Hi,
I’m having problems with underbound imprimatura since I upgraded to artist quality oils. I guess part of the “problem” is the higher pigmentation of my new oils. I can’t seem to achieve a bound yet semi transparent layer of paint. I’m diluting burnt umber with mineral spirits. I’ve recently had the same problem with an opaque venetian red ground I layed out on another canvas. In that case I oiled out the entire canvas. I tried to do the same with the raw umber imprimatura, but in rubbing the oil I ended with a brown surface and my underlaying drawing completly lost.
Am I using to much solvent? How can I achieve a semi transparent imprimatura that is bound enough?
Thank you for your valuable advice!
Camila
Thank you Brian for your answer. I will try adding more oil to the mix. I still worry that the sizing/priming of the canvas I’m currently using is to absorbent. I use five layers of acrylic gesso and two of an alkyd based oil ground, both made by Zecchi (a manufacturer from Florence). The finish is extremly matte and feels I would say arid. Would you recomend rubbing a bit of oil into the last layer of oil ground, before the imprimatura, in order to make the surface less absorbent?
Ok yes that woudn’t make sense, thank you. What is your opinion on my priming system? Is it possible for an acrylic gesso+alkyd ground to be to absorbent?
Thank you Brian, adding a just a bit of linseed oil to the imprimatura worked really well. Just wanted to share for anyone who might be having the same problem.
I have encountered this phenomenon as well. Despite opinions to the contrary, there is a point where heavy dilution with a solvent will create a film that is too friable even though the paint layer would have been fine if applied neat. I would add a bit more linseed oil to the diluted paint to counteract this. Do not overdo it or you will have an imprimatura that is too fat for a preliminary layer.
I would not suggest that procedure. If you are going to apply the imprimatura immediately after oiling out, there is no reason to not just simply add a bit of extra oil to your imprimatura before application. However, if you intend on oiling out and letting it oxidize/dry before applying the imprimatura, you are adding a gummy, fatty oil layer which will set beneath a more rigid and more pigment rich layer. This is a recipe for cracking and possible delamination.
I would not think that your ground would be too absorbent although I can’t say for sure. I have personally found alkyd-oil primers manufactured for use for fine art painting tend to be less absorbent and glossier than their straight oil counterparts, BUT, I have not tried them all. In theory, your priming system should be fine.
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