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"The Faux Meister"  |
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Here I like to answer only a few of the questions which are occasionally raised by my students and others in the industry. I will try to do so without much commentary as to the reasons for any preference, unless of course a point may be worth making.
I do so in the hope that even those who reject most of my babble will find small morsels among it of some use. Those who find anything of value here, are interested in details... contact me.
For one, oils are easily recycled, plastics are not. In Europe concerns are raised that the so much heralded Water (Acrylic) Solution does in fact cause serious Aqua Pollution.
If you are allergic to anything, including oils or acrylics, be sure to avoid these materials. Find alternatives - Look at other traditional paints and mediums. For instance Tempera, Casein, Gouache, Ink, Milk and Buttermilk, Beer and Vinegar. The list goes on. In case you do not mind being surprised and enlightened, are interested in educating yourself on important environmental and health issues which affect artists, you may wish to consult the following book. "Artist Beware"by Michael McCann, Ph.D.,C.I.H., Lyons & Burford. Usually sheet rock (a.k.a. drywall, gypsum or plaster board) should be primed with a PVA (Poly Vinyl Acetate) acrylic. This will promote adhesion of the following coats of oil, alkyd or acrylic paint. It also prevents graying of tape joints. Older Interior Walls must be stable and clean, perhaps dry cleaned or washed with TSP (Tri Sodium Phosphate) soap, patched, sanded, spot primed. For patching and filling I recommend Syncaloid and Durabond.
Primers are not designed to be opaque, to cover. They are to
penetrate and hold onto the wood. Thus primers should be oil
rich and rather thin.
Most often I will "improve" commercial, so called Primer/Undercoater by adding a healthy amount of Boiled
Linseed Oil, Japan Dryer and Thinner or Mineral Spirit. Consider the alternative. Say moisture reaches into the wood and raises the grain . . . after you are finished decorating.
( A side note regarding acrylics ) - One of its claims to fame is
the fact that it "breathes". It lets air and thus moisture, in and out, thus reach and penetrate the wood below.
Think about it. Is this good?
One reason why an oil based primer may not be such odd an idea.
After sanding I will fill any less then perfect or damaged portions, once, twice, as needed and when dry sand, at times spot prime them. Patching raw wood is not recommended.
This completed, two thin coats of the required color base coat are suggested since two thin coats are better than one too heavy. Yes, by this I do imply that the paints or varnishes may need to be slightly thinned, with water for acrylics and solvent for oils. Don't rely on the manufacturer to know best what your specific needs are. Gentle wet sanding may be a wise investment. Tooth and cleanliness are of high importance. Sand and wash well.
Regarding "tooth" do not sand till you have a "baby-bottom-finish." Your paint, especially acrylics need something to bite in to.
For most Tiffany or Broken Color finishes on walls I do prefer a flat Primer-Undercoater. The have excellent tooth. My clients and I appreciate the play between the flat of the base and the satin of my glazes.
Oils - Surface Preparations
My personal preference is the use of oil paints and mediums. This for the same principal reasons why most artists since daVinci have chosen them.
If you isolate the hysteria and the lies, perpetrated by the simplistic and greedy, it would appear that modern, natural artist oil paints are more environmental friendly as are synthetic acrylics. Much could and should be said about this important subject. Here, in a nutshell, only a few of the things that I do, or insist upon, for my and my clients work. Best kiln dried - it should be primed, with
a proper oil or alkyd based primer. This, as it was generally
recommended, and often still is suggested by better
manufacturers, for following applications in oils as well as, yes, for acrylics. This to seal the wood, raise the grain and guarantee a proper
base. Since, usually painting in oils, I will give my wood surfaces two coats of an oil or alkyd based Undercoater. These are usually rather thick and flat filler, remotely akin to gesso. Of course all coats are sanded in between with a 120 paper, and cleaned, finally tack-raged.
Thin coats apply and dry better. Light scuff sanding is generally advised. For most faux type finishes a Eggshell or Satin Sheen Enamel is advised. Certainly a judgment call, especially when dealing with varnishes. Many a painters' sin may be hidden under previous coats. Thus be extremely critical, don't hope for the best, anticipate the worst. Thus, in the old days, wood was generally stripped after being re-painted several times.
