How To - Prepare an ACM panel with Michael Klein
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- Опубликовано: 12 сен 2024
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Fold your sandpaper into thirds so the grit is against backing ... doesn't slide around then and you can sand with control.
Thanks for sharing the way you prepare ACM panels. Very much appreciated.
Miss you Michael, wish you were doing more videos.
Thank you!!
Congrats Michael!
Only 1 layer of ground? I've seen other videos where the artist has used an acrylic gesso and applied 4 to 5 coats.
Why not just use Gamblin Fastmatte Alkyds as a ground, or acrylic gesso?
Lead is what old masters used for its durability. Been around ALOT longer than acrylic. Plus it feels and looks better I think. U can use gesso....if u want to prime and sand 4 times. Whatever your preference
@@DCweldingAndArt I’m aware of the history, just curious why one over the other in terms of preference - oils and acrylics are both archival in this context so that’s not an issue.
@@EulogyfortheAngels u ever used lead oil primer? Or oil primer? It just has a smoother/slicker feel. Less absorbent. Colors sit on top a little more. But, of coarse, some might say a quality acrylic gesso is preferred in some situations(when using stretched canvas or canvas taped to board, to roll up and ship later) because acrylic is more flexible....hopefully there's SOMETHING useful there for ya lol
@@DCweldingAndArt good points. I’m not sure if you’re aware, but you kinda come off as condescending. Not an insult, just an observation.
I’m so used to using acrylics I haven’t worked with oil-based primers in a few years.
@@EulogyfortheAngels u came off as a d*ck too. "I'm aware of the history". Didn't stop me from trying to help. Maybe if u met me you'd learn real quick I'm not like that about art. Or anything I care about. I don't know more than you, I'm just sharing my experience. Sorry it came across that way. I actually was hoping it wasn't going to when I sent that at work. Just trying to help shed some light. Take care
This is great, but who would use dingy lead white these days? Over a short time, the lead combines with the sulfur in today's air and forms lead sulfide (and lead sulfide is black). I am a huge fan of Michael Klein's, but why not use titanium white (aka, the perfect white)? Titanium's only defect is that it's a slow drier, but mixed with an alkyd (such as Liquin), or bought in alkyd form, that defect goes away. It might be worth pointing out that there is a misapprehension about lead white: because it's so heavy, the assumption is that it is opaque. This is simply not true; it is fairly transparent. Lead white, like so many other pigments, is composed of round crystals, which bump together but leave a bunch of gaps. Titanium, on the other hand, has needle like crystals, which mesh together and form an opaque and permanent layer with no gaps. The Old People (guys & gals) used lead white simply because it was all they had. Today, we have much better paints than they did.
Absolutely! Nowadays there are lead substitutes, non toxic and with the same degree of transparency lead paint has. Lead poisoning is cumulative and both contamination and it's harmful effects are very difficult to treat. Please don't play with the devil!
Interesting read only because I hear so much hype about lead white from many artists. Including various paint makers such as Michael Harding. Mostly for its superiority for flesh tones and its goopy texture. Glad to hear the opposite opinion of a Master though!
Yes indeed! Lead is a horrid material. It yellows and blackens all by itself, without any help from the linseed oil. It also turns transparent much faster than titanium white does. In my opinion, modern traditional painters should be more open to new materials (not that titanium white is very "new" anymore); if painters weren't open to new things, we'd all still be painting in caves, or the Florentines would still be using egg tempera instead of following the Flemish painters and using oils.
On a health issue, what fb pliegorrivero writes is true. When I was a lot younger, I made my own black oil (there was none commercially available back then). Because of that, I have a mild case of lead poisoning to this day (40 years later).
Hi Alex. The goopy texture (aka long-paint texture) can be easily reproduced by mixing a quantity of Liquin (a very permanent thixotropic material) with titanium white paint, then bringing the consistency back by mixing some powdered calcium carbonate (chalk, gypsum, whiting, marble dust - it has a lot of names) into it. This mixture reproduces EXACTLY the paint quality of the 16th- and 17th-century paintings. The examination of late 16th- and 17th-century paintings (Titian, Rembrandt, Velasquez, Leyster, van Dyck …) has revealed a lot of chalk in these masters' paints. These days, I use a 40%, 60% mixture of calcium carbonate and titanium white in powder form, because this gives added opacity. It doesn't need grinding; mixing with the palette knife is fine.
As for the better-flesh-tones claim, just add a little yellow ochre pale to your white if you want to match the hue of lead white (although why you would want to, I don't know). Titanium is excellent for flesh tones, though, so why bother? It's not as though one uses white directly from the tube, unmixed with other pigments, for the lights on the skin!
Exactly John, Thank you. Something else I came across about the permanence of lead white: On Susan's day off, she offered to go mountain climbing with Angie. With a shudder of fear Angie refused. She refused even to look at the mountains she had loved all her life.
When she had recovered some of her usual frame of mind she moved back into her own apartment, and returned to work. She quit after three days when a customer brought a lizard into the store. She had no idea why the lizard frightened her so much, they had always been a part of her life there in the desert. Generally, she just ignored them. She had no memory of what was keeping her in fear.
Realizing she needed help to overcome the strange new fears, she asked a friend in Phoenix if she could find a hypnotist. She began therapy the next week.
During the first session she discovered she had been raped. It took two more sessions to bring out the reptilian rape. It was such an ordeal that she cried with all the pent up fear until her voice was a harsh whisper.
The therapist at first thought she was transferring the man who had raped her to the reptilian man in an attempt to refuse reality. He quickly realized that as strange as it was, Angie had been raped by an Alien Reptilian man. His training had left him ill equipped to handle this kind of case, but he rose to the challenge. Today his former patient leads a quite, normal existence, in a small town near Phoenix, but she no longer climbs the mountains hear her home.
She doesn't want to speak to anyone about it, and will refuse interviews if someone finds her. She sent me her story with the hope that there are other women who have gone through the same or a similar experience who hesitate to seek help from a hypnotist. She want so encourage those women who haven't yet remembered their ordeal to seek competent help.
There’s no scientific research supporting or guaranteeing survival of painting on aluminum panels. Paint won’t adhere to aluminum for long time, even 100 years is not that long. HDF boards are strong enough and paint can adhere enough to. You must be sure that the primer can adhere enough to the ground before getting sure that the primer is very good and compatible for the oil paint.
Is there scientific evidence guaranteeing survival on HDF? I think HDF was invented within the last 100 years.
A gesso ground on brushed aluminum isn’t coming off anytime soon. It’s extremely hard to try and separate them once the gesso dries.
There is a decent amount of research available on polyester coatings
@@marils8452 YESSSS! thankyou for saying that hahaha it's like someone wearing an Elvis costume saying, "u should be more authentic, like ME! :)" ....he means well. I know alot of artists that for some reason only trust copper, or wood as a substrate. And why would aluminum deteriorate quicker than copper? Oxide layer? And HOW would wood last longer than aluminum without warping or rotting? Cuz it was "sealed properly"? IL tell u why, cuz eood/copper are traditional. Period. Tried and true. 95% of my favorite artists use ACM panels tho. Only a cpl traditionalists refuse to use it, simply because it hasn't been tested to last 1000 years...lol is everyone THAT GOOD? to where every painting they do needs to last 1000 years? Money must be no object for them I guess. Being that famous and talented. Look, this is a trigger topic for ALOT of artists but if they aren't going to a museum, it's gna be alright. Wood, canvas, linen, aluminum, copper, paper, a brick wall lol, whatever! Either WAY, if your painting is as good a Sargeant, and deserve to be cared for over the next 500 years or more, it's STILL going to need to be restored in some way within that time. All there is to it. No one has the perfect methods. There are good methods, and bad methods, but no perfect. Yet. And I believe all of u here are trying for good the best u know how! And that's all that matters! That, and getting better everyday at painting 😇👊 so, let us help one another rather than scream, "I'm archival, YOURE NOT HAHA!" Lmao feel me