Liquin

This question is posted on behalf of Gary Faigin who is not on the
DistList. The author is the Artistic Director of the Academy of
Realist Art in Seattle, a small private art school specializing in
providing training in the traditional principles of drawing and
painting:

    My conservation questions have to do primarily with the relative
    permanence of some of the glazing techniques I teach.  I have
    heard different opinions on the subject of whether using Liquin,
    the alkyd resin made by Winsor/Newton, counts as 'fat' or 'lean'
    in terms of the layers of paint. We have all been taught to
    paint fat over lean, but I use lots of Liquin in the lower
    layers of my paintings, thinking of it as 'lean' because of its
    quickness in drying.  I then paint over the top of this, once
    dry, with a layer or two of paint thinned with a 50/50 mixture
    of stand oil and linseed oil.

    Does this seem like a reasonable technique?  And do you know of
    any limitations to painting additional glazes with the same
    50/50 medium over semi-dry or tacky layers of similarly mixed
    paint? Any feedback you have would be of interest.

    Gary Faigin
    gary [at] realistart__com

Abby Hykin
Assistant Conservator of Decorative Arts and Sculpture
J. Paul Getty Museum
1200 Getty Center Drive
Suite 1000
Los Angeles, CA  90049
310-440-7182
Fax: 310-440-7745

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                  Conservation DistList Instance 12:73
                  Distributed: Friday, March 12, 1999
                       Message Id: cdl-12-73-013
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