My glaze dried too dull

[Susan Kuban]

Thanks to all of you for your time and thoughts. I will probably wind up doing the oiling out that you have suggested, although I am going to wait as long as I can, until the foreground is completely dry, so that I can oil out the whole canvas at once.

Thanks again, Susan

[Richard Bingham]

Oiling out has its place and definite advantages over retouch varnish. From the information posted, I should think the painting is nowhere near dry enough for oiling out, and FWIW, the process is better accomplished with little or no MS, the oil being "massaged" into the paint film with enough friction to warm it.

There are so many possible variables to this problem it's very difficult if not impossible to recommend the best remedy without seeing the painting.

[Michele Rushworth]

and FWIW, the process is better accomplished with little or no MS, the oil being "massaged" into the paint film with enough friction to warm it.

Thanks for this suggestion, Richard. I have been using 50/50 linseed and mineral spirits because I don't want to put too much oil down. Is there a reason not to use the mineral spirits in this process?

[Richard Bingham]

The minimum amount of oil is determined at the outset, a "dry, sunk-in" passage will receive no benefit from absorbing any amount of mineral spirits, even though quite thoroughly dry.

[Michele Rushworth]

I didn't mean that I expect the mineral spirits to be absorbed into the paint, I expect it to evaporate. I felt that putting on a layer of 100% linseed would be too much oil. Adding the mineral spirits is just a way of thinning out the linseed.

[Richard Bingham]

To elaborate, by definition and by use, linseed oil is, and has been considered a "varnish" since its use began. The purpose of a volatile thinner (MS) is literally to "reduce" the amount of material appied, so your 50/50 solution applied by way of "oiling out" is sound reasoning and practise as relates to applying less of the "varnish" material.

The intent of "oiling out" as I understand the process is not to saturate an absorbent layer with whatever amount of oil it might take on, but to appy the oil as as top-coat "varnish". Cut 50/50 with MS , it's most likely the "dry" passage will absorb the solution through and through, even into underpainting layers unless a barrier layer prevents this.

Oil is applied very sparingly to the surface (to be sure, one doesn't flood the surface nor apply it with a brush). A wee bit applied with the fingertips and massaged into a dry surface with the heel of the palm using enough friction to warm the oil and the painting, keeps oil on the surface and it's possible to apply even less sum total in this fashion than would result from applying a reduced mixture. Oiling out is one of those processes that's best demonstrated, it's difficult to explain in text.

The rationale for keeping an oil layer nearest the surface rather than permeating the paint layers is rooted in the "fat over lean" principle as it's understood for a layered approach to painting. Oil rich layers are found to yellow and darken over time, but a linseed oil film of itself will not necessarily yellow or darken unless subjected to extreme damp and darkness. Ambient daylight where paintings are hung for display is enough to keep paintings from darkening or yellowing.

[Michele Rushworth]

Thanks for posting that, Richard. We all benefit from hearing about your experiences with various materials.