaintin,- U"in, a te&pera

%nderpaintin, for an oil paintin, po""e""e" &any i&portant ad.anta,e"- The paint fil& drie" with

,reat rapidity# $%t" down the operation of paintin,- A te&pera %nderpaintin, i" l%&ino%" a"

$o&pared with an oil %nderpaintin,- Prior to %"in, oil paint or an oil ,la4e o.er a te&pera

%nderpaintin,# one "ho%ld &a'e it le"" a"orent y "i4in, y r%"hin, on an e8tre&ely thin $oat of

reto%$h .arni"h or one $oat of lea$hed white "hella$ that ha" een thinned with part" of al$ohol-

Oil o.er te&pera %nderpaintin, ha" had the te"t of ti&e- It i" an a$$eptale# traditional pro$ed%re-

Su$$,r"

A" indi$ated y thi" de"$ription of ,ro%nd"# the prin$iple" ,o.ernin, their $orre$t %"e are "i&ple

and %n$o&pli$ated- Lo,i$ and $o&&on "en"e are the 'ey" to %nder"tandin, it in all of it" ran$he"-

For the &o"t part# the pro$e""e" and &anip%lation" are al"o "i&ple and ea"y too# and a" i" "o often

the $a"e# the ea"ie"t way to do "o&ethin, t%rn" o%t to e the e"t way- B%t thi" "i&pli$ity "ho%ld

not lead the arti"t into the &i"ta'en attit%de that $aref%l attention to detail i" not ne$e""ary e$a%"e

wron, pro$ed%re" and $hoo"in, the wron, &aterial" are the $o&&on $a%"e" of fail%re of the

,ro%nd"# and fail%re" of the ,ro%nd are often a $o&&on $a%"e of defe$ti.e paintin," a" all

e8perien$ed painter" 'now-

=+ 1ardoard $an di"tort fro& the %ne.en ten"ion of "in,le;"ide "i4in,- Si4in, oth "ide" of a panel $an help

e2%ali4e ten"ion and 'eep panel" flat-

=( Utre$ht 1ea.y;d%ty Stret$her" ha.e a flat a$' "ide ideal for ra$in, panel"-

== 9a"$o Gl%e wa" a dry# powdered $a"ein;a"ed adhe"i.e- Unli'e hide ,l%e# 9a"$o $o%ld e a$ti.ated y

&i8in, with $old water- 9a"ein i" water;re"i"tant when dry# %t li'e rait "'in ,l%e i" hy,ro"$opi$-


15/15

Questions?Ask the Expert

Intended for reference only. Observe all package instructions. Dick Blick oldings!"trecht Art #upplies is not responsible for any

da$age to personal property that $ay result fro$ use of the infor$ation presented herein. % &opyright '()* Dick Blick oldings

Inc. All rights reserved.
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