Quick drying additives

[Michele Rushworth]

In the thread about whites there's been some discussion of various additives that artists use to make their paint dry faster. Since I've been doing a number of projects lately with tight deadlines I've become more interested in exploring these options.

I'm familiar with alkyd driers like Liquin but have had serious problems with de-lamination of layers (probably because I used too much.)

What other experience have you all had with Liquin, lead dryers, cobalt dryers, etc.?

[Enzie Shahmiri]

I used Liquin extensively in the past and experienced no problems. My approach was to dip the brush quickly into the Liquin and then into the paint. The ratio was always fairly equal.

Now I have adapted a slow drying palette and spritz a little Clove Oil over the palette. This keeps the paints pliable for a long time and I usually need no additional medium.

Here is what I have gathered together about the different oils. The information has been gathered from different books I have read over time. I am hoping that members of the forum can add their experiences so Michele's list of "Paint Mediums" can contain both fast and slow drying mediums. Michele, hopefully this will help make the list of applicable fast drying mediums, easier to go through.

-Linseed Oil
-less oily then Poppyseed Oil
-good drying oil
-dries within a day
-use in equal proportion (medium vs paint) otherwise wrinkles can form when oil dries
-cold pressed is clearer and has less impurities and dries better than hot pressed
-will darken a bit over time

-Poppyseed Oil
- a fatter oil then Linseed Oil
-allow ca. 2 weeks for drying
-do not resume painting until layer has dried (will crack the surface)
-makes for brightest lights and blues
-darkens less than Linseed Oil

-Walnut Oil
-slow dry
-non yellowing
*I have used M. Graham with good results

-Oil Painting Medium II (Grumbacher)
-slow dry
-use sparingly

-Turpentine
-buy the purest turp available
-quick drying/will dilute pigments
-recommended for high key painting, because it will dull the surface
*used by Whistler and Gainsborough

-Petroleum Spirit
-three varieties quick, medium and slow dry
-recommended for high key painting, because it will dull the surface

-Copal Varnish used as a medium
-contains oil copal varnish, linseed oil and turp or petroleum spirit in equal amount.
-drying time not known

-Oliesse
Copal Varnish mixed with Durozierz Oil 4 parts and Rectified Oil of Spike or Turpentine 3 parts
-makes paint solid
-could not find anything about drying property
-nor ratio of use
*Oliesse is made by Duroziez of Paris
*used by Gerome

-Huille Grasse Blanche (now replaced by Siccative Haarlem)
-clear Poppyseed Oil treated with Siccative agents using base of lead and manganese
-has milky appearance
-could not find anything about drying property
-nor ratio of use
*used by Bougereau

-Siccatiff Haarlem
-makes glazes solid and can act a a final varnish with rectified turpentine
-drying time not known
-preserves tones, inhibits "sinking in", prevents cracking
-can be further diluted with oil or turpentine
-won't alter colors as is ages
-manufactured by Lefranc & Bourgeois

[Stanka Kordic]

Hi Michele,

Belated congrats on your commissions!

I had used Liquin exclusively for years with good results in the paintings, but not my headaches. I now paint with walnut oil and only glaze with Liquin in moderation. Since my layers are many, and relatively thin until the end - the drying in between is no more than 2 days.

Maybe a quick swipe with liquin like Enzie suggested would do the trick for you. Good luck.

~Stanka

[Enzie Shahmiri]

Michele,

I was watching a Daniel Greene video where he talked about his use of a "quick dry" palette and thought you might find this interesting. Besides using quick drying paints, he mixes his own medium of 1/3 Stand Oil and 2/3 Turp. He said that besides being a fast drying medium, it also adds a slight gloss, provides good blending ability with a bit of brush drag.

His painting usually is dry to the touch by the next day, at which time he puts on a layer of Retouch Varnish. (He cautions that the paint has to be dry otherwise there will be smears). Since that dries in a few minutes, he continues painting again. The retouch varnish is a sort of oiling out method, it not only revives the sunken in areas, but must add an extra coating between the new and old layer, thereby speeding up his painting ability.

I have not tried this method for myself and would recommend you test it out first.

[Chris Saper]

This is such an informative thread! When I took Daniel Greene's class, he had us spray retouch varnish as often each day as needed to restore values - sometimes as many as 3 times per session. You can spray retouch on a wet surface without harm, but if you use a brush-on variety, it definitely needs to be dry.

The more earth colors you use, the faster the darks seem to dry, and lighten up falsely in comparison with other pigments.

I have been using the www.studioproducts.com Maroger ever since we took Bill Whitaker's class, Michele, and in combination with Flake White, I need to scrape my palette at noon, and set out new paints for the afternoon.

Of course this is Arizona, and you could come and hang out here with me when you have quick deadlines.

[Linda Brandon]

Michele, I know you don't like Maroger, so try this, a tip from plein air painters: use an alkyd white. When mixed in with your oils it speeds up the drying time throughout the painting. I do this when I travel and don't know if I'll be able to get to an art store.

Is there a thread on the Forum about alkyds generally, by the way? I would love to hear about how they compare to traditional oils.

[Michele Rushworth]

Thanks, everybody, for the input.

As you know, Linda, I'm leery about Studio Products' Maroger because of the potential that the resin might darken quite a bit over time. (For the same reason, I don't like to use retouch varnish very much because every brand I've found is made of Damar, also a resin.)

I'd like to try alkyds but I think they are the same substance as Liquin (it's an alkyd, right?) and I've had those delaminating problems with Liquin.

Has anyone used lead dryers or cobalt dryers?

[Chris Saper]

Well, there you go! Burt Silverman uses Alkyd white, mixed in various proportions with other whites. He likes the surface to set up quickly.

[Kimberly Dow]

I've used cobalt drier. It works great and you use very VERY little. I've never seen any problems with it at all - but I'm no expert. I know Tim Tyler uses it. I only use it in emergencies since I dont like to use mediums if I can help it. I am loving the Maroger - but only on canvas. I don't care for it on a panel much yet..

[Richard Budig]

I premix little puddles of paint -- A La Daniel Greene. Quite some time ago, I got into the habit of putting out a little puddle of Liquin and, as I mixed my little batches of paint, I'd dip my brus into the Liquin, about once per puddle of paint. The result is that my paint dried nicely overnight -- touch dry that is. I actually use very little Liquin unless I'm doing a bit of glazing, but that tiny bit added to the colors I pre-mix gets me a touch dry canvas by the next morning.