Lead Oil Primed Linen Canvas Process
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Thanks for watching!
I would really recommend any oil painters out there who haven't tried a lead oil primer to try it at least once.. it's so different to an acrylic primer which is all that's been available to us for a long time. It's just so much more sympathetic, thin layers are much more attractive and don't look dull and dried out. You can apply a lead primer to any acrylic primed canvas as well which makes it pretty easy.. thanks for the video by the way :)
I can see you take great care and pride in your art. Thanks for showing the efforts you go through to make everything just perfect.
Thank you for detailing the whole process into simple steps. Im delighted🌹🎨🍂💃
Excellent demonstration. Especially the list of materials in the end. Thank you for sharing.
Wow, I wish I found your channel sooner! As a new painter I have been so confused about the best way to prepare my canvas. I have been researching for weeks and found a variety of answers all with conflicting viewpoints. This video was SO INCREDIBLY HELPFUL. Thank you so very much for taking the time to walk your viewers through this process. You’re awesome! ☮️💟
Good luck!
Where do you get you canvas from?
Excellent video, this was exactly what I was looking for!! Thanks!
+ghostzeke14 no problem!
I found this most imformative, thank you.
Thank you, I was looking everywhere to find the ingredients that go into oil primer. I was not sure if I needed chalk as well as marble dust to make my own oil gesso. I have a ton of marble dust but I had problems locating powdered chalk locally. I guess white pigment, oil and marble dust is all I need:)
Bravo !
Finally an artist who knows the inportance of using the sizeing !!!!!!
thank you for posting this ACCURATE info on how to prepare a raw canvas!
Your corner folds are so neat. I wish you had shown more detail about folding the corners.
Very helpful. I am studying priming linen clear to keep the natural color. Painting w acrylics on top. Would you still recommend GAC 400 followed by two coats GAC 100? Other resources I’ve found mention mix your own PVA w glue and water, and then sand and seal with clear gesso or acrylic matte medium. Im getting opaque uneven mess with my clear gesso and sanding when canvas is already stretched brings out the stretchbar lines
Claessens uses PVA in 2 even coats.
Hi please can you list the names of the products you used. I could not get the names right and am interested in your technique. Thank you for sharing your skills and inspiring technique.
Nice work, congratulations! Could you please post the amount of each ingredient that comes into the lead mixture? How much of each marble dust, lead ground etc? Thank you!!!
Thanks for the video. One point to make, the majority of the time canvas rots from the back, I would recommend sizing the back side of the canvas too
4% Formalin solution, Mayer. Etc.
How do you clean up the lead and keep lead soaked rags and paper towels out of the trash, which would go into landfills? I’d be interesting in trying lead, but I want to do it responsibly. Great video.
Great video. How does Gamblin's PVA size compare to Golden's GAC? Has sizing the canvas ever tightened it so much it caused the stretcher bars to warp?
Acrylic sizing does not tighten the linen as much as traditional hide glue size. Much less water.
Great video, thank you. May I ask what kind of brush you use?
+kbld1 Thanks!
I was using a wide brush made by liquitex
Thank you for the excellent video. I am a novice and this definitely helped understand the process. I understand that some artists who use acrylic gesso, apply multiple layers and sand the surface with a sand paper. I don't know what use the sanding is but I noticed that you didn't do such a thing when applying the lead ground. Any reasons to sand or not sand the surface?
Sanding lead w/o a respirator would be a very bad idea - lead dust... Claessens used to use a pumics stone on the lead, but a respirator should be used for any of this.
Thank you for sharing!!! Do you need the Gac if you ae just using Liquitex gesso on linen?
No, acrylic gesso (water based) can be applied directly to linen or canvas.
After using Gac 400 and 100. Can you just paint directly on that surface without using primer?
There is an Oil Painting Primer by W&N, is that any good? And given the fact that lead oild ground is mostly forbidden in most places, what could be use as a good substitute?
+Fabrizio Aldonne Im sure its fine. The W&N oil ground is most likely made with titanium instead of lead. Lead oil ground can be purchased from a few different companies
The 2 major ones are- Williamsburg and Rublev
Avoid Zinc oil grounds, and although titanium isnt bad, id recommend a lead oil ground for best results. Lead white has been a golden standard for most of human history in regards to art making. Before lead white we used lime white [calcium carbonates like chalk, marble dust etc.] Lead is generally the best white, although titanium is superior in opacity. I wouldnt recommend the use of zinc though as it has recently been thought to be unstable and to cause brittle paint film.
Hope this helps!
Have you ever experienced Williamsburg lead ground yellowing? I prepped a bunch of canvases over a year ago and they are all nearly Naples yellow now 🤷🏻♀️ I used gamsol instead of turp.
I love your channel so much- keep coming back and rewatching videos over and over. Thanks so much for sharing such great content
If you stored them in darkness they will yellow badly, normal due to lead carbonate but its reversible, just expose it to indirect sunlight a few hours and they'll turn white again. Cherrs
It is the oil vehicle which is yellowing, NOT the basic lead carbonate. Exposure to sunlight will indeed reverse this.@@comunidadbitcoin2050
Hey @RyanDemaree will GAC 400 after stiffing the linen allow me to roll it in order to ship the painting when im done with it? Or is it too hard that wont allow me yo roll it?
IF you are going to roll, which is a very bad idea, roll image/painting side OUT around the largest cylinder you can find.
Is Gag Size a gesso or pva based? Cause acrylic gesso is responsible for cracking, not zink white.
could you tell me what your percentage is re linseed oil marble dust turpentine and lead oil ground white would be for a good consistency, I am working right now with linnen and rabbitskin glue but like your gac method.
This blend is pre-made by williamsburg. I now use Rublev lead white oil ground with a rabbit skin glue sizing if im preparing myself. The absolute best surface for detailed oil painting is made by a small company which makes rabbit skin glue sized portrait grade belgian linen and uses a PURE lead oil ground. It is super smooth and archival, truly a beautiful shade of off white as well. Search for L600 linen on google
This is really interesting, got led here from Richard Schmid's book. He mentioned priming his canvas with a "lead ground" and had no idea what that was. I guess the general idea of a lead ground is a white primer (I have always just used cheap acrylic gesso) and the marble dust kind of gives the canvas more texture for the paint to adhere to?
Lead oil grounds are really nice to work on for oil paintings
The marble dust is to increase absorbency and tooth, so yes.
I've only painted on traditionally gessoed wood panels and I want to try oil priming a raw linen canvas I need to travel around with and paint on it in oils, so I need to roll it in a tube occasionally (when dry to the touch). My question is, if I temporarily mount the canvas to a rigid support (MDF panel) and I apply rabbit skin glue to size it, will it adhere to the panel on the backside? Also, to make my own oil ground can I use marble dust, linseed oil and paint from tube of lead white instead of the lead pigment? otherwise I can just mix marble dust, linseed oil and Titanium dioxide pigment. Will preparing a canvas in this manner allow me to roll up the painting in a tube for travel? or will it be prone to cracking? I paint very thinly (grisaille with thin glazes of oils). Thank you.
Yes to both of your questions. Apply the rabbit skin glue to the panel and to the mounted canvas on the panel front and back of the canvas for better adhesion. You can use lead white from tube with chalk and linseed oil or titanium white, chalk and linseed oil. I dont recommend rolling up a canvas sized with rabbit skin glue, but you can at your own discretion try it if you have to.
Good luck!
I have been experimenting with different surfaces and grounds and really love lead oil primed linen. Is lead ground totally safe once dry? I wouldn't cut my LOP panel (ACM) w/o a respirator and would do it outside, but once the painting is done (lead ground all covered) can it pose any risk by releasing lead particles into the air? What if the painting were hanging in an elementary school where it could get touched by little fingers? Any thoughts appreciated.
In theory small particles can still be aggravated and shed from the canvas if touched. Use your best judgment. In most cases its very safe once dry as long as it isnt being aggravated
Lead paints should never be used near children for anything.
Ryan, this video is terrific. I was curious, do you use a specific ratio of turpentine: lead oil ground: linseed oil: marble dust? Or do you mix it until you achieve a consistency that you like?
I was looking on Williamsburg's website and says that linseed oil and marble dust are already part of the ground. Do you add more linseed oil and marble dust than what is already there as you make your ground? Or, were you just explaining the components of ground?
I believe I was using a 50/50 ratio by volume.
Much too much.@@RyanDemaree
Another question. I gather from the responses after this video was done, you decided to go back to rsg. Am I right? I am currently experimenting with using gac 400/100 method, and also Gamblin's PVA size. But now wondering if should use rsg after all. There sure seems to be no clear answers on this. If the paint flakes in time over acrylic skin......
Acrylic size will allow cracking as it remains flexible and is more flexible than oil films. The main objection to rsg is that it is very hygroscopic, which will also cause cracking.
Hi, Thank you for sharing. My question is, I primed canvas with oil primer about 2 years ago. By some treason it was untouched for all this time, however, now I want to start painting on it. First what I see when I took it from storage, it’s yellowed a bit, like off white-creamy. Now I’m thinking, will it influence colors of painting I will do on this canvas? Another one, I did charcoal sketch on it, now have a dilemma, how I can proceed? It’s a big size drawing which I don’t want to loose at beginning stage, as I took some time to develop it, how I can fix it on oil primed canvas? Or there is no way to do it? Will appreciate your reply. Thank you
any surface you paint on will have some effect on your colors, but you shouldnt notice it much unless the colors are transparent or you are working on a toned surface. An off-white surface wont effect the look much.
With the charcoal drawing you can maybe try and lighten it a bit brushing it lightly to see it as a faint sketch instead of bold, but be careful not to erase your drawing. From here you just build up in layers and the sketch should fade out.
Good luck
Linseed oil yellows if stored in the dark, but this is reversible with exposure to sunlight.
Is this type of canvas prone to get affected by mold and fungus in humid regions? I live in a place with very high humidity.
Linen is prone to humidity, it sags and tightens. In your region sizing the back of the linen/canvas would be a preventative measure.
Marble dust and egg shells are the same as chalk - calcium carbonate, CaCO3
correct
Does the GAC 400 actually tighten it though? Golden says it stiffens it, therefore replaces rabbit skin glue. But that's not quite how rabbit skin glue works... it tightens, not just stiffens, as it dries and shrinks. If GAC 400 only stiffens, then your canvas could have actually lost tension, and you may not notice because of the stiffened fibers.
+CustardBastard it tightens it slightly, RSG is the best for tightening tho.
GAC is more archival, but I think I like RSG more. GAC is slightly too loose.
what are you using to spread the products please?
a wide brush
Hello again. I was wondering how your lead oil ground primed canvases are doing over time since you are waiting a relatively short time for the lead primer to dry? I have seen advice ranging from a matter of weeks to a year to let lead oil primers cure before painting on them. So far I have let mine cure 6 months at least but am wondering if that necessary.
ive not seen issues with using 2 weeks per layer. Depends on how thick the layer as well as your own personal preference. Good luck!
@@RyanDemaree Thanks. I think I will stop treating mine so precious and not wait so long. I had a bad experience on some canvases I attributed to possibly being under cured earlier, but was done by somebody else on linen glued to panels from a popular panel maker for plein air. Something was definitely off as it sucked the oil out of my painting big time. I now think it might have lacked sizing or something. I no longer buy those and make my own canvas so I can trust them.
Look into the drying of linseed oil and when and how much it changes volume (increases dramatically, then decreases) when drying for your answer.
Can you use spike oil instead of turpentine?
Don't use any thinner at all.
wharatio of linseed oil,titanium white,and marble dust?
He’s using a pre made can of Williamsburg Lead Oil Ground that already has all the ingredients. You need to thin it with something like turpentine though.
This was very good, but I still do it the old fashioned way with honey with beeswax. Urine alkaloids make a nice firm paste for alla primo and never EVER use cadmium- they cause decay. Try clay kettles. Skim the batter CAREFULLY. tape helps in cleanup
Just a quick question. Why not apply gac 100 to the back of the canvas? There could be holes in linen that oil might escape to the back. Of course, better linen has less holes but they all have some.
You could do this as an extra precaution if you choose to, definitely wont hurt
@@RyanDemaree Thanks!
Good instruction. Can I just use a ready made oil primer I.e., Gamblin oil ground? Also what process for raw linen I want to put on a board, do I glue to board first then use the GAC 400/100 then ground. I made the mistake of just priming the linen laying flat and what a mess I made. Thank you!
Yes, you can use the Gamblin oil ground, the primary difference is that it is made with titanium white instead of lead white. Titanium oil grounds tend to feel a bit spongy. Technically lead oil ground is the best from an archival point of view, but I even enjoy using Claessen's zinc/ titanium oil primed linen.
I believe you could glue the linen to a panel with the gac 400/ 100 combo and then go into priming after. Typically if I am working with a linen panel I glue it with my rabbit skin glue sizing to the panel before I go into an oil ground. I think synthetic sizing should work in a similar fashion.
Ryan Demaree thank you for your reply
Yes, I have done this many times using PVA (Poly Vinyl Acetate) size to adhere the linen/canvas to a panel. Then use PVA as a size, the main purpose of the size is to protect the fabric deterioration from oil in the oil based ground. It also makes for a very stable structure opposed to a painting on stretcher bars. Gamblin is usually good at having information on their website.
Can we size and prime the canvass first before we stretched it?
Yes, you can do so on a large canvas then cut and stretch the piece needed.
It is best to stretch (after rinsing out the fabric size from the manufacturer and restretching) to ensure even weave alignment, and it is best to have some tension.
nice
How long did you wait between the 1st and 2nd lead ground layer?
2 weeks is best practice and yes you can use spike lavender solvent if youd like
Never Spike Lavender in the ground. To your question - look into the drying of linseed oil and when and how much it changes volume (increases dramatically, then decreases) when drying for your answer.
Hellen Frankenthaler painted oil deluded paint on unprimed canvas.
Why not use a regular wall oil primer? it's very strong and will last forever.
It is not made for this purpose and the pigment to binder ratio will be way off. Also, you want the whitest highest quality pigment. The binder will not be of the necessary composition or quality either.
I think 2-3 weeks prep for a linen canvas in impractical.
Depends on the artist. Just like with food, there are more convenient options to buy the oil primed linen canvas pre-made by a professional company- but this is more expensive.
Hardly. Do you only have 2-3 weeks to live? It takes some forward planning for sure.
You can buy a roll of linen and prime the whole thing in one go, let it sit in storage and in 3 months and you'll have a stockpile of lead primed canvas
Where do you get your canvas from?
I got this specific linen and stretcher bars from a shop in Toronto
@@RyanDemaree looks like a nice quality canvas
Another great canvas linen sizing is Elmer's glue ...all it is is basically a PVA ( poly-vinyl -acetate glue.) .(1). Dilute w/ water to milky consistency, just like a store-bought PVA sizing . (2). Using a regular Home Depot large paint brush,scrub the Elmer's glue into the stretched raw linen let dry, then rub down with a scrap piece of linen. (3).Repeat this 2 more times.
yeah, ive heard that one before. I like rabbit skin glue and lead oil ground most. The absolute best linen ive ever painted on is known as L600. Smoothest, finest oil primed linen around
Correction to my post: (1). Elmer's glue diluted with water to a consistencey of a store-bought PVA canvas sizing; ie. milky . (Elmer's glue is a concentrate -form of PVA) . (2). I meant PVA ( poly-vinyl acetate) not "PVC". Your video was detailed and informative. Lead oil does require a much longer dry time. I used to use Flake white No.1( PW 1) . But I now will start to use ' titanium white alkyd diluted w/ spirits. Akyd dring time is 4-20 hours, so wait period is significantly less. It'sincreasingly tough/ a hassle to get lead oil white. One queston with regards to integrating chalk dust/ or marble dust into the primer..... Do you mix in the dust on the first coat or last coat? And... what proportion of chalk dust/ marble dust to oil primer ? thanks.
Never use Elmer's glue as a size.
@@JustMe-ed1cq Your broad and general post makes no specific sense at all. Elmer's glue , what? So many variants of Elmer's brand glue . Diluted or undiluted? With added chalk or without ? How many layers? Learn to read and understand Safety Materials Data sheets on particular products. Very accessible on internet . It would list , among other product proflile , the pH of a specific glue.
It is too acidic for one. 5-6 PH. I have been doing this for 45 years. @@princepouncer2729
I noticed that when he showed the final product, his canvas had the very same problems mine used to have: Too many deep and visible brush strokes! I solved that problem by
getting an air brush and compressor and never using a brush again. You may find that you will have to spray on several layers, depending on how much primer you like on your canvas, but using an air brush is not only less time consuming, but it does away with the annoying streaks left behind from brushes.
go away troll
This is lead oil ground, if you spray it you will end up getting it everywhere, not safe to do really, a palette knife will suffice
Usually, you sand down between ground layers to get a fine, smooth surface. The lead sanding dust is a problem. It's bad for your health when inhaled.
PVA size?
You can use that too. There are a dozen solid ways to prepare a surface for oil paint. Depends on personal preference and intentions.
I do not believe either chalk or marble dust have any adhesive properties. They both create a “tooth,” however, like fine sand paper. The adhesive (called the “binder”) holds all the otherwise dry media (pigment or texturizers) to the surface, in this case the binder is the linseed oil, which is also the “vehicle” transporting the dry particles and binding them to the surface. This is why thinning oil paint too much allows it to rub off, or float away when wetted... the binding property of linseed as is cures is too far reduced when thinned too much.
The lead oxide, or titanium, or any other dry pigments in varying density are floated in the vehicle (linseed) to their final brush stroke location, where the vehicle/binder dries or cures leaving the pigment to reflect light. (Ralph Mayer’s Artist Handbook 5th Edition)
It is refreshing to see someone still reading Mayer. I suggest Gettens & Stout as well.
learn this.
it is way Better than buying garbage from Michaels.
I can't agree with putting a non-hydrostatic product on hydrostatic canvas presumably you chose linen or hemp because those are the least hydrostatic fibers but the beauty of rabbit skin glue is that it has the same hydrostatic coefficient as linen.So they move together in unison like rebar in concrete. By soaking a hydrostatic fabric with a plastic bonding agent you're setting up a conflict. And we know the paintings of giant Reubens paintings haven't cracked. I think these acrylic primers would work on Tyvek or some non-woven plastic fabric like that. And then you're putting lead which is a super flexible metal on top of that so bobs your uncle. Cotten has a high hydrostatic coefficient even worse stress on your campus if you put a plastic polymer coating on it.
I forgot how brutal it is to stretch a canvas. It just sucks. This is the whole reason I went to mounting canvas on panel. I disagree with using GAC 100, and use PVA, and then make my own gesso using PVA, titanium dioxide, and magnesium carbonite, (chalk). This gives you a very sandable and porous gesso layer which will sand out to any level of smoothness you like. I go several layers, each using less PVA versus the additive I mentioned. I tone the gesso ahead of time for a very shallow ground to work on, which is easy over my PVA based primer.
How are you achieving proper mixing of those ingredients w/o having unbound particles?
Letting it sit for about ten minutes to become saturated by the PVA then mixing well is all it takes. I have not had any problems, Its only when you add things like acrylics to the mix which introduces hydrophobic results@@JustMe-ed1cq
This is a very accurate video but outdated. Golden no longer reccommends GAC as a size. PVA is preferrable.
Sir please if you read this i have a few important questions
Hello, what are your questions?
@@RyanDemaree 1_ Is it wrong if i stretched my canvas tightly?
2_ if i size and prime a cotton canvas properly will it last as long as the linen dose?
3_ can cotton be used in a professional art work?
4_ how efficient it is the home made gesso (chalk or baby powder + pva glue +acrylic pigment +water)?
And can i contact(message) you when ever i have a question because art supplies are very rare in my region and therefore I need to be innovative + there isn't many informative and knowledgeable people i can ask them when i need
wonder if you have read my reply
Are you smarter than the old masters for recommending not to use rabbit skin glue or are you saving the time and the hassles of applying it at the long term expense or your art work collectors?
technically speaking acrylic polymers are less prone to damages, but I use RSG these days for traditional purposes, it is also better in terms of a more drum tight canvas. Both work great.
This was my first time trying a traditionally prepared surface. Technically speaking acrylic polymers have less issues than RSG though due to changes of environment and humidity etc.
I will also note that the old masters used many fugitive and toxic pigments and would love many of the synthetics, and safer hues we have available now. They lived in a different time.
I always find it funny to see painters spend lots of money and effort on materials that they believe will be better than traditional materials like rabbit skin glue. The reason this is especially funny is that they do this on small paintings about the size of the one in this video...which I'm guessing is about 18" x 24". The risk of paint cracking on a small canvas like this one due to hygroscopic reasons is laughable because the stress is simply not there. Now, if you were painting a 4ft x 6ft painting with more surface area and which will very likely sway back & forth while being transported or moved then yes, I can see how you would want to take precautions so it won't crack in the future. But in tiny paintings like this one there is really not much risk in just using good, old fashioned animal hyde glue.
There is stress even in the small paintings when you take account several decades. Conservation departments around the world have tens of thousands of paintings and hundreds of years of experience, and it is proven that RSG:s hygroscopic properties are a major reason for cracking. Well actually most paintings that are streched eventually crack. Best bet is to mount fabric to a composite panel, you could even use RSG as a size as the panel protects against the stress, and provides the stiffness. PVA glue and acrylic sizes are more durable option than RSG fort stretched canvas, as they are not as hygroscopic, if at all?
I doubt old masters would use synthetic pigments, the particle size of azurite and lapis are bigger than modern cobalt blue, meaning azurite has more luminosity as light travels through the layers, lead white as you said is superior to modern synthetic whites. Natural mineral particle size, luminosity and refraction is better with historic mineral and natural pigments. Some paintings by the flemish painters are as bright today as they where 400 years ago. The Flemish knew how to conserve pigment colors and you can read this about today. Search Michael Price from Kremer pigments, he gives a talk on youtube. I would never use synthetics pigments in art, but everyone is different...but I doubt Da Vinci or Rubens will use synthetic pigments. I seriously doubt they will use modern cobalt blue over Lapis Lazurite or Azurite, I doubt they will use Cadmium red over cinnabar. You just cannot compare quality and results. Sorry.
In my humble opinion I wouldn´t spend three months painting my work of art on top of a synthetic layer of plastic skin. The rabbit skin glue has been tried and tested for CENTURIES because being hygroscopic it is flexible and will allow the upper paint layers to stretch and move over time. Many, and I mean many, painters are now complaining that their works made a couple decades ago are flaking due to the acrylic underpaint or priming. Think it over, dude!
I prefer RSG + lead oil ground on linen/ panel for realistic/ fine detail work, and high end acrylic primed cotton for my more loose/ abstract work.
Dude didn't answer your question!
Pointless putting lead oil paint on to acrylic GAC: Rabbit skin is archival and has different binding properties for adhesion of lead oil ground and archival.