painting medium

In the comments to this post, Jeff writes:

What would you recommend as a good source for purchasing canada balsam / stand oil / spike?

First let me note that these are natural materials. Any supplier can get a bad batch. That I got quality stuff five years ago does not guarantee that you will get high quality materials from the same company now. That’s the nature of the market.

That being said, if you want to get Canada balsam, spike, and stand oil, these are suppliers I’d recommend taking a look at:

• Studio Products. I’ve purchased all three of these ingredients from these guys and the quality has been excellent.
• Sinopia. Great pigments and other supplies. They are now the sole distributor for the European art supply company Kremer.
• Natural Pigments. They sell some stuff made by Studio Products and many other art supplies, including a line of oil paints made with some very old-school pigments. They also sell heat-bodied oil in various viscosities. Stand oil is one grade of heat-bodied oil. That would allow you to experiment, if you liked.
• Kama Pigments. They have Canada balsam (at a very good price) as well as oil of spike (which they call lavender oil). I have never ordered from them, but have heard good things from others, despite the truly awful design of their web site.
• Robert Doak and Associates. They have various pre-made mediums, as well as balsam, spike, and stand oil. Don’t let Robert tell you what you have to buy from him.

Note that you should not have to buy a lot of medium supplies, because you should not add much medium to your paint. Unless you are making a lot of paintings, which would be excellent.

Please share any experiences you might have with these suppliers or other places to get these materials.

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I’ve tried many painting mediums, but I keep coming back to this formula that I wrote about on the first day of posting here. Canada balsam and stand oil 50/50, then add oil of spike until it flows easily.

Just a tiny bit of this medium mixed into oil paint improves brushability remarkably. And it smells wonderful.

To give proper credit, the recipe comes from Rob Howard of Studio Products.

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I am fortunate in having no particular sensitivity to the aromatic solvents such as spirits of turpentine and oil of spike often used in oil painting. I take reasonable precautions while painting to avoid overexposure and ensure good ventilation.

Some people are specifically sensitive to spirits of turpentine, but are able to use alternate solvents such as oil of spike. Others are very sensitive to aromatic solvents, but are able to tolerate modified substances such as odorless mineral spirits. (I don’t like using OMS with oil paints because I don’t like the way they interact with paint. I also have a slight skin sensitivity to mineral spirits.) Note that not all spirits of turpentine are the same. Most modern gum turpentines are made from boiled tree stumps, which makes a nasty-smelling product. Look for stuff that doesn’t have a foul odor.

But there are some individuals who just can’t be around any of the solvents that are useful for oil painting. And even people with no sensitivity may find themselves taking a class or in some other situation in which solvents are not allowed. I think it’s useful, therefore, to discuss strategies for working with oil paint without solvents.

I’d first like to note that, for the first 100 years of oil painting, there is scant evidence of solvent use. Paintings from that period often exhibit very fine detail, demonstrating that just about any sort of painting in oil is possible without solvents. Since those paintings have often lasted very well (without excessive cracking or yellowing), it also demonstrates that multi-layered solvent-free painting can be done without having to dilute the paint with excessive oil or by egregiously violating the principle of fat over lean. (CONTINUED) ⇒

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So I called up Robert Doak over the Summer to order some paint. As he does, he asked me about how I paint and started suggesting additional things for me to buy (he’s a very good salesman). One of the things he pushed was his new medium, “cristallo.” At $12 USD for a 40 ml tube I decided to splurge and pick some up.

Mr. Doak says that the primary ingredients in cristallo are leaded glass powder and sun-thickened walnut oil. It also contains small amounts of cold-pressed walnut oil, beeswax, and lead drier. It is based on recent research indicating that 16th century Venetian painters added more powdered glass to their paint than was previously thought, although he makes no claim that this is the “rediscovered” medium of Titian, Giorgione, and Tintoretto. He suggests that it is best used by spreading it thinly onto the surface and painting into it. He also suggests that it is a good replacement for varnish on a dried painting, but I am dubious about that application and have not tried it.

I’ve now painted with it, off and on, for a few months. It is a sort of thick, colorless fluid, about the consistency of ketchup. It is not sticky the way mediums containing resins, balsams, or stand oil tend to be. It is easy to spread very thinly onto the painting surface with a finger (you can feel a slight granularity from the glass powder, but it is barely perceptible) and it becomes more fluid as you move it around (i.e., it is somewhat thixotropic). It is nice to paint on, providing a pleasant, slippery quality to the painting surface. Mixed into paint, it dilutes it slightly and gives it extra brushability. It doesn’t hold brush marks. It does not seem to markedly increase or decrease the drying time of oil paint. So far, I like it. It does not make the paint magically transparent or luminous, but I didn’t expect it to.

If you do use cristallo or any other painting medium, add only very small amounts to your paint—never more than 20% of paint volume and preferably much less than that.

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Periodically, I see a post on an internet art forum along the lines of “Why buy expensive mediums when leftover bacon grease works just as well? I’ve been using it since 1953 and I’ve had no problems so far!” People (especially we Americans) seem to have a strong desire to use the materials we are familiar with, have left over from other activities, or can get for a dollar less per gallon than an “equivalent” material at the art store. So you see artists using white house paint to prime their canvases, cheap boiled oil from the hardware store as a painting medium, cheap generic spray varnish, and other substitute materials.

I think that’s a false economy. I believe that, in order for paintings to be thought of as valuable, they should be made from fine materials using excellent craftsmanship. Imagine if a maker of handmade violins thought that balsa wood was just as good as a good hardwood, or that generic spray varnish produces just as good a finish and tone as a properly prepared resin varnish. That would not be an “innovative” way to save money on violin-making supplies. Working like that could possibly produce a violin that looks OK, and maybe it could even sound OK, but it would not be an object of craftsmanship.

I’m not an elitist. I have limited money to spend on art materials, too. I buy inexpensive Venice turpentine from a tack shop instead of the costly stuff from the art store, because it seems to be the same stuff and is a lot cheaper. I make my own traditional gesso panels because I can’t afford to have the guys at Real Gesso make them for me (theirs are better than mine).

I understand the desire to come up with personal solutions that feel more clever than the fancy stuff in the art store. But hardware store boiled linseed oil is junk. It’s made for tasks like protecting the wooden handle of a gardening tool from the elements, not for making permanent artwork. Adding a little bit of cheap oil (or leftover bacon grease) to your paint won’t make it explode. Painting on latex house paint “gesso” may not cause noticeable problems. The painting may last long enough, under decent conditions. And it is certainly the case that most of us will never produce a masterpiece that will deserve to hang in a museum 200 years from now.

But I can’t make paintings that way. Using house paint, cheap boiled oil, or any other junk material makes me feel like a hack, not a craftsman. Decent materials are not that expensive. And while junk materials may work out OK, they may well not, and they may cause a good painting to fail prematurely. Plenty of 19th century painters discovered that when they forgot the traditions of craftsmanship and just used whatever seemed to work they often got paintings that didn’t last. While I sometimes hear anecdotal stories about any number of weird materials being used with “no problems so far,” my own bias is to use quality materials from companies I trust, not jury-rigged stuff that is “just as good.”

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