Complex
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(Excerpts from ART HARDWARE: The Definitive Guide to Artists’ Materials, by Steven Saitzyk © 1987) Complex MediaThe following media are significantly more difficult to prepare, yet are among the most versatile. DIAGRAM OF COMPLEX MEDIA
Drying Oil (A few drops of drier may be used.) Dammar-Oil-Venice Turpentine Medium.This is ideal as an all-purpose painting medium. If you use less turpentine, it is excellent for glazing. Both the dammar and Venice turpentine allow for the interlocking of successive layers of paint. DAMMAR-OIL VENICE TURPENTINE MEDIUM
9 parts dammar varnish Without the addition of a drier, this medium will often be ready to work over in 24 hours. A small amount of drier can speed this up. Linseed Oil-Mastic Media.The combination of linseed oil and mastic, called megilp, was popular in the eighteenth and nineteenth centuries as a painting medium, although it is now blamed for many of the disastrous effects seen in paintings of this period. At first, the mastic resin was thought responsible for the cracking, blistering, and browning that occurred. It is now thought, however, that these undesirable affects were caused primarily by the extended heating of the mastic resin called for in the recipe and by the excessive use of driers in combination with impure turpentine. Megilp was so popular because it appeared to dry, in some cases, in only fifteen minutes, and in several hours in heavier applications. It reportedly had a wide range of handling properties and was excellent for impasto and glazing. There has been a resurgence of interest in linseed oil-mastic combinations, and various "improved" formulas have evolved. The resurgence started in the 1930s; however, fifty years is not enough time to make an unequivocal recommendation one way or the other. Time is the only known test for such media as these. There are many variations of megilp recipes, none of which I feel sufficiently confident about to offer at this time. Flemish MediumFlemish medium is an example of an all-purpose painting medium made with mastic and oil that has been handed down through time. It has excellent handling characteristics, and the mastic creates a brilliantly clear paint film. The following recipe is used today with excellent results. The ingredients are similar to those used to make the infamous megilp; however, there are several important differences regarding heat, turpentine, and the use of driers-the mastic is not added until the end of heating, only rectified turpentine is used, and the amount of drier is small. FLEMISH MEDIUM
20 parts linseed oil Mix the poisonous litharge in a small amount of oil, using a palette knife, until a paste is formed. (This will prevent the litharge from settling to the bottom of the cooking pot when it is later added.) The remaining oil should be heated outdoors or with proper ventilation over a low flame in a covered enamel cooking pan. The pan should hold twice the volume of the ingredients. An asbestos mat placed between the flame and the pan will reduce the possibility of scorching. When the mixture is warm, approximately 320°F, or 160°C, add the litharge. Gradually increase the temperature, over 2 ˝ hours, with the last 30 minutes at exactly 482°F, or 250°C. Stir occasionally with a wooden spoon. Allow the medium to cool to 392°F, or 200°C, by placing the pan on a stack of old newspapers and then stirring and fanning. Now add the mastic in small amounts, stirring constantly. The medium will foam up as you add the mastic; if stirring is constant the foam will rapidly dissipate. Next, very slowly add the cold turpentine. The medium will again foam up; this will dissipate if stirred and fanned. Pour the warm medium, approximately 284°F, or 140°C, into a wide mouth container and allow it to cool before covering. Beeswax and Oil.This combination was used by Rubens because of its extreme versatility. It could be effective in impasto or as a glaze, but the disadvantage is that it is a dark medium and tends to discolor all colors. The following is a traditional recipe which has been updated. BEESWAX AND OIL MEDIUM
10 parts linseed oil Mix the poisonous litharge in a small amount of oil, using a palette knife, until a paste is formed. (This will prevent the litharge from settling to the bottom of the cooking pan when added later.) The remaining oil should be heated outdoors or with proper ventilation, over a low flame in a covered enamel cooking pan. The pan should hold twice the volume of the ingredients. An asbestos mat placed between the flame and the pan will reduce the possibility of scorching. When the mixture is warm, approximately 320°F, or 160°C, add the litharge and broken pieces of beeswax. Gradually increase the temperature over 2 ˝ hours, with the last 30 minutes at exactly 482°F, or 250°C. Stir occasionally with a wooden spoon. When the mixture appears black with brown fumes rising, it is ready. Allow the medium to cool; do not refrigerate or place the hot pan on a cold surface (a stack of old newspapers works well). Pour the cooled medium, approximately 284°F, or 140°C, into a wide mouth container and allow it to cool before covering. (Excerpts from ART HARDWARE: The Definitive Guide to Artists’ Materials, by Steven Saitzyk © 1987)
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