cennini21
SYLVANA BARRETT/ an online guide to historic art materials and techniques
cennini21 HOMEGILDINGMANUSCRIPT ILLUMINATIONSILVERPOINTEGG TEMPERADISTEMPER (UNDER CONSTRUCTION)17th CENTURY OIL TECHNIQUEFRESCOHISTORIC PIGMENTSPAINT GESSO GROUNDS - SIZING - GLUES
MATERIALS FOR OIL PAINT
LINEN
PANEL FOR OIL
COPPER
TRADITIONAL OIL TECHNIQUE


LINEN


 PREPARATION OF FABRIC SUPPORT

1. Stretch fabric

2. Size with rabbit-skin glue. Size is a thin coat of rabbitskin glue applied to the linen                                                                                                                     to protect the fabric from the oil which would cause it to rot.

3. Dry over night

4. 17th century: Double Ground

     1.  Layer one…  Mixed earth pigments ground in oil, often looks brick red in color, 

      Usually contains some umber.

     2.  Layer two…  Mixed pigments in oil, leftover paints from palette, brush jars

     and lead white forming a grey color. Often visually active in final paint layer.

 

    Modern: White Ground

         Apply commercially available oil based primer. 

         Titanium white is fine, lead white is traditional, but use 
caution with lead it is poisonous.

         Several thin layers are better than one thick layer.



 

cennini21 HOMEGILDINGMANUSCRIPT ILLUMINATIONSILVERPOINTEGG TEMPERADISTEMPER (UNDER CONSTRUCTION)17th CENTURY OIL TECHNIQUEFRESCOHISTORIC PIGMENTSPAINT GESSO GROUNDS - SIZING - GLUES