I was so happy to find this particular subject for discussion as I have been in such a dilemma about all of this for using various mediums.
Let me say this, I have painted for many years, self-taught, and always used Liquin as I thought it was the only thing. Since then, I experimented (with suggestions from others) with mixtures.
Recently I apprenticed with an artist who teaches in the Dutch, Old Master techniques. Here is how I paint now in the order in which I was taught. Pay close attention please as I have definite questions about my problems afterward.
1. Drawing and umber painting of all the value stages. This umber layer is very thin a vaious degrees of value.
2. After that layer drys. I rub linseed oil directly onto the dry painting. I then proceed thinly painting the "dead color" or local color of the entire painting without any pure color and/or highlights, etc.
3. I continue do several layers but always first rubbing the juice of an onion onto the dry painting, then linseed and always thin my paint if with my "pre-mixed" medium of turp and damar varnish.
4. I will do this onion thing each and every time that I begin painting until the finish of the highlights, pure color. If I do not use the onion and mixture, then I use only my mixture of 1/3 damar, 1/3 turp, 1/3 linseed.
I love painting this way. But the problem.
After this dries, I usually have wet and dry streaks. I do not like to use damar varnish as it is so shiny and glassy. I read that I could use simly "retouch" varnish to finish it.
This drys the same way.
I never had such a problem with the Liquin and then Damar. But have not enjoyed painting with the Liquin as I cannot seem to manipulate or move the paint around and it drys too quickly for me.I must be doing something wrong. I have noticed that these layers have trouble drying at all. They stay quite tacky therefore prohibiting me to do a finish varnish. Help!
Any suggestions are appreciated. And particularialy about the Old Master techniques.
Patt