Thank you for your report!
We have received your report and it is currently under investigation by a forum moderator.
Painting oil over acrylic
Welcome to the forum.
Here you can discuss all things art with like-minded artists, join regular painting challenges, ask questions, buy and sell art materials and much more.
Make sure you sign in or register to join the discussions.
Hang on Studio Wall
This is a Studio member-only feature!
Join our Studio membership and save your favourite Painters Online content, from gallery artwork to step-by-step guides, to your own online mood boards. Create your go-to place for inspiration and learning. Plus, members can also enjoy a range of exciting features including monthly art videos and a digital magazine library.
If you are already a Studio member, simply login to your account.
Not a Studio member? Why not try our free 30-day trial - no commitment, no credit card required
Message
Posted
Thank-you very much Robert for your very detailed reply, and Norrette for the link which I'll explore a bit later on. Cobra is the brand my friend uses, and as she is a professional artist I imagine that she uses the artist grade. I think I'll still have the session with her, for interest, to see how they perform.
Posted
Cobra is generally considered the best of the water miscible brands; and in fairness, I've not tried them. I have tried the Winsor and Newton Artisan range, and some considerable time ago I tried Grumbacher's water miscibles - and found them rather better than W & N: but - I wouldn't know where to get them now; you just don't seem to see them in the UK. I'm told that Holbein are good, but again - I've no direct experience of them.
A clue is perhaps offered by the respective price difference - water miscibles are often considerably cheaper and there has to be a reason for that in terms of pigment quality.
Posted
Good point about the respective price difference. A couple or so of the artists in a group I used to go to tried the W&N water miscibles, but didn't like them at all, one said they were slimy. My friend seems to be very happy with the Cobra, presumably the artist grade. I'd like to see them in action.
Posted
Alkyds dry much faster - Griffin is the only range I know, though there must be others. I find the colour range rather limited - though that could be a good thing: you can't throw too many colours at a canvas if you just can't buy them. I'm no expert on them, though - they're inexpensive enough (at least, in this country) to give them a try; but I very rarely have.
Posted
I bought a set of Griffin Alkyds some years ago. Because I rarely used them they dried somewhat in the tubes, I needed a skewer to be able to squeeze some of them out. You have to be aware of this with alkyds, a bit like Liquin which also solidifies no matter how careful you are. I still have a very large Titanium White ( 250m ) which I use from time to time ( with my trusty skewer!). One other thing I’m not keen on with alkyds ( not the white which I use to mix) is that they dry with a sheen because of the fast drying components. So, personally, a large set is not for me but the white is very useful.
Posted
I echo your experience Marjorie, I have had new Griffin oils dry up in the tube even before I opened them. I did like them but because of the drying up, I gave the up. My latest trick is to put liquid into tube so that air is excluded and it seems to be working. I had an old bottle of light liquid well and truly concreted over. Got through that and poured the liquid into tubes. I found it best to fill the tube just over half way then seal it. I got five tubes from that silly Liquin jar. The tubes will last a good length of time. I will still use the Griffin white as it works well. However with some colouring you do not require white to a great extent so that is where the tube of liquin has played its part. So far so good.
Posted
Well it’s the air in the container that sets the liquin drying out. Inverted of not air has passed into the jug and the liquin reacts on that upright or inverted I would say. I have Liquin Impasto which is in a tube and it’s still fine to use after many years. Downside its a paste for thicker applications of paint. I do wonder why they do not put liquin into tubes.
Posted
It might be interesting to run a survey of mediums available from art suppliers, and attempt to evaluate them; it'd be quite a project though, to do it properly. I remember a Daler-Rowney gel medium, and a product called Mattwax - wax in a petroleum mix: I applied the latter to a painting in acrylic dating from 1991, and it's still in good condition.... it wasn't a medium though, come to think of it, but a varnish equivalent - so I've wandered off with the fairies again there....
Still - it's worth a thought, if anyone has the energy? We could cooperate on it, perhaps; might even form an article for the magazine.... I am a bit deterred by the potential workload, though.