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Kicking the Solvent Habit

3/2/2022

1 Comment

 
​I, like many artists who paint with oils, became dependent on mineral spirits and Turpentine for cleaning and thinning. This is how I kicked the habit.
​It was understood to me, early on in my development as a painter, that the use of solvent for oil painting was non-negotiable. My high school art teacher used the phrase “No turn, no slurp” stating, in effect, that you wouldn’t be painting with oils that day if you didn’t have turpentine available (we used synthetic odorless Turpenoid in class).

During a pandemic fueled extended lockdown period in 2020 my painting production tripled. I used more paint and, therefore, more solvent. I was using top quality Rosemary brushes and was shocked at the rate the brushes deteriorated. With more painting, cleaning, and paintings drying, the smell of solvent was ever present in my studio and I decided the solvent had to go.
Picture
With all these paintings drying at once, solvent can become a real air quality issue.
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Frequently used solvents in oil painting..
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New brushes compared with a 3 month old set worn away by solvent and swishing against the tank.
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The solvent tank setup of the past.
​I began to research methods of oil painting that did not require solvents and was surprised at the vast amount of information available on the subject. The best source of information for me became the artists I followed on LinkedIn and Instagram who were able to provide me with solutions that they were actively implementing.
​The first thing to change was getting rid of my brush cleaning solvent tank. I began to use terpenoid natural, a non-toxic non-flammable ‘oils-based’ solvent, to clean brushes. I then used it with paints to some satisfaction, but moved on to experimenting with water mixable oils that I found really required a separate gel to work most effectively. 
Picture
Water soluble oils can be a good choice. But, the gel (the blue tube in the photo) didn't create the flow I desired and water alone can create a sticky mess, 
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Painting of "Emma" with translucency created through the use of additional safflower oil as the main medium.
​Since kicking the solvent I have experienced a shift in my personal practice. I decided to try pure painting oils with no added driers or thickeners. At that time I was using more paint and applying it thickly to achieve a “juicy” texture. I found it difficult to maintain the thick texture but decided to just “go with it.” I really enjoyed the transparency that can occur, allowing a ground color blend or a more intense paint color to show through. My paintings began to achieve a loose, painterly feel and previously elusive brushstroke textures began to emerge.
​In the end, after trying different oils like Walnut, Linseed, and Poppy, I found pure high-linoleic Safflower oil suited me and my Alla Prima painting style best and I now use it for both cleaning and painting. It requires me to squeeze the paint from my brushes and clean them a bit with the oil after each session, and to completely clear and wipe down my palette every couple days or so. For me the extra time and effort are more than worth the money saved and health gained.
Picture
A few of the choices to replace the harsher solvents.
1 Comment
Jessica L link
8/31/2024 04:46:10

Great posst

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    Scott Anstett is a American artist, teacher, and avid cyclist living in the Pacific Northwest.

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  • Home
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    • View: Series & Collections
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