Tuesday, July 10, 2012

more wax, nova scotia hail storm

oil on wood, 20x16
Working from memory, on a wood panel that had a failed painting, I had nothing to lose. I used the Soho wax medium on a painting that had Liquin as its medium. My memory of the thunder/hail storm we had in NS was firmly in my mind.
List of ingredients:
Soho- bleached beeswax, damar, linseed oil- softest of all
Dorlands- mineral spirits, paraffin wax, damar resin, micro crystaline wax, bees wax and ozokerite wax- whitest of all
Gamblin - unbleached beeswax, alkyd resin, OMS

The one thing I can tell you at this point- use as little as you can to move the paint- 10% medium to 90% paint. From my reading you will make the surface unstable if you add too much wax....more likely to crack.  I am playing with types of surface (textured vs smooth) and advantages of using it alone vs on top of other mediums(liquin) More later as I discover.


Leah said...

That was one wild storm. You've captured it all, the rolling thunder clouds with the blue sky peeking through, the rain & hail falling from the clouds. The only missing are the lightening bolts.

Liz Steinglass said...

I love it. This one allows us to look even higher. Do you have any with no ground at all? What happens then?

Caroline Simmill said...

Beautiful painting in the last post and this one too Loriann. I have been interested to read about the wax and thank you for sharing with us about how you are finding it. I did wonder how much wax to use and it seems a little at a time is a good way to start. Hope to read some more soon from you.

loriann signori said...

Hi Leah! You are so right. For this painting I decided no bolts instead I wanted the hope in the storm.

Hi Liz, Thanks you. When this painting was a failed painting it had not land marker. I felt that in order to fee the majesty I needed a relationship of sky to land. Does that make sense?

Hi Caroline,
Thanks for your comment. I have long been wanting to get rid of Liquin. I feel its not good for my brain cells. In my quest I tried Walnut oil alkyd by M Graham. The wax is so much nicer! I will write more as I discover. I think you in particular would love this medium.

Roger Seddon said...

Hi Loriann. I have successfully used encaustic medium with my oils after the initial and secondary blocking in stages, and recommend it. I make up a mixture known as Painter's Cream or Paris Medium. This is Gamblin wax combined with medium( 50% Gamsol and 50% Galkyd OMS) plus whiting(chalk powder) or fine white marble dust, The consistency is that of thick cream. Mix sparingly with tube oils for a creamy texture and matte finish. For a more shiny appearance use Gamblin's Megilp rather than Painter's Cream.

loriann signori said...

Hi Roger,
That mixture sounds interesting. Does the marble dust affect the color?

Roger Seddon said...

Hi Loriann, I don't notice any real effect on colour, but diluted it is especially good for laying down turbid passages. The pastel dust is pure white and very fine. Almost the texture of talcum. I use 4 parts Galkyd/Gamsol 50/50 medium to 2 parts wax and 1 part marble dust. Best wishes, Roger.

Roger Seddon said...

Correction....In my last note I meant to say marble dust, not pastel dust. Another senior moment!! Roger

Caroline Simmill said...

Hi Loriann I am wondering about the drying time for using the wax. I agree with you about the liquin. I am tutoring using water mixable oils as they are non toxic.

Caroline Simmill said...

I just read back in your last post that the wax dries as quickly as liquin that sounds very interesting. I look forward to hearing more about your thoughts on the wax when you have time to post.