Subject: Gamblin Conservation Colors
Ulrik Runeberg <rune-ulrik [at] gmx__de> writes >My general impression is that certain colours work better than >others: Burnt Sienna, for instance, represented an inpainting colour >with similar characteristics to oil colour, and only after being >diluted several times with pure gum spirits of turpentine, a glossy >brilliance appeared which made further retouchings impossible due to >the shininess of the retouching medium. On the other hand I observed >that such pigments as Venetian Red possess that glossiness right >from the beginning, before even being diluted. This brilliance even >could not be reduced after stirring the colour well. > >As I never have used a set of Gamblin Colours before, I wonder >whether the differences of the various colours is an exception. Who >could share any similar experience, and provide possibly any >solution of the described problem? I also welcome any further >suggestion in regard of modifying and applying Gamblin (possible >solvents, isolating coatings, e.g.). A glossy surface from Gamblin or other oil colors, does not mean that you cannot paint over it: the sheen is not necessarily from a varnish or an impenetrable surface. Some colors in artists oils tend to have more gloss than others, and this is normal. The glossy surface will generally matte out over time, although each color will age at a different rate. You can work over older areas by using retouch varnish, which had a sheen of its own as well. Oil painted surfaces should be sealed after drying for at least 6 months. The sheen of the final surface will depend on this varnish. A clean surface is important (free of dust and opalescence). You may wish to consult with an artist local to you who is familiar with oil painting techniques, or email me if I can be of any further help. Lynne Rutter Murals and Decorative Painting *** Conservation DistList Instance 18:16 Distributed: Tuesday, September 28, 2004 Message Id: cdl-18-16-004 ***Received on Thursday, 16 September, 2004