Revisiting My 2016 Painting of Katherine - Glazing Medium And Preventing Discoloration
- Eric Buechel
- Apr 6
- 6 min read
Glazing: Crafting Depth and Color
"Katherine Surrounded By Butterflies" is an oil painting on canvas I created of my wife in 2016, using the traditional glazing technique. Glazing in classical painting is a captivating method renowned for its ability to add remarkable luminosity and depth to artworks. This technique, more intricate than simply applying a thin transparent color layer, demands patience, emotional insight, and a deep understanding of light and pigment from the artist. A glaze is typically made by mixing pigments with a suitable glazing medium, often oil-based, to create a lifelike, dynamic layer that shifts with perspective and natural light. The glazing technique not only enhances details and contours but also adds an aura of mystery and brilliance to paintings, bringing them to life whether viewed from afar or up close. As we delve deeper into this fascinating world of glazing, we’ll uncover the secrets that have enabled master painters throughout history to capture the essence of light and shadow on canvas, creating works that continue to captivate audiences even centuries later.
My Recipe for Homemade Glazing Medium
Linseed oil, turpentine, and Damar varnish. Using a Damar varnish glaze will give your painting a more pronounced shine compared to a basic turpentine mixture. A simple recipe consists of two parts turpentine, one part linseed oil, and one part Damar varnish. Thus, you'll need 2 ounces of turpentine, 1 ounce of linseed oil, and 1 ounce of Damar varnish.
You can find all these ingredients at a local arts and crafts supply store.
This mixture will yield about 4 ounces of Damar varnish glaze. Depending on the thickness of your application, this might be more than needed. Consider making half this amount and preparing more as necessary.
Glazing is a fundamental technique in classical painting, rooted in a profound understanding of how light interacts with layers of pigment. Over the centuries, this method has been refined, allowing artists to achieve remarkable depth and luminosity in their works. Before exploring the complexities of glazing, it's essential to grasp its basic principles and the materials that enhance the paint's luminosity.
Typically, fine artists use two primary techniques for creating monochrome under-paintings. The first involves painting with transparent layers, where tonality is determined by the degree of paint dilution. The second uses opaque layers, achieving mid-tones and highlights by mixing in white paint. For this painting, I used the second method. When using glazing medium, the artist should ensure the glaze doesn't drip overnight by being cautious before leaving the studio. To prevent this, I often lay the painting flat overnight.
Artists may sometimes combine both techniques within a single under-painting; these methods are particularly effective for paintings on toned backgrounds. By using semi-transparent and transparent layers, artists can blend mid-tones and shadows, while the opaque method allows for working on mid-lights and highlights. There are specific guidelines to follow when using the glazing technique. While any artwork can be completed with glazing, the best results are achieved when the piece is specifically prepared for this purpose. Preparing for glazing involves using lighter and cooler tones than the final desired result, as glazing layers will darken the surface and shift hues towards warmer tones.
Using a clean brush for glazing is crucial; any residual opaque paint on the brush can compromise the glaze's transparency. After applying the glazing layer, it is advisable to let the artwork sit to allow the diluents to evaporate before using a clean brush to even out or further spread the glaze. Natural hog bristle brushes are ideal for applying glaze. Small details are best glazed with small, soft brushes, while larger areas can be covered with larger, flat, rounded brushes. Also, ensure you check the paint tube and select only those labeled as transparent or semi-transparent. Steer clear of tubes marked as opaque, since light must pass through the pigment.
Glazing involves an intriguing interaction between light, pigment, medium, and the human eye. When light passes through the translucent glaze layers, it reflects off the opaque layers beneath, producing a luminous effect that appears to glow from within the painting. This effect is akin to sunlight filtering through stained glass, where each glaze layer acts as a colored lens altering the light that traverses it. The physics of glazing encompasses concepts like refraction and light transmission. As light moves through the glaze layers, it bends and disperses, engaging with pigment particles in the process. This interaction creates a complex play of color and light that the eye perceives as a rich, vibrant hue with significant depth. Understanding this process enables artists to manipulate light and color in ways that opaque painting methods cannot. By precisely adjusting the thickness and composition of each glaze layer, painters can achieve subtle variations in tone, intensity, and optical depth, replicating the behavior of light in the natural world.
The effectiveness of glazing techniques largely depends on the quality and characteristics of the materials involved. The key elements are the pigments, mediums, and supports that form the basis of the glazing process.
Pigments used in glazing need to be carefully chosen for their transparency and tinting strength. In the past, artists used natural pigments from minerals, plants, and even insects. Nowadays, synthetic alternatives provide a broader range of choices, though many artists still favor traditional pigments for their distinctive optical qualities.
The medium in glazing is just as vital. Traditionally, linseed oil has been preferred because of its slow drying time and ability to form a durable, flexible film. However, contemporary artists might experiment with various mediums like walnut oil, poppy oil, or synthetic options, each offering unique working properties and finish effects.
The support on which the painting is executed significantly impacts the glazing's overall effect. A smooth, non-absorbent surface is ideal, as it allows glaze layers to rest on top rather than being absorbed. Historically, wood panels were favored for this reason, but a well-prepared canvas can also serve as an excellent support for glazed paintings.
Yellowing And Discoloration Of An Oil Painting
One final point I find important to mention is to avoid using pure linseed oil as a glaze on artwork. This can lead to a reversible discoloration of oil paint when a painting is stored in dark or low-light conditions. This phenomenon affects oil paints of all quality levels, from professional to student ranges, and is particularly noticeable in white oil paints. Artists and conservators have been aware of this issue for centuries. In 1624, Peter Paul Rubens expressed concern in a letter that a painting left in a packing case in Antwerp would turn yellow in the dark. Rubens believed this yellowing was due to excess oil seeping from the drying paint film. Although we now know his explanation was incorrect, the exact cause of dark yellowing remains unknown. What is clear is that linseed oil is more susceptible to this effect than other oils, and it is most likely to occur during the drying process. Unlike water-based paints, such as acrylic or watercolor, oil paints do not "dry" through water evaporation. "Drying oils" like linseed and safflower oil are named for their ability to react with oxygen from the air and polymerize into a solid paint film. While the precise science of dark yellowing is not fully understood, it is known to result from this polymerization process.
To reverse the yellowing of an oil painting, the only method is to leave it in a well-lit room for some time. This yellowing is often the result of the natural aging process of the materials used in the painting, including the oil medium itself, varnishes, and the canvas. Over time, exposure to light, air, and environmental conditions can cause these materials to oxidize, leading to a discoloration that can significantly alter the appearance of the artwork.
When attempting to reverse this yellowing, it is essential to consider the conditions of the environment where the painting is placed. A well-lit room should ideally have a consistent source of natural light, as ultraviolet (UV) rays can help break down the yellowed compounds. However, it is crucial to manage the intensity of light exposure, as excessive direct sunlight can cause further damage to the painting. Therefore, a balanced approach is necessary—using indirect sunlight or bright artificial light that mimics daylight can be beneficial.
In addition to light exposure, the duration for which the painting is left in this environment plays a critical role. Depending on the extent of the yellowing, it may take several days to weeks for noticeable changes to occur. During this time, it is advisable to monitor the painting closely to ensure that no additional deterioration takes place.
Moreover, it is also worth mentioning that the surrounding environment should be controlled for humidity and temperature. High humidity levels can promote mold growth, while extreme temperature fluctuations can stress the materials of the painting, potentially leading to cracking or other forms of damage. Therefore, maintaining a stable and moderate climate is crucial for the preservation of the artwork during this process.
In conclusion, while leaving an oil painting in a well-lit room is a viable method for reversing yellowing, it requires careful consideration of light exposure, duration, and environmental conditions to ensure the painting is preserved and restored effectively.
Eric Buechel Fine Art
P.O. Box 277
Pleasant Hill, Tennessee 38578
931-881-7806
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