Galkyd Lite & OMS 50/50. . .

[Terri Ficenec]

When I first switched from acrylics to oils, I read here on the forum to even out the sheen on a painting by applying a layer of 50/50 Galkyd Lite and OMS to the surface of the finished painting. It does unify the gloss and hold a very nice sheen through until it's time for final varnishing. . .

I'm noticing though that references to this here are all a few years old now and wondering. . .

Is this still considered a recommended practice? (Curious to know how many are still doing this currently . . .)

Anyone experience any problems (yellowing for instance) with the galkyd layer? (I have not at least so far as I can tell. . . but don't have anything older than a couple of years old to look at so . . .)

[Richard Bingham]

Originally Posted by Terri Ficenec

. . . applying a layer of 50/50 Galkyd Lite and OMS to the surface of the finished painting. . . . Is this still considered a recommended practice?

Hi Terri, I'm curious as to the provenance of the recommendation.

This much I know: alkyd resins were synthesized and applied in commercial paint coatings beginning in the 1930's. While paints so formulated (generically referred to as "enamels") provided a number of benefits and improvements over the linseed oil and natural resin / fossil resin coatings they replaced, my experience using a variety of such paints for over 35 years has proved that admixtures of linseed oil result in delamination between coats unless well-sanded between applications, and clear alkyd coatings are relatively prone to yellowing and clouding.

The addition of synthetics and petrochemicals to the already complex (and potentially controversial) armamentarium of the painter in oils adds an "X" factor to questions of permanence.

Insofar as oil painting as a technical methodology was perfected 500 years ago for all practical purposes, as the current condition of some of the earliest paintings attests, my question is, why deviate from the proven durability of materials so long in use ?

Perhaps in another 150-200 years, either the advantages or inadvisability of using alkyd compounds will begin to be proved, but that's a little late for us painting right now . . .

[Terri Ficenec]

Hi Richard--
The 50/50 Galkyd Lite and OMS was based on a this recommendation by Bill Whitaker, but back in 2001. I had started out doing this with the first couple of oils I painted. . . As it had seemed to me the the Galkyd layer would act as an 'isolation' layer. . .

I've gotten away from this approach now in favor of oiling in any flat areas. . . But I recently came across one of my earlier pieces that had never been returned for a final varnish and was struck by what a nice surface the galkyd lite coat gave the painting. So was reconsidering whether to start doing this again. . . your comments on the likely issues with aging of the galkyd layer though make me think the oiling out method is the safer bet. . .

[Richard Bingham]

Thanks for that, Terri. Exactly a month from today, I'll be in Mr. Whitaker's workshop, and I note that in prepping for the session, he says he will be providing one of Graham's alkyd mediums for class use, although it seems to be an economic concession over Maroger's.

I'm really looking forward to this, and hope to have the opportunity to have his thoughts on alkyd use in general.

One thing we must all keep in mind is that with painting materials, the skill and method of use can have much to do with success or failure, while it's easy to blame materials. There's nothing we can use that can't be misused to failure!

[Terri Ficenec]

Richard - I'm jealous! Have a great time at the workshop. . . looking forward to hearing about it

[Richard Bingham]

I hope I'm not "talking out of school" . . . (pun intended)

In an e-mail today, Bill says he has suffered a couple of cancellations for this workshop - which is in Scottsdale at the SAS April 24-28. If you can manage it on short notice, (or certainly anyone else reading this) I'd think it would be possible to attend yet by contacting him ASAP