Comments for Daniel Rigos http://danielrigos.com Paintings and Photograpy Sat, 10 Mar 2012 00:39:18 +0000 hourly 1 http://wordpress.org/?v=3.1 Comment on Virgil Elliott on Oiling Out by Louis R. Velasquez http://danielrigos.com/blog/2008/03/virgil-elliott-on-oiling-out/#comment-1314 Louis R. Velasquez Sat, 10 Mar 2012 00:39:18 +0000 http://beta.danielrigos.com/?p=147#comment-1314 Hello, I invite you to view on website that focuses on the Old Masters' methods and Materials without any hazardous solvents, resins, varnishes and driers. Please see my new book [ March 2012] SOLVENT FREE OIL PAINTING: Painting with the Old Masters' Van Eyck Secret Medium. -thank you-louis Hello,
I invite you to view on website that focuses on the Old Masters’ methods and Materials without any hazardous solvents, resins, varnishes and driers. Please see my new book [ March 2012] SOLVENT FREE OIL PAINTING: Painting with the Old Masters’ Van Eyck Secret Medium.
-thank you-louis

]]> Comment on Art Spectrum Australian landscape oil colours by soniapetra2 http://danielrigos.com/blog/2011/03/art-spectrum-australian-landscape-oil-colours/#comment-1269 soniapetra2 Wed, 08 Feb 2012 06:32:20 +0000 http://danielrigos.com/?p=524#comment-1269 Excellent read. I like your style...have a good one!Nice blog! Keep it up! Regards <a href="http://www.istone.com.au/" rel="nofollow">Australia landscape</a> Excellent read. I like your style…have a good one!Nice blog! Keep it up!

Regards

Australia landscape

]]> Comment on Smooth canvas for solvent free oil painting by Daniel Rigos http://danielrigos.com/blog/2011/03/smooth-canvas-for-solvent-free-oil-painting/#comment-1214 Daniel Rigos Sat, 14 Jan 2012 07:35:25 +0000 http://danielrigos.com/?p=519#comment-1214 Hi Bas, Sorry for the big delay in responding to this question! I have heard of this technique of starting with a monochrome and then glazing over it many times. From my research the fat-over-lean rule is sometimes misunderstood to mean that it has to get fatter and fatter (i.e., more and more oil) each and every layer. I have read that this is not the case and it is only important to ensure that each layer is as fat (oily) as the layer preceding it. So, if you start off with a monochrome with no oil and then use the same oil rub in every layer then you should still be sticking to the fat over lean rule. You could also use water soluble oils or acrylics for the monochrome if you want to get really washy and thin. Hope this helps! Daniel Hi Bas,
Sorry for the big delay in responding to this question!

I have heard of this technique of starting with a monochrome and then glazing over it many times.

From my research the fat-over-lean rule is sometimes misunderstood to mean that it has to get fatter and fatter (i.e., more and more oil) each and every layer. I have read that this is not the case and it is only important to ensure that each layer is as fat (oily) as the layer preceding it. So, if you start off with a monochrome with no oil and then use the same oil rub in every layer then you should still be sticking to the fat over lean rule. You could also use water soluble oils or acrylics for the monochrome if you want to get really washy and thin.

Hope this helps!

Daniel

]]> Comment on Dishwashing detergent to clean brushes by Maria Kellner http://danielrigos.com/blog/2008/03/dishwashing-detergent-to-clean-brushes/#comment-1188 Maria Kellner Tue, 03 Jan 2012 20:53:59 +0000 http://beta.danielrigos.com/?p=144#comment-1188 I use baby wipes they are great for cleaning brushes to change color or at the end of painting session ,then a liquid cleaner . I use baby wipes they are great for cleaning brushes to change color or at the end of painting session ,then a liquid cleaner .

]]> Comment on Smooth canvas for solvent free oil painting by Bas Juijn http://danielrigos.com/blog/2011/03/smooth-canvas-for-solvent-free-oil-painting/#comment-1053 Bas Juijn Fri, 25 Nov 2011 23:32:23 +0000 http://danielrigos.com/?p=519#comment-1053 Hello Daniel, Thanks for sharing your knowledge. I have been endowed with the gift of painting and a love of doing it too, as you have. Could you help me with some questions please? Have you heard of the maniera lavata? Anthony van Dyke used that term for filling in the contours of a complete shape with a flat color, like a wash. I think he would do that on a dried monochrome underpainting and with very thin paint, possibly without any medium, so the modelling of the monochrome would stay visible. I see the strength of this method and want to apply it. But I have some questions: is it safe in respect to the fat over lean -rule to first cover the monochrome with a very thin film of linseed oil and then paint into that with just tube paint? I mean I certainly need some method of oiling out to restore the values of the monochrome, but maybe a rubbing with retouching varnish would be just as well? What do you think? Now after putting the thin flat color over a shape in the monochrome underpainting, would it be safe in respect to the fat over lean-rule you think to build up the lights using just tube paint and flake white (since flake white dries so fast)? I wish to have a method of glazing that takes the least time to dry while obeying the fat over lean-rule. I prefer as simple a manner as possible and without the use of any solvent. [I doubt if solvents were used by the old masters other then perhaps for the first monochrome block-in and found by the way that the monochrome can very well be done using paint without any additions. And the flake white makes for fast drying.] For possible final glazes I am thinking of just using a little linseed oil as a medium to help spread the paint, for that would be following the fat over lean-rule and those glazes do not have to dry really fast as far as I am concerned. I Hope you want to help me by giving me your thoughts on these ideas of mine and maybe some suggestions (by e-mail). Thank you already and good luck with your painting! Greetings from Holland, Bas Hello Daniel,

Thanks for sharing your knowledge. I have been endowed with the gift of painting and a love of doing it too, as you have.
Could you help me with some questions please?
Have you heard of the maniera lavata? Anthony van Dyke used that term for filling in the contours of a complete shape with a flat color, like a wash. I think he would do that on a dried monochrome underpainting and with very thin paint, possibly without any medium, so the modelling of the monochrome would stay visible. I see the strength of this method and want to apply it. But I have some questions: is it safe in respect to the fat over lean -rule to first cover the monochrome with a very thin film of linseed oil and then paint into that with just tube paint? I mean I certainly need some method of oiling out to restore the values of the monochrome, but maybe a rubbing with retouching varnish would be just as well? What do you think? Now after putting the thin flat color over a shape in the monochrome underpainting, would it be safe in respect to the fat over lean-rule you think to build up the lights using just tube paint and flake white (since flake white dries so fast)?
I wish to have a method of glazing that takes the least time to dry while obeying the fat over lean-rule. I prefer as simple a manner as possible and without the use of any solvent. [I doubt if solvents were used by the old masters other then perhaps for the first monochrome block-in and found by the way that the monochrome can very well be done using paint without any additions. And the flake white makes for fast drying.]
For possible final glazes I am thinking of just using a little linseed oil as a medium to help spread the paint, for that would be following the fat over lean-rule and those glazes do not have to dry really fast as far as I am concerned.

I Hope you want to help me by giving me your thoughts on these ideas of mine and maybe some suggestions (by e-mail). Thank you already and good luck with your painting!

Greetings from Holland,

Bas

]]> Comment on Inspiration: Kerry Martin by Kerry Martin http://danielrigos.com/blog/2008/04/inspiration-kerry-martin/#comment-606 Kerry Martin Sat, 27 Aug 2011 05:36:07 +0000 http://beta.danielrigos.com/?p=150#comment-606 Hello Meredith, I found your comments about my work on Daniel Rigos's site and decided to do a bit of self-promotion - I can add you to my invitation lists if you wish: You can contact me via email and visit my website for recent info. Kerry Hello Meredith,
I found your comments about my work on Daniel Rigos’s site and decided to do a bit of self-promotion – I can add you to my invitation lists if you wish: You can contact me via email and visit my website for recent info.
Kerry

]]> Comment on Beginning an oil painting without solvents by michelle http://danielrigos.com/blog/2007/11/beginning-an-oil-painting-without-solvents/#comment-444 michelle Wed, 29 Jun 2011 07:14:51 +0000 http://beta.danielrigos.com/?p=140#comment-444 Had never thought of using water-soluble paint for underpainting - what a great idea! Had never thought of using water-soluble paint for underpainting – what a great idea!

]]> Comment on Mediums for Oil Painters article by Daniel Rigos http://danielrigos.com/blog/2008/03/mediums-for-oil-painters-article/#comment-442 Daniel Rigos Mon, 27 Jun 2011 08:08:37 +0000 http://beta.danielrigos.com/?p=145#comment-442 Hi Phil, I think the directions are just making it clear to not mix 'too much' of the walnut alkyd with your paint. It can't be used exactly like a solvent, ie, don't try and thin the paint down to the consistency of water. The walnut alkyd is more of a paint extender to help spread the paint more easily and also to help it dry quicker. It shouldn't make any difference whether you mix it with walnut oil or not. Walnut alkyd is just walnut oil with a bit of alkyd to help it dry. So by adding walnut oil to the walnut alkyd all you are doing is having less alkyd in the paint mix which means it won't dry as quickly. That said, I usually spread a very thin layer of linseed oil out over my canvas before starting painting. This makes the paint and brush strokes flow really smoothly onto the canvas. I then also mix a little walnut alkyd with my paint on the palette. This helps thin it out a bit and also helps it dry quickly. So in essence I am mixing both linseed oil and walnut alkyd with my paint. I think you can pretty much mix it as you want. Straight, with some linseed/walnut, or stand oil. The main thing is to just not overload the paint with medium. Hope this helps! Daniel Hi Phil,
I think the directions are just making it clear to not mix ‘too much’ of the walnut alkyd with your paint. It can’t be used exactly like a solvent, ie, don’t try and thin the paint down to the consistency of water. The walnut alkyd is more of a paint extender to help spread the paint more easily and also to help it dry quicker. It shouldn’t make any difference whether you mix it with walnut oil or not. Walnut alkyd is just walnut oil with a bit of alkyd to help it dry. So by adding walnut oil to the walnut alkyd all you are doing is having less alkyd in the paint mix which means it won’t dry as quickly.

That said, I usually spread a very thin layer of linseed oil out over my canvas before starting painting. This makes the paint and brush strokes flow really smoothly onto the canvas. I then also mix a little walnut alkyd with my paint on the palette. This helps thin it out a bit and also helps it dry quickly. So in essence I am mixing both linseed oil and walnut alkyd with my paint.

I think you can pretty much mix it as you want. Straight, with some linseed/walnut, or stand oil. The main thing is to just not overload the paint with medium.

Hope this helps!

Daniel

]]> Comment on Mediums for Oil Painters article by Phil Gross http://danielrigos.com/blog/2008/03/mediums-for-oil-painters-article/#comment-434 Phil Gross Sat, 18 Jun 2011 16:11:49 +0000 http://beta.danielrigos.com/?p=145#comment-434 Hi Daniel I was reading your notes on walnut alkyd. I have mildly experimented with it along with walnut oil. The directions on the label are a bit confusing and made it seem that using the alkyd as a stand alone medium would not be advisable. So I mix it in small portions with store bought walnut oil. Now I think I will give it a dry by itself. Have you mixed it with walnut oil or linseed or stand with satisfying results. Thanks for you article. phil Hi Daniel
I was reading your notes on walnut alkyd. I have mildly experimented with it along with walnut oil. The directions on the label are a bit confusing and made it seem that using the alkyd as a stand alone medium would not be advisable. So I mix it in small portions with store bought walnut oil.

Now I think I will give it a dry by itself. Have you mixed it with walnut oil or linseed or stand with satisfying results. Thanks for you article.

phil

]]> Comment on Oil glazing without solvents by Daniel Rigos : Smooth canvas for solvent free oil painting http://danielrigos.com/blog/2007/11/oil-glazing-without-solvents/#comment-341 Daniel Rigos : Smooth canvas for solvent free oil painting Tue, 08 Mar 2011 07:06:28 +0000 http://beta.danielrigos.com/?p=141#comment-341 [...] with my techniques on glazing without solvents I have found that this really helps smooth out the paint and brush strokes in solvent free oil [...] [...] with my techniques on glazing without solvents I have found that this really helps smooth out the paint and brush strokes in solvent free oil [...]

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