Gamblin Conservation Colors

On several occasions, I applied as retouching media the colours of
Gamblin. To dilute the colours, I used Turpentine, which seemed to
provide the best results. Another solvent that should work is white
spirit, which I can not confirm.

My general impression is that certain colours work better than
others: Burnt Sienna, for instance, represented an inpainting colour
with similar characteristics to oil colour, and only after being
diluted several times with pure gum spirits of turpentine, a glossy
brilliance appeared which made further retouchings impossible due to
the shininess of the retouching medium. On the other hand I observed
that such pigments as Venetian Red possess that glossiness right
from the beginning, before even being diluted. This brilliance even
could not be reduced after stirring the colour well.

As I never have used a set of Gamblin Colours before, I wonder
whether the differences of the various colours is an exception. Who
could share any similar experience, and provide possibly any
solution of the described problem? I also welcome any further
suggestion in regard of modifying and applying Gamblin (possible
solvents, isolating coatings, e.g.).

Ulrik Runeberg


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                  Conservation DistList Instance 18:15
               Distributed: Wednesday, September 15, 2004
                       Message Id: cdl-18-15-019
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