The first is the vernium of Italians. I have already made known the emplastic oil that is prepared in Italy, from immemorial times, and which has a double acquisition of being very cold and stopping the flowing trend of the most liquid glasses. Prepare for fire at fire, part of Litarga rubbed up to the highest degree of finesse, with two parts of oil in or nuts. We take care of the mix with a lo-path, to ease the combination. After the time, depending on the quantity of the materials we operate, the oil is perfectly combined with Litarga, in ATITA, if we leave to fall a few drops of this mixture on a cold body, they immediately incite the melted fat. If this effect does not occur, it is proof that the surgery has been stopped too early. Then the oil must be put in again and adds a lot a tenth of the white wax very, clean: so we proceed in all cases to give more consistency of the mixture.
When the wax is completely embedded, we pour oil on a scrubbed; Then, with the help of the molte, we impede the liquid part to separate by cooling and make the mixture perfectly homogeneous. To use this emplastic oil, Diluam with mastic veins, Freeiml the mixture on the pallet. Thus, a sort of pomade is formed that stretches slightly with the brush and remains on the painting as applied without drain ; It is therefore very suitable for glasses. Mixing with Verni is necessary because, without this addition, the oil would become sparkling under the brush like a soap foam, that we could not distinguish anything until the foam bubbles are disappeared. This combination of oil and lilarg is, indeed, a genuine soap which, with the exception of water solubility , has all the characteristics of the ordinary soaps formed by combining an alkaline oil. The idea of preparing wet with glycerol separation. Avoid copper that reverse the oil.
Vernil of the flaming. Mastime is separated from its impurities (sometimes falsified with Sandarac) by dissolving in alcohol (esprit-de vm) filtration and precipitation in water. It is then added to the eighth white wax and put the mixture in Bain-Marie. Cocolous or rolls are formed, which we can keep in end by holding them in dust. To use this preparation, we take a quantity that is melted at a suitable temperature in a white white oil. We are almost both oil and mastic; But, as to make sure that the proportion is good, we take a little bit of this paste when it is still liquid and rubbed it on the pallet; If we appreciate it does not have the degree of ductility or viscosylates, we add oil or mastic. Since the preparation contains sicacious oil, a film is immediately formed: That's why it is good not to melt than the quantity we can use in but will days, and keep it covered with water.
Masting can also be combined as follows: - forty grams of nut or poppy oil, bleached in the sun; - Five grams of lead acetate dust (Saturn salt). After a slight boiling in Bain-Marie, the mixture is spilled into clean water and beat the Catva 'IMP changing water. Washing in water aims to remove the lead acetate that has not combined. Finally, we could also melt the green oil, leaving to deposit the paneous parts; Then let it decant and add a little wax. The English Veri. If mixed, with a mastic vernium and terebentine essence, a sicacious oil connecting the suspended lilarg, the mixture is closed immediately, having a lot more consistency as the oil dissolved more than a lotga, and the ventium more resin. This gelatinous mixture is kept on the palette, as well as colors, without moving.
The liquid character makes this tongue especially suitable for glasses because it stretches with a lot of ease. But instead of using black sictive oil, it is much better to use oil-free oil; It is also well that the mastic solution is very concentrated, as we have a smaller proportion of volatile oil compared to resin, evaporation of this small amount of oil causes a smaller change in the liquid character of the vernium; We can therefore work longer without the excess of viscous to embarrass execution. Oily vernium with copal. Known for a long time, used, perhaps, by FRA Bartolomeo, the mode of preparation is also indicated by THCOFILUS. Fornisil resin and "Romana Glassa" seems to be a Copal of India. Still in Merirnee, the Copal, for the most part, came from India. About the use of the vernium in color from the four vernies mentioned above, the Master prefers the Copal.
Prudhon used it in the last years of life; "His painting represents the crucified Christ and that the museum possesses is painted with this Veri. We can see in the vineyards, the effect it will produce ^ He gives many transparent and shine colors and although it dries quite slowly, it leaves enough time for the most meticulous execution, the color is completely dried and gains a great resistance. It is true that it does not keep on the palette as the other three vernies, but we can prevent it to flow by mixing it with a little wax or white whale (spermet). We will see in the next chapter that some precaution should be taken when we use it in their glasses. Merimee advises us in case of rejection, to give the surface with alcohol or vernz with mastic and sicacious oil). Dealt, the choice of these vernies depends on their destination and the obisnity that each leg has formed to work with more or less liquid colors, more or less on-on. Do we want to paint, from the first hand, on a very smooth surface?
In order for the painting to join, an extremely viscous tongue must be applied on this surface. We will only be able to apply it with a harsh brush and we will have to keep them even with the thumb; Instead, he will swallow the color and it will make it so onto that a new layer will never delete the layer, applied before. Do we want to verify a big part of a painting? It must then be that the vernium is easily stretched under the brush; So be more liquid, however, without flowing out of the surface on which it was applied; Soon, experience helps us to know the one who needs to choose. Whatever we will always make it more solid mixed with a copal. Not all painters, not even the most indiminative, does not work easily. Some (like Leonardo da Vinci, Domenichino or Remhrandt) are forced to come back several times on their works.
Those who are experiencing such difficulties need to take care to use, in their first applied layers, very cold colors, as the colors dried slowly, the more likely they are likely to alter. When it is not flirting from the first hand and even when we are obliged to come back several times on the important parts, we do not have to use Vernion in Ebosa, but very little when we approach the Sl'irSit of work: It is important to Dam Full transparency and whole brilliances they are susceptible; Especially then he is necessary to prevent emubes. Or for drying the colors not only on the surface, but also in the depth of the layers, it is advantageous to paint on the funds in tempera.
* Note: Havel, Marc -The painting technique, Meridian Publishing House, 1980