Virgil,

You certainly live up to your reputation! I don't know of anyone else who could (or would) have answered my questions so thoroughly. I cannot thank you enough, other than to ask that I may somehow be notified when your book is available for purchase. An updated alternative to Mr. Mayer's work is long overdue!

I will worry only if knowledge should ever stop advancing.

The "conflicting" pieces of advice I've gotten before are now pieces of a puzzle almost all in place: I can finally see the picture, and I can now more easily paint in peace.

Thank you,

Doug

From Mr. Gamblin, and more
 

The other world-class expert I posed my questions to was Mr. Robert Gamblin, President of Gamblin Artists Colors Co. and

A Working Solution
 

After receiving so much useful advice, I put it into practice and have eliminated virtually all noxious odors from my studio.

By the easel I have two inexpensive 5-oz. glass bottles with ground-glass stoppers (from Cost-Plus Imports) -- much easier to get in and out of than screw-top jars (an old trick from chem lab) -- in one bottle is baby oil; in the other, Gamsol: While in the "passionate throes" of painting, I can quickly wipe my brush on a paper towel, dip it in Gamsol, and then wipe it again to change colors (and if some of the previous color remains to blend with the next, that usually adds to the "integrity" of the composition). When I have more time, I will wipe my brush, dip it in the baby oil, and then into a series of three jars: The first a Silicoil jar (I bought it previously; I might as well use it now), with a strong solution of shampoo; the next, a mayonnaise jar, with a weak solution of shampoo; and the last, another mayo jar, with just water. It usually takes two go-arounds to thoroughly clean my brush (in the bottom of each jar or bottle, except the Silicoil jar, I have placed a disk I've cut out of a Scotch-Brite

Soy based thinner
 

I just read all the threads on the this subject and was wondering if you have heard about Soy Solve? I just received a free sample from the company and it is supposedly safer than all the substitutes that have been discussed here. I am trying it now and not sure how I feel about it yet. I would love to know if you have already gone down this road.

http://www.soysolv.com

You have all scared me to death of the Natural Turpenoid I have been using for 7 years.

Thanks for all research you have put into this.

Morgan

I'm no expert but I've always heard that artists shouldn't use industrial grade materials because of the impurities they contain that could cause unpredictable results when used in painting. Who knows what color this stuff will turn in a few years? I checked out the website and I didn't see what was in soysolv, other than soybeans. I know what's in my 100% mineral spirits.

Although this thread hasn't been re-visited in five years, confusion and mis-information on the subject of solvents persists. Perhaps some of this information is new since '03?

1. "Turpentine" by definition, is the gum exude extracted from living trees. This includes gum turpentine extracted from Georgia pines, {used in naval stores since pre-colonial times) as well as gum extracted from the European larch, known as "Venice Turpentine" (used in oil painting since Renaissance times) and also Canada Balsam, widely used in the lab to prepare microscope slides, and also of use in certain oil-painting mediums.

2. "Spirits of Turpentine" refers to the clear, water-thin distillate that is collected when turpentine is heated, and is what's commonly known as "turpentine". The solids left behind are rosin (upon which violinists depend), tar, and colophony. A certain amount of these resins and solids is retained in the spirit distillate, and the finest grades of "pure spirits of gum turpentine" are processed three times: hence, "triple distilled".

With the phasing out of linseed oil and natural resins in the paint and coatings industry for commercial and utility purposes, production of top quality pure spirits of gum turpentine has been in decline for sometime, and has been largely replaced by "turpentine" products which are the camp-followers of deforestation in third-world countries. What is commonly available in hardware and paint stores nowadays is a vile liquid, reeking of creosote, which is steam-distilled from slash, stumps, limbs, and other forest wastes. It bears no resemblance to "good" turpentine (what we should be using at the easel) which smells like pine forests after rain.

Pure spirits of gum turpentine is a necessary component to "cut" natural resins for varnishes. Mineral spirits will not effectively dissolve some, while others, such as damar, yield a cloudy, turbid mixture if dissolved in mineral spirits.

The chemistry of pure spirits of gum turpentine is conducive to the drying of oil paint films by introducing oxygen, allowing paint to dry "through" rather than on the surface.

A petroleum distillate, mineral spirits, odorless mineral spirits, and the array of "branded" trade name solvents such as "Grumtine", "Gamsol", "Turpenoid", etc., etc. are all mineral spirits, derived from kerosene, and further refined. As a solvent for cleaning brushes and tools, K-1 kerosene is no more odorous than "regular" mineral spirits, but is more penetrating, and hence a better cleaner. It has a lower vapor pressure than mineral spirits, which means lower emission of hydrocarbons.

"Natural Orange" type solvents contain the oily terpenes extracted from citrus peel waste. Compared to either mineral spirits or pure spirits of gum turpentine, they are extremely active, harsh, volatile, and deleterious to the polymerization of paint films. They can easily remove dry oil paint, and while the citrus odor may be appealing, in a confined space, the volatile hydrocarbons they emit are no safer than those released by either turpentine or mineral spirits. The "cutting", solvent action of these solvents is so extreme, they should not be mixed into oil paints, or any mediums used with them.

Good for you Virgil,

As to which thinner to use, safe practices with solvents will go along way to dealing with them safely. The biggest problem I see with painters is that they leave their solvent cans open. When not in use all thinners should be covered. This reduces the airborne vapors and therefore reduces the risk. Good working habits with most solvents will render them safe enough for most people. Those with severe allergies must be extra careful. The good ventilation and or filter system is absolutely necessary in one's studio. Please paint safely and realize we're using some painters and calls here if not handled properly.

My advice to students is to first see if the effect they are after is something they can get with a simple mixture of pigments. I look at the works of Sargent and Schmid (both of whom are well documented in this area) and for nearly their entire careers (with few a exceptions) they used paint and a little thinner in the early stages of a painting and paint straight out of the paint tube to finish the work. Most of the effects of light, I have to admit, were quite well expressed by these two gentlemen.

If after looking at many examples and finding that the effect you're looking for is quite impossible without the use of mediums, then and only then, do I suggest experimenting with chemistry. My further advice is that you don't become an amateur but a master of chemistry if you expect any of your work the last. If you are unwilling to become a master chemist, my advice is to leave it alone, there are too many variables that you cannot control.

Best of luck to all,
Clayton

Clayton,

Good advice.

Virgil

Gamblin recommends oiling out with a mixture of 50% Galkyd Lite and 50% Odorless Mineral Spirits. How do you both feel about that, Virgil and Clayton?

Michele,

My only reservation would be that if the paint were not sufficiently dry, the solvent could take some of it off. There's less risk if oil alone is used, with no solvent. I blot the excess oil off after oiling out if the paint is fairly freshly applied. Very little oil is needed to serve the purpose of oiling out.

Virgil