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Foundations

Foundations of oil paintings (Ended)

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There are two controversial points of view in using acrylic gesso canvas to paint oil. “Traditional” artists reason that acrylic is different from oil in chemical properties, has no cross-linking, but only mechanical and oil-based links, so they take care of oil paint on acrylic gesso in the long run. Some restoration experts also sided […]

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Foundations

Foundations of oil paintings (continued)

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Alkyd is one of the two most important inventions in the base material of the twentieth century. (The other invention is acrylic paint.) Alkyd is a polyester resin mixed with fatty acids and a number of other substances from there called alkyd (compounded from “al” = alcohol, ie alcohol and “cid” = organic acid). White […]

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Foundations

Foundations of oil paintings – The Gesso background

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In the mid-1980s I once asked a now deceased Vietnamese artist how he prepared the background for his oil paintings. He said he only needed to take a piece of the hospital carton, paint it with white paint and let it dry. I was a little “shocked” because I myself did the same when I […]

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Foundations

Method to handle canvas background

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The traditional method still treats the canvas surface with rabbit skin glue to prevent linolenic acid, accounting for 60% of the fatty acids in linseed oil, permeating the fabric. The background is then covered with gesso. But the gesso base applied to wooden planks – which are hard and brittle when dry – is no […]

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Foundations

What is canvas background?

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The inconvenience of hard materials (wood, metal) is that it is very difficult to make large sized paintings that do not warp, but are gentle when transported. So in the 15th and 16th centuries, painters turned to cloth instead of wooden planks to paint large orders. At that time Venice was the best known canvas-producing […]

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