Medium or Varnish

[Mike Dodson]

For those who do not use a medium or very little I am curious to know what you do about achieving a gloss effect? I know it's a good rule of thumb to wait 6 months, depending on how the paint was applied, before varnishing but what do you apply in the meantime or prior to the painting being presented? Re-touch Varnish? I have tried re-touch varnish in the past but it seemed that in areas, for example, where I used alot of Burnt Umber, that the paint just seemed to soak it up like a sponge. I was reluctant to keep adding more re-touch varnish.

One of the nice things about the medium I use is that it gives the painting an enamel like finish and I don't have to varnish, at least with the limited experience I have with it so far it doesn't appear that I will.

Any thoughts on this matter?

[Timothy C. Tyler]

Mike,

Most paints, including umbers, will not fade (or go flat) as you refer unless one uses turps or OMS with them. Retouch varnish is simply varnish that is cut with thinner. I don't use any spray of any kind any longer. You can make your own retouch that you can brush on to give your work a sheen. That transparent look of mediums may simply require you to use mediums to get. If you like the look go for it. Numerous paintings in the museums have used it heavily.

[Marvin Mattelson]

Adding stand oil to a painting medium increases the glossiness of the paint film. I use retouch varnish (Mamieri) for presentation purposes. Gamblin, I have been told, says it's ok to use Gamvar after the painting is dry to the touch, but I would look into this if I were tempted to try it. At this point I just wait patiently for 6 mos. to a year.

[Mike Dodson]

Thank you both for your response to this post.

I have spent quite a bit of time over the last year playing around with mediums/varnishes to basically achieve two things for me: 1) to give me that finished "museum" look as you alluded to Tim and 2) accomodate my schedule. What I mean by the latter is that I need for the painting to remain wet for 3-4 days because I'm not always in a position to paint on consecutive days and I prefer to work alla prima. I don't like, for example, to work on flesh tones one evening and come back the next evening (if my schedule allows it) and have to repaint everything in order to do the necessary blending. The medium I am currently using has an extended drying time, too long in fact. Part of the mixture is both clove oil and stand oil. Maybe I need to cut back on the amount of clove oil I am using.

Would using stand oil only as a medium give me what I want?

[Marvin Mattelson]

I don't think the stand oil will keep it open for several days like clove oil would. Clove oil if overdone will cause problems in the long run if that's an issue. You might want to try mixing stand oil with oil of spike lavender. Oil of spike is the slowest drying solvent and might prove sufficient for your needs. I like to paint over my previous days efforts so slow drying is not my forte.

[Geri Comicz]

I was wondering if perhaps you might suggest a brand name for "Oil of Spike Lavendar" or perhaps where or who has it.

Sounds like exactly what I am looking for also as my stand oil by itself dries in hours or over night.

Thanks
Geri

[Timothy C. Tyler]

I am not buying anything more from Rob H. where I last bought mine (lavendar). I think Sinopia has it and maybe the larger art stores. Mike, I think you want to go easy with the oil of cloves as Marvin says it can give you "other" prolems. I'd think a pinch (two or three drops) mixed into some walnut oil will give you lots of open time. Be sure to remember the fat over lean rule.

[Michele Rushworth]

I "oil out" sunken in areas. This involves waiting until the paint is dry and brushing on a thin layer of OMS and linseed, or straight linseed. Then I wipe off the excess. If that sinks in after a few days I do it again.