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  #61  
Old 15-02-07, 10:57 PM
sabine sabine is offline
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jeff, I'm the one now who bows to your expertise :-) I still don't see how you manage, I should probably try again (if I'm brave enough...)
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  #62  
Old 18-02-07, 02:27 AM
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Actually, Sabine, maybe you could guide me to using oil in ET better. Can I use it like retarder to slow the drying of the paint or am I hoping for too much there?
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  #63  
Old 18-02-07, 02:41 AM
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Thanks, David. I'll have to give this size a trial.
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  #64  
Old 18-02-07, 03:38 PM
Alessandra Kelley Alessandra Kelley is offline
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I am not sure of the physics of adding oil to already-made egg tempera paint. As I said, the egg-oil emulsion I worked with was mixed before ever making the paint. Has anyone tried this? Adding a drop of linseed oil to paint to make, as Jeff said, a "retarder" (to slow drying time), the way you would add clove oil to oil paint?

(I once added a drop of clove oil to oil paint, to see how long it would take to dry. Clove oil from the art supply store made oil paint that normally dried in one day take a week. Clove oil from the health food store made it take over a month.)
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  #65  
Old 19-02-07, 02:31 AM
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Bert Congdon Bert Congdon is offline
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Default egg/oil

I put clove oil in my egg/water mixture to make it last longer in the frig. I can't tell it's in there by use or by drying rate.
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  #66  
Old 19-02-07, 02:55 AM
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Salamander Salamander is offline
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Default Re: egg/oil

Quote:
Originally Posted by Bert Congdon
I put clove oil in my egg/water mixture to make it last longer in the frig. I can't tell it's in there by use or by drying rate.
I couldn't tell by the drying rate so much either but it kept it 'fresh' in the fridge for about a month.
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  #67  
Old 19-02-07, 10:18 AM
sabine sabine is offline
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I think that yes, adding some oil has a "retarder" effect

I do put my egg/oil paint in tubes and keep it for weeks (months :grin: ) that's one of the reasons I'm so fond of this formula, I'm not very good with all the fuss of making new paint each day (and I allways made too much, couldn't stand to throw it, ended overpainting everything in green for ex. if I had green left...)

bref

while painting, the egg/oil takes longer to dry thant pure ET - I generally use very little paint, diluted with quite a lot of water - I love to sketch directly on the board/canvas, which I can't do with pure ET. If doesn't go right, I wipe it off with a wet piece of coton
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  #68  
Old 02-07-07, 06:20 PM
Kate Kate is offline
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Red face

Quote:
Originally Posted by dbclemons View Post
Ralph actually recommends (in his book "The Painter's Craft") rabbitskin or calfskin glues as giving the best results, but says glues of bone or fish are an alternative; more for sizing material than as binders or adhesives.

I've made many gesso panels with casein, and found them to be very nice and equal to any I've made with RSG.
Sturgeon glue is the BEST but it is also soooooooo expensive. I like the rabbit skin glue from Utrect because it is in nice small grains.

I use a cheap crock pot to make my gesso
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  #69  
Old 11-07-07, 05:04 AM
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I think that the gesso ground mainly arose in order to cover the uneven surface of handmade panels. It does have nice qualities but a sanded and sized surface of RSG on mdf panel should be OK too. A relatively easy surface to make is using muslin that is applied with RSG. On an mdf panel you would need to do this on both sides. If you use a fine muslin then the effect is quite nice and will enable more of a painting style like oil on canvas. ET is not going to rot the cloth ground like oil paint would without it's special grounds that are intended to protect the cloth. There are plenty of examples of ET on cloth painting - even without a rigid support though that is preferable.
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  #70  
Old 30-07-07, 10:45 PM
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Bert Congdon Bert Congdon is offline
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Red face True gesso

The real stuff is so nice to draw and paint on that I have used it for years for oil painting as well as egg tempera. Made the way I have described elsewhere on this forum, I like to draw with silver point right on the gesso (works great), paint an underpainting using umber and lead white in Griffin alkyd (dries overnight), then color it with oil glazes or a second coat of color in egg yolk. I never add oil (except for the drop of clove oil) to the egg/water. I do not wish to give up the true gesso panells the way I prepare them. I have been painting on them for twenty years.

Last edited by Bert Congdon; 30-07-07 at 11:06 PM. Reason: Not mis spelled, but mis printed
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