Kama Pigment

Medium and Varnishes recipes

 Glazing medium: Venice turpentine and Oil

PRESENTATION  

  Balsam and notably Venice turpentine have unique lustre as well as honey-like consistencies. They have been used in the past to isolate incompatible pigments (such as lead white and Vermillion). Today, these pigments don't have compatibility issues but we are still using natural balsams for their undeniable visual qualities.

Proportions :

Concentrated dammar varnish
4
Stand Oil
(polymerised linseed oil)
2
Venice turpentine 1
Turpentine -

procedure :

Combine all ingredients at room temperature in a clean glass container by agitating vigorously for 5-10 minutes. Adjust the viscosity of the medium with gum turpentine. This oil painting glazing medium is very thick, rapidly becomes sticky, preventing the formation of wings, but takes several days to dry completely.
You can replace the stand oil with sun thickened linseed oil to accelerate the drying time somewhat, you can also use a drying agent: cobalt/zirconium dryer.

 

HOW TO USE IT ? 

  Mix this medium on the palette directly with oil color in tubes or Dry pigments. To apply this medium with a rag or fingers, use the undiluted version, without turpentine. The diluted solution is generally preferred when painting or to be used a retouch varnish.

 

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