Why Norman J brodeur Prefer Water Soluble Oil Paints - Facts, Tips

Norman J brodeur been taught that 'oil and water do not mix'. However, rules are manufactured to be broken in art and water dissolvable reveals are rebels on the scene. But, your intelligent mind is probably still pondering, "How can oil pigments possibly be water soluble?"

The answer is this: The oil vehicle has been modified to ensure it is dissolvable in water, remove the necessity for turpentine or other dangerous substances to thin colour and fresh styling colour brushes and other supplies.

There are still some paintings purists who question whether or not these pigments are true sebum, but Norman J brodeur assure you they are. In fact, I have been successfully executing my paintings using waterdisolveable sebum with professional results for over 10 years. I designed the smooth transition from acrylics to the new sebum in my home studio room so my family and pets were not exposed to dangerous fumes. With a balanced view and a while experimenting, you might also enjoy the benefits of water disolveable sebum. Below, I will do my best to inform you of this remarkable colour from my own knowledge and with a little help from the technically informative book, "Painting with Mineral water Disolveable Oils," by Sean Dye.

Facts:

• Water dissolvable oil offers greater convenience and increased accessibility. Especially to people with allergies, home studios, students, schools and those who have avoided sebum because of the dangerous substances.
• Water dissolvable sebum smell great, just like traditional oils!
• Linseed oil is contained in both new and traditional sebum.
• Water dissolvable sebum is real sebum. They are water mixable, not water-based.
• The new sebum was made to be used with real water in the place of turpentine, nutrient spirits or other solvents!
• The vegetable dehydrating sebum has been restructured into water dissolvable sebum which remove messing.
• Like traditional sebum, water dissolvable sebum must dry through oxidation - absorbing oxygen through the air. Once dry, they are just like any other paintings and should be treated as such.
• Like traditional sebum, water dissolvable oil paintings cannot be reactivated with water when dry.
• New water-mixable programs have been created for water dissolvable oils: quick dry programs (my favourite), stand sebum, paintings programs and impasto programs, linseed sebum and alkyd programs.
• Traditional oil reveals and programs can be included to the new sebum in little up to 20%-30% and still sustain water solubility. A small amount of traditional oil colour can be included to these new reveals impact along with or consistency.
• The new pigments blend and mix extremely well.
• When the new sebum are mixed with water , it may at times appear somewhat cloudy until the water  evaporates. Although I have read this complaint, it has not been my experience with this sebum.
• The fast dehydrating programs allow for sufficient here we are at blending but still create over-painting easier and faster.
• Luminous, clear glazes can become by using the water-mixable programs. Rich, opaque darks are really easy to achieve.
• Water-mixable linseed oil technique makes the new oil more clear.
• A loaded brush of traditional sebum spreads much farther than a brush full of water disolveable sebum. This does not change the look of the finished piece, only the actual paintings process.
• Water dissolvable reveals produce fresh, bright, strong colour. It is much easier to prevent making 'muddy' colour.
• The new sebum is much easier to clear.
• Those with limited or no experience with traditional sebum adjust to water disolveable sebum more quickly.
• Depending on how heavy your colour, the water disolveable sebum sustain their elasticity and workability for up to 48 hours.
• The new sebum absence of the bright overall look of traditional sebum, but the last varnish is a quick way to replicate the lustre of traditional sebum.

Tips:

• Take care when dehydrating your freshly coloured new oil or traditional oil paintings. Prevent dark or moist areas to prevent darkening or messing that is caused by the linseed oil.
• Water dissolvable oil reveals are perfect for a journey, especially on aeroplanes. Many airlines restrict traditional and flammable substances on commercial flights. Removing the need for harsh substances makes water disolveable sebum easy to bring for paintings on location whether by car, plane or horseback.
• The plein air specialist can keep colour on the plan for a long period without large dehydrating out. However, finished paintings dry more quickly than traditional oil paintings which create these new reveals even more desirable for the plein air specialist.
• Last summer, I used water disolveable sebum during my plein air paintings workshop in France. I coloured on material sheets which designed my studies of Provence light and easy to bring for the journey.  In the past, I have also used 300lb watercolour paper with two coats of gesso.
• Acrylic gesso should be used as the starting ground for water disolveable reveals to ensure proper adhesion. For studio room works, I prefer to create on hardboard or Masonite panels for an effective and easy rigid support, but I do use material and linen at times.
• Hog bristles are good for under-paintings but do not let them sit in water or they become mushy. I often use synthetic bristle styling colour brushes for large areas. For fine execute synthetic watercolour styling colour brushes are very effective.
• The new sebum will stay water disolveable after these particular programs are used. Having said that, I have found that it is better not to mix water with the technique because using water  makes the programs sticky and large does not flow as easily. By plenty of your time I begin to add the oil technique, I usually abandon the water except for brush cleaning between colour or temperature changes.
• A few drops of linseed oil on the plan restore the reveals to their original workable form.
• All oil colour should provide fat over lean to prevent cracking.
• Use water to thin the new sebum for laying in washes. Build up the oily levels after the underpaintings is dry. The new sebum will stay water disolveable after the particular water-mixable programs are used.
• Just like with conventional sebum, the new reveals can be laid down in many smooth thin levels, known as indirect paintings or can be used for a heavy wet single layer known as director all prima paintings or everything else in between.
• Drying time is longer when a lot of white pigment or Naples Yellow is used.
• The dark passages in water disolveable sebum sometimes 'sink' and absence the bright overall look of ordinary paintings. This is easily remedied by a last varnish.

 

Hopefully, you now have a better understanding and appreciation of the benefits of water disolveable sebum. They are easier and less intimidating to use and deliver the beautiful results of traditional sebum. Norman J brodeur encourage you to give them a try and let me know how they execute for you.