I’ve never understood the fascination with thick, viscous oil painting mediums. Used for special effects, such mediums are perfectly fine, but for everyday work they are completely useless. I scratch my head whenever I see recipes based wholly on balsams or thickened oils–goo.
Closely related to the goos are the jelly-like mediums–the glops. There are a surprising number of glops: wax-based, varnish-based, glass- or stone-based putties, and other jellies. Used in small amounts as additions–like spice–to mediums, they certainly have their uses, but as everyday mediums they too fall short.
Of course, I haven’t tried all glops, goos, and jellies. Who has the time to try all these inventions, let alone give them all fair trials? But I’ve tried my share–and then some. What I’ve concluded is that while many have their uses, none suffice as an everyday medium.
Oil is flowing–that’s its most important feature and what separates it from other mediums, such as watercolor. This quality makes it perfect for large-format paintings and broad effects.
But oil by itself lacks precision under the brush. Many artists today accept oil’s lack of precision as a given, as if its immutable. A little research and experimentation debunks that myth. The judicious use of driers not only speeds drying time–a thing beneficial in itself–but imparts precision and crispness to the paint.
Most glops and goos retard flow while failing to impart precision. Except for special effects, who wants this?