Needing more bespoke sizes to cope with a 'wide landscape
format' I sometimes prefer plywood (though it is
more preparation, work) to the rather sterile surface of MDF - when you
get up close you see the subtle effect of woodgrain under the brushstrokes. (MDF is very convenient for small ready cut pieces though)
Method: I bought two sheets of 8ft x 4ft x 3mm ply
from Meyer Timber, (specialist ply importers), bumpers farm, Chippenham).
This wood is great as it lies
absolutely flat though it is so thin.
Cut to size with a very sharp
stanley knife, measuring very accurately and scoring both sides, the wood
easily cuts. Primed with slightly diluted emulsion to seal the wood, then with
gesso acrylic primer, I sand down the 'tooth' slightly as this mercilessly
wears my brushes away. Then tone down with a warm translucent base colour (the
colour can vary) and ready to go.
Popular sizes are 10" x 20", 10" x 32",
12" x 32", 20" x
34" 8" x 24"
These long strips can very easily be cut to more standard
6" x 8", 10" x 12 etc
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Making sun-thickened linseed oil
Spring is here, time to make a new batch of sun thickened oil - a very useful medium for plein air
painting.
Using a purified cold pressed, linseed oil, pour the oil into a
shallow plate (about 5mm deep), then this needs to be covered with a sheet of glass to keep dust
out . he process works by oxidation so
the glass needs to be raised somehow to allow air in. Put on a sunny windowsill, the more sun it gets the
better. Air on the surface of the oil
and ultraviolet rays from the sun start a slow drying and thickening
process. It is important to remember to stir the oil every day to prevent a skin forming. After say three weeks the oil will be thicker and more viscous. Decant into an appropriate air tight storage bottle
This
is a great medium for plein air
painting as it is half oxidized so dries quickly allowing
the painting to be worked on in thicker layers without it getting too
oily and slippery. The oil yellows slightly in the process and dries
with some
shine. As with all new medium, it
needs a little practice to understand its properties, and the viscous
flow should be adjusted by adding turpentine, (or Zest-it!) to suit your painting process. ( a recipe from "The Materials of the Artist" by Max Doerner. - quote: Cennini calls it the best of all oils "I could not give you anything better")
============================================TIPS ON BRUSH CARE
- With sable and other soft hair brushes - sometimes a gentle wash in soap and warm water, followed by a touch of hair conditioner can restore some suppleness and life back into the brush. Being lazy but resourceful, I use hair a combined shampoo/conditioner.
- If small pointed sables lose their shape - using liquid gum arabic to persuade the hairs back into shape, left to dry to a point and this can give bit more shape and so longer life to those brushes.
