Quote:
|
Originally Posted by Sharon Knettell
Virgil,
One more question. He recommends copal as a medium as opposed to mineral spirits and as an ongoing kind of retouch varnish.
What is your opinion of copal used in both those applications.
|
Sharon,
Once again, it depends. Copal might be all right for use in small paintings on panel, where the increased gloss it produces does not cause a problem with glare, and where the increased ultimate brittleness it is likely to impart to the paint layer would be less likely to cause cracking than it could on a rigid panel, but there is the issue of how much medium one customarily uses. Too high a percentage of any medium is apt to cause problems. With copal there are a number of potential problems, though its advocates disagree, claiming that the proof that exists falls short of establishing that with absolute certainty. So far, none has been found in the paintings of the Old Masters, who seem to have been able to paint quite well with simple paints made from pigment and linseed or walnut oil.
I find it curious that so many painters of today consider it absolutely essential to paint with medium. It is better, in my opinion, to begin with paints that are fluid enough to be controllable under the brush as they come from the tube, or as close to it as possible, and only add a drop or two of linseed oil to soften them further where necessary. One can paint quite well with oil paints adjusted for consistency with linseed oil. Why complicate things if you don't need to?
Quality in painting derives from what is in the artist's head. It is not to be found in any magic medium.
I would not consider a purveyor of painting products an objective authority on painting products. It is not uncommon for people to mistake their beliefs for facts, and represent them as such. It is an important point to keep in mind.
Virgil Elliott