The Science of Art | Brushstrokes & Molecules: Unveiling the Chemistry Behind Oil Paint
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- Опубликовано: 5 фев 2025
- Join us for our newest episode, as we uncover the Chemistry of Oil Paint! Get ready to explore the secrets behind those vibrant colors and the magic that makes oil paintings timeless.
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Best explanation I’ve heard.
Wow, thanks!
Your explanation regarding the purpose of fat over lean (or more flexible over less flexible) was excellent and is easier to comprehend when the added oils slow the rate of film formation, thus making them more flexible in the meantime. One thing that I might add, (and it is speculation on my part) is that the previous paint layers need to be faster drying in part because the additional layers (especially thicker ones) cut the lower layers off from oxygen in the air, slowing down their rate of oxidation so that the added speed of drying in the earlier layers is needed to compensate for this in the short time in which they are still on top.
When you add alkyds to the paint in various paint layers, it seems to complicate things a bit more. Yes, it makes the paint layer more flexible and able to adapt to the still moving paint layer below (slowed because it has been cut off from oxygen by the subsequent paint layer(s)) but being "pre oxidized" itself, alkyds also speed formation of the subsequent paint layer which cuts off the oxygen to the paint layer below even faster. Consequently, the upper layers with more alkyd are drying with increasing speed but also slowing the bottom layer(s) even more, permitting the lower layers to finish "moving" at an even later date. It's a paradox. (Although the flexibility of the paint layers below I understand is due in part because their oxidation helps to prevent the evaporation of volatiles in the paint, according to information put out by Golden Artist Colors in their "Just Paint" blogs with Sara Sands.)
Both Gamblin and Golden recommend adding more alkyd with each subsequent paint layer for added flexibility, but I have yet to hear anyone (including people on AMIEN or MITRA) explain the effect of faster film formation cutting off the oxidation of the lower paint layers. Will the added flexibility of upper layers compensate for the slower speed of drying of the lower layers? Perhaps you could see where I am going wrong in my confusion.
Thank you for your youtube on paint chemistry,
Richard
That is correct! Adding more layers of oil paint will cut off some of the oxygen from earlier layers. That being said, oil absorbs oxygen very well, and it will still be able to make its way into the early layers, albeit to a lesser extent. As the oil dries and releases that absorbed oxygen, it will begin to shrink and potentially crack.
Alkyds, with their strong paint film and high fat content, are able to work within fat-over-lean because, while they dry faster, they also provide the extra flexibility and strength to prevent cracking. Essentially, even though a film is formed faster, that does not mean that oxygen will not be able to absorb into the previous layers, and the overall flexibility of the outer layers will keep them from cracking.
I'm delighted to have come across your video! As a perfumer based in NYC, I've been tasked with crafting the atmospheric scent of an oil painter's studio. Besides the solvents you mentioned, I'm curious about other materials that contribute to the ambiance. Historical references mention spike lavender oils and frankincense in similar concoctions. Do you happen to have a headspace study of a specific studio or a case study that could aid my research?or do you have access to recipes that could aid in my research ? ❤
@bg529 You are correct that Lavender spike oil was sometimes used as a solvent and still is today. Chelsea classical studio sells a version that you can find more info on here: www.chelseaclassicalstudio.com/product-page/lavender-spike-oil-essence
Solvents such as this and Turpentine can be extremely pungent and account for most of the smell in an oil painter's studio. Linseed oil also has a distinct smell, though more subtle. If you want more info on the composition of solvents and oil paints, many of our products have a Saftey Data Sheet located under the Specs and Downloads tab on their individual product pages.
Otherwise, please be careful when inhaling these fumes. Fumes from all oil painting solvents are hazardous to breathe in/smell over long periods of time and should always be used in a well ventilated area.
Hi, I'm an oil painter who recently started dabbling in scents as mnemonic devices. Historically, oil painters have used an absurd amount of natural materials...here's a list of things I've experimented with or read about, but keep in mind that this isn't comprehensive.
- Solvents: turpentine (gum turpentine is distilled from living trees and is different from the stuff you buy at the hardware store - smells like pine and anise to me), oil of spike, oil of rosemary, oil of clove. Haven't heard of frankincense in oil painting. Turpentine seems like the most popular, probably since it evaporates much faster than the others and doesn't discolor much.
- Oils: linseed, walnut, poppy (also modified oils like "sun thickened" and "stand")
- Resins: damar, copal, larch, amber, Canadian balsam
- Surface: wood, canvas, linen, paper
- Sizes/primers: rabbit skin glue, casein, linseed oil, chalk, lead (rabbit skin glue to size and tighten the canvas and either linseed + lead for a non-absorbent ground or chalk and/or casein + rabbit skin glue as an absorbent ground).
- Additions: beeswax, chalk, marble dust, crushed sea shells, etc
Hope this gives you some ideas. I recently bought a sample of beeswax absolute from Robertet and love it.
Great explanation. Thank you! Funny blooper too. Videos aren’t always easy to make. Great job!
Thank you!
Great topic!
We're glad you enjoyed!
Excellent info, thank you! I've not used oil paints (yet) and this covers a lot of things I was curious about. Question - when an artist mixes oil into the paint to dilute it, do they have to use the same type of oil that is listed on the paint tube? Or can an artist mix their favorite oil into their oil paints to dilute them, no matter what type of oil the paint tube shows is contained in the paint?
The latter; you can mix a walnut-oil-based paint with a lavender-oil medium, for example. They're both drying/oxidizing oils, so no problem. Good question!
@@akicitaa.8233 is correct! Just keep in mind that whatever oil you choose to mix in may slightly change the properties of your paint. For instance, since poppy oil dries slower than linseed oil, it may make your linseed oil based paints dry slightly slower when it is mixed in :)
great info looking forward to you next video
Thanks! 😀
I love the Charvin paints! But I've noticed that some squeeze out really buttery, while others are so stiff in the tube that it takes a LOT of hand strength to squeeze out a bit, and it stays quite firm.
This may have to do with the pigment that is used! Some pigments have a larger particle size and might be heavier, while others might have a smaller particle size but be a more intense colorant. Since every pigment is different, paint manufacturers may have different formulations for different colors, causing the consistency between them to be different.
Thank you! Very well explained!
Glad it was helpful!
Is there any difference between Linseed Oil available at eg hardware stores and eg safflower oil available at grocery stores?
Any oil that you find in a grocery store or that is sold for consumption is refined differently than oils created for painting or wood working. The difference in the refining process can change a grocery store oil's molecular structure enough that they will not cure properly if used for oil painting.
ok