You would think that we would know more by now; that the questions would be answered, the arguments settled. But we don’t, and they aren’t. Even basic and fundamental issues continue to remain unaddressed by research. Will cold-pressed or alkali-refined linseed oil yellow more? Do historical and traditional processing methods lessen that? How do all … Read more
Home>Conservation> Oils > On the Yellowing of Oils
About Sarah Sands
View all posts by Sarah Sands --> Archive | 
Sarah Sands
We are excited to introduce a host of new features and improvements to our Virtual Paint Mixer (MXR). These additions were inspired by your feedback and with the hope that it becomes an even more important and enjoyable tool for artists. So, as our holiday present to you, our customers, we are releasing Mixer 1.1 … Read more
In blog posts and workshops the warnings can seem dire: add too much water, we are told, and the acrylic binder will break down, causing paint to flake off or adhesion to fail. Some will set the magical mark at 30%, others at 50, but almost universally the rules are presented without citing or showing any … Read more
You reach for a tube of Cadmium Red or Ultramarine Blue and you intuitively trust that they contain the very pigments they are named after. It’s a trust formed over years and decades of personal use, along with an assumption, an almost blind belief, that paints must surely be labeled according to definite rules. Besides, … Read more
Painter’s tapes are ubiquitous, ranging from traditional masking tapes to newer yellow, blue, and green ones that tout different levels of tack and easy release, or highlight new technologies to tightly lock down an edge. For many of us, they have also become part of the common materials found in our studios. And what’s not … Read more
Oil paints dry through oxidization, so access to air seems clearly important, but what about light? How much does exposure to different light levels impact the drying process? Surprisingly, for a question that seems so basic and fundamental, there is not a lot of information or test data that one can find. While a few … Read more
This article is a companion piece to Zinc Oxide – Warnings Cautions and Best Practices, published in our print newsletter, Just Paint, Issue 35, as well as our FAQs Concerning Zinc Oxide (PW 4) in Oil Paints From the start zinc oxide has lived a double life – at turns celebrated and shunned, loathed and loved. On the … Read more
';
;
FAQs Concerning Zinc Oxide (PW 4) in Oil Paints PDF version: Zinc Oxide FAQ INDEX Zinc Oxide’s Use in the Past When did artists start using Zinc White? Why was Zinc used? What did it offer? Are older paintings containing Zinc Oxide falling apart? Why do some older paintings still look good? How Does Zinc Oxide … Read more
The use of Zinc Oxide in oils has been the focus of a lot of attention lately, especially around its potential to cause an increased rate and degree of embrittlement, cracking, and cleavage of oil paint films. Passionate positions have been staked out on all sides, while various studies have been cited and pored over, … Read more
While we often report on results from lightfastness testing, we have rarely paused to actually describe the process we follow. And let’s face it, for most people stating that our tests conform to ASTM D4303, Standard Test Methods for Lightfastness of Colorants Used in Artists’ Materials, does very little to fill in the blanks. In an attempt to solve … Read more
