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  #11  
Old 19-05-12, 07:26 PM
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vermillion9 vermillion9 is offline
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Hmmm. That's an excellent idea. I don't have any oils but I may know someone who could use it. Thanks!
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  #12  
Old 28-05-12, 02:19 AM
arbrador arbrador is offline
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I would focus on one thing Koo mentioned: How thick are you applying the paint?
If you apply ET like you would gouache or poster paints it WILL be streaky. You've got to thin down the paint with water, then "dress" your brush down by wiping on a paper towel until it's almost dry. ET is basically a dry brush technique. Yes, you can use it very watery ('petit lac') or thick but that's not utilizing the special characteristics of tempera. If you want to fill in a large area with thicker paint then use a sponge, preferably a cosmetic sponge. But even then you need to tap the sponge on a wad of paper towel to dry out the paint a bit before applying.

I don't think your problem is gesso. I've used Koo's recipe- it's perfect and also years and years of highly imperfect gesso recipes. But paint application is usually a problem of paint application which I think is the absolutely most difficult aspect of ET. ET is actually a very difficult and unwieldy technique. If you don't have a crazy passion for it like many of us on this forum do then I suggest you switch back to other techniques. If you find the urge is unstoppable then I suggest you run, not walk, to the best (if not only) workshop that will solve all your ET problems. 5 days with Koo Schadler and all ET mysteries will fall away.

I have been 3 times and now have a basic sense of confidence.

BTW, a way to test how much water is needed to dilute your egg yolk is as follows: I learned this from Diane Mitchell. After you've got your egg yolk in a little jar put your fingers right into the yolk and feel the greasiness. While you're feeling the greasiness drizzle the distilled water into it. You can feel the exact amount of water that will cut the grease. Then stop.

Lora Arbrador












I've gone 3 times and have finally gained a bit of confidence (after 40+ years of trying to learn from books and icon painters.)
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  #13  
Old 28-05-12, 04:04 PM
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vermillion9 vermillion9 is offline
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arbrador, thank you for the kind advice although I really do not think I am using the paint too thickly as I add a TON of water. So much so, in fact, that the color is barely visible when applied so it takes many, many layers to achieve the value I want - which works quite well on paper. I actually think I either got a really strong batch of RSG or I did something terribly wrong to it. Operator error, as usual!!

I envy you your ability to attend Koo's workshops. I have been scheming to attend them for over a year now but just can't come up with the $$$. Ah well. Something to dream about.
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  #14  
Old 28-05-12, 06:50 PM
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Koo Schadler Koo Schadler is offline
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Dear Lora,

They will wonder how much I am paying you. Nothing, I swear. You are good-hearted and generous, which is why (along with Michael Bergt) you started the Society of Tempera Painters many years ago, which has given us this forum, which allows us tempera-philes to talk shop. Thanks, Lora!

Vermillion - Salamander's idea to use the panels for oil is a good one, but one caveat: even with your problematic panels, true gesso tends to be so much more absorbent than oil or acrylic gesso that I recommend first coating the panels with some sort of isolating layer (shellac, rabbitskin glue) before working on them in oil to cut the absorbency a bit. Otherwise the oil paint can be sucked dry of its medium and the paint drags, doesn't adhere well, dries too matte, etc. I am actually struggling with this problem myself and have a question in that regard...but I'll save that for a separate posting.

Koo
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  #15  
Old 29-05-12, 07:17 PM
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vermillion9 vermillion9 is offline
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I already gifted my problem-panels to my neighbor. I'll let her know about the absorbency issue. I doubt she's had time to do anything with them yet. Thanks, everyone, for all your advice. Hopefully, my next orgy of panel-making will be much more productive!
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  #16  
Old 01-08-12, 07:27 PM
Alessandra Kelley Alessandra Kelley is offline
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Do you think it might have something to do with the painting technique of very thin, watered-down layers of paint? I may be grasping at straws here, but that's almost the only thing left. I'm trying to imagine if the water would wick away into the gesso ...

No, no. I'm as baffled as anybody. Perhaps there is some subtle aspect of your painting technique that makes gessoed panels unsuitable for it?

Good luck, anyhow. Keep us informed.
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  #17  
Old 04-08-12, 09:31 PM
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vermillion9 vermillion9 is offline
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I think I just did something horribly wrong with the panels when I made them. They were, indeed, really REALLY shiny and they behave like clayboard: all is fine and then, whamo!, slipping paint that lifts everything beneath it. Now that we have moved and are (almost) settled in, I plan on making some more panels. Wish me luck and thanks for chiming in.
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