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Archival Oils Student Survey

Art students from selected schools are checking out Archival Oils and Mediums. See what they have to say about the paint and join in the discussion if you like.

There are (80) Comments, Comments are now closed for this discussion?
  1. comment_1_4132

    Jezabell commented on December 12, 2007, at 12:59 am.

    Hi there, I'm a 3rd year student studying at Curtin University in Perth, W.A. I have been painting seriously now through uni for about 2 years. Before that was doing painting as a hobby occassionally but hadn't enrolled in any classes. I started in Acrylics but switched to oils mainly, mid last year,(2006). I had always ended towards heavy thick paint application but in the last 5 months have been playing with mediums and viscosity more. This has lead to some pleasing results enabling me to handle the focus and concentrate on manipulating colour in my painting more successfully.However as I work up a painting, wet over dry, I find that I still like to apply thicker paint in the last stages. Sometimes I am fairly satisfies leaving it rough and loose after 1 coat as a sketch. I usually paint with a good variety of hue on my palette and try and pay attention to achieving depth and light through tonal ranges.
    As for subject, I've been working in the area of bodily grotesque for about the last 18 months. when painting from life models this may com through in the way I handle the paint as described above. I've also been working on compositions from of body parts, or suggestions of such, that I have made. So far these arrive at a type of still life composition. What interests me is an expression of the links between female sexuality, eroticism and mortality. I am hoping to develop studies for new compositions in the new year using the oil paints supplied in the survey. Looking froward to your comments, regards Jez.

  2. comment_2_4132

    Jezabell commented on December 12, 2007, at 1:30 am.

    Some images to go with the comments above,

  3. comment_3_4132

    michael chester commented on December 12, 2007, at 1:43 pm.

    Hello, my name is Michael Chester, im currently studying at Edith Cowan University in Perth W.A. I Have been working on and off with oils since i was young. Now in my third year of tertiary study oil painting has become a large part of my practice. Understanding the importance of experimination, alot of my work exhist as a voyage to unknown places, but with this there is a sence of tightening occuring, as i am working through ideas I am becoming more aware of the elements coming about. Colour has increasingly become a large part of the work, using a range of colour that expresses both mood and emotion.
    My subject matter is concerned with youth, suburban life, and the human body, i take inspiration from alot of books, films and other artists. Jeffrey Smart, David Hockney and lucien Freud to name a few. I will be adding a few images of the work soon.
    Michael Chester

  4. comment_4_4132

    Dale Frances commented on January 2, 2008, at 5:50 pm.

    Hello There,
    My name is Dale and I'm a student at Curtin University in Perth, Western Australia. I'm a mature age student (this makes me sound ancient and I'm not!) and I've just completed my 1st Semester of Ba Art. I've painted on and off for many years, but only discovered oils when I was studying for a Diploma in Art in London. This makes me sound like an old hand, but I am still very much a beginner. I have varied and ecclectic taste in painting (and other art disciplines) and am still struggling to find 'my style'.
    I adore many aspects of painting, but predominantly colour and texture. Some artists I admire are Robert Juniper, Georgia O'Keefe, Xenia Housner, Ferdinand Leger, Debra Luccio...see what I mean about ecclectic!
    Subjectively, my greatest desire is to explore the hidden in society, seeing past the facade to the, often, less pleasant underbelly of life, which is quite a challenge I think.
    Most recently finished works are figurative, but I've just started experimenting with mixed media, examples of which will be appearing in my blogs in both this investigation and in the Interactive Acrylics investigation, so you can check out my experiences there, too. These first paintings are using my old paints (and some Archival's), but soon I'll be posting some using Archivals exclusively. I'm really looking forward to this whole investigation process, including everyone's comments. Back soon, Dale...

  5. comment_5_4132

    Jezabell commented on January 15, 2008, at 10:17 pm.

    I have started 2 paintings in the holidays so far drawing upon ideas of the grotesque body I discussed in my first posting. Having traveled by road from Perth to Sydney I am interested to see how I could incorporate these images within landscape to effect a surreal composition.
    So far I am delighted with the odorless solvent. When using oils I have found the solvent to be the main issue regarding smell and it's ill effects on the skin.I paint in the house and in the past, odor from my work has irritated other people in the house. Now no body raises a word. I have used an artist turps (brand?) purchased from Bunnings, Gum Turpentine AS, and a natural solvent with citrus smell distributed by Planet Arc. The Archival surpasses them all in that it is truly "odorless", and the gentlest on the skin with out sacrificing effectiveness.My brushes wipe really clean after painting and stay soft without the need to wash them out between painting sessions.
    I am on my first & 2nd layers in each work using the lean medium, working over an acrylic ground. I have found it lasts well when put out in a pot over a number of days, starting to thicken on day 5. This could be helped by the moisture in the air currently in Sydney however i have found that other mediums I have used ,apart from straight linseed, didn't have this property. It dries quickly enough to advance the work, wet over dry within 1/2 a day. it is very smooth, I can get the consistency I while maintaining plenty of body in the pigment, it assists in painting in detail and I have found is better that straight linseed in these respects.
    Paints themselves are velvety in texture and the intensity and consistency of pigments is great. However on starting many of the paints a pool of oil did come out before the paint which I didn't like initially. It is not a major problem because I brush it with the medium to get the right viscosity I want anyway. With some Paints on starting a new tube I worked the oil in with a clean metal skewer.
    More to come when I advance these works a bit, with images. See you soon, Jezabell

  6. comment_6_4132

    Jim Cobb commented on January 23, 2008, at 9:21 am.


    Ways to prevent wastage:

    All fast drying mediums react to air, so only put out what you need for a day’s work and keep the lid on the bottle to stop it thickening.

    Don’t buy large bottles if you use them slowly unless you decant the contents into smaller containers. Smooth Gel and Flow Gel are in tubes and cylinders which allow no air entry.

    Can you let us know which colours and which batch code – this is a constant battle with oil paints which can’t be oven tested like acrylics – small adjustments need to be made, which is why we need the batch code.

    Jim Cobb

  7. comment_7_4132

    Jezabell commented on January 28, 2008, at 10:44 pm.

    Hi Again,
    I'm satisfied that the first two works have reached a point that I'm reasonably satisfied with. Though far from perfect I'm keen to go on and try other things so I've posted them below. Great advantages are that the lean and fat mediums I have been using dry fast on the painting (between 4-6)hours depending on the temperature and air flow. In the painting where I posted two images , one of the initial stage, I have used lean, then fat, then lean mediums in oil paint over an acrylic base, as an experiment, (All Atelier or Archival). It's early days yet but so far no problems.
    Speed in drying is a real advantage over linseed. It probably is as fast as Liquol, hard to tell exactly, but I much prefer the smooth textures of archival mediums. Also in the past I had been adding a touch of turps to the mediums because the liquol can get "pasty", dry up too quickly, and to help it go further but with your mediums there's no need for this.
    The other thing I really like is the slight sheen left on the paintings with the use of archivals oils and mediums. That is without any glazing and the purity and intensity of the colours I mentioned before.
    I am a bit frustrated with the pale yellow I chose. I chose 2 yellows: Cad. Yellow medium and Transparent Yellow. CAd Yellow is good. Transparent yellow is not "lemony" enough for my liking. At time of order looking at colour chart on the net this seemed to be the lightest and 'zingiest'. I checked the colour chart again today and can't say that I would have chosen anything else. Perhaps you could suggest something or is that something to consider in archival range? Also did order Cadium Red Light which I have not yet received. I will e-mail the office.
    The colours which pooled oil upon opening were:
    Burnt Umber; pigment PBr7, batch 8769
    Burnt Sienna,pigment PBr7, batch 13444
    Paynes Grey,pigment Pb 29 PBk 7, batch14281
    Yellow Ochre, pigment PY 42, batch 9107
    Transparent Yellow, pigment Py 74, batch 80
    Will keep you posted
    I would also love to hear what other students who are doing the trial think,
    All the best, Jezabell.

  8. comment_8_4132

    pinkeye commented on February 7, 2008, at 11:20 am.

    Hi, I'm a 3rd year student in the School of Visual Arts. I have been painting on and off for a number of years. I started painting seriously with oils as of late 2006. I'm more of a figurative painter but I do experiment with a lot of other imagery and mediums. Some artists that I look at and am inspired by are, Fracis Bacon, Balthus, Andrew Wyeth, Lucian Freud, James Ensor, Edouard Manet, Kiki Smith and Franz Kline.

    The oils I normally use are Winsor and Newton. I just started to use the Archival Oils and will soon post my progress. Back soon, ML

  9. comment_9_4132

    celopez commented on February 9, 2008, at 1:54 pm.

    Hello! My name is Claudia. I am a student at the University of Arizona. I am studying psychology and studio art. I started painting at a young age mainly with oils and watercolors. I am also currently very interested in combined media and sculpture. I used to paint mainly portraits of landscapes and wildlife. However, since I started at the university I have been struggling with painting in a more conceptual way. I am still at the experimental level of trying to find my style of painting. I am really looking forward towards what experiences I may gain through painting with the archival oil paints. I was a little late with introducing myself since the semester only began a few weeks ago. I should be starting to paint pretty soon though!

  10. comment_10_4132

    Jezabell commented on February 12, 2008, at 1:46 pm.

    Hi, Jezabelle again.
    I moved back to Perth last week to prepare for the next semester. Before leaving I did start another work but haven't had much time in the last 2 weeks to work. The flexibility with fast drying medium is fantasic. I was using lean to work upto wet areas and go around, providing washlike layers of colour in the area surrounding the main image. The wet area on the main image was fairly stable and I could work up very close without much bleeding. Where bleeding did occur it feathered outnicely and I used it to assist the image as though coming into focus. A few more layers to go on this yet and I will post the next image. All this was done with archival lean medium over a coloured ground of oils with lean medium which dried really quickly.
    I am now waiting for my paints to arrive by post from Sydney cause the airline wouldn't permit these to go in my baggage. hopefully I can get onto it soon after settling in here. 'O'- week next week and i should be able to moe into a studio which will facilitate things.
    Will talk again. See you later,

  11. comment_11_4132

    walk49 commented on February 16, 2008, at 9:54 pm.

    Hi my name is Eileen Moon-Back im an honour studen at Queensland Collage of Art in Brisbane, Australia i just finished sculpture and print making as my major and I do not have that much painting experience, but i am enjoying it alot. During the holiday I have started a couple of paintings, I have switched from figurative to abstract painting at the moment. Here I have attached a few paintings I've done last year. I would like to hear feedbak on my paintings so please feel free to comment about my artwork thank you

  12. comment_12_4132

    Jezabell commented on February 22, 2008, at 2:23 pm.

    These last 6 months I have been captivated by the work of James Glesson as well as always having been intrigued by the work of surrealists and looked at some Australian Surrealists as well.Continuing on from the theme I set in my previous 2 works I've pain ted an object I made from heat treated xray film, cut, joined, twisted and buckled in an effort to evoke organic associations with the body whilst not being representational. It's my intention to suggest other bodies ,either organically internal or external organisms, leaving the plaY OF SCALE COMPLETELY OPEN. Using archival lean medium facilitated wiping back and helped to push the paint around a lot. I used a sort of frotage technique though with plastic and latex gloves, in some areas which worked well. The medium would carry plenty of pigment with enough body. I didn't have to make the paint too runny. I also love the density of the pigment in Paynes Grey, Prussian Blue, and Purple which are great to achieve dramatic effects.I don't use black for shades, trying to pick out thecolour of the shadow.I've had a lot of trouble trying to load the images right now. The problem seems to be their size. I'll try again later.
    Next I'm keen to try out the flow gel to see what effects I can achieve with this. My subject will be an image of part of a heart- internal organs again, taken out of context again.
    Talk to you again Later,

  13. comment_13_4132

    pinkeye commented on February 29, 2008, at 3:38 pm.

    I like the paint so far, its good for the work I'm doing. The paint is very smooth which might not be suitable for impasto strokes. The paint is ready to use right out of the tube and rarely do I have to add solvent. I did also notice that several of the colors pooled oil when I opened the tubes, however that doesn't bother me. The smooth gel medium is my favorite part. It gives the paint a nice transparency without the running lines that you get when you add a lot of solvent. Ive used a transparent gel medium before and it would yellow almost as soon as it would dry and it took about 3 weeks to dry. It seems so far that the Archival gel medium wont have the same tendency.

    The images I added are an example of work I did with Winsor Newton oils and an example using Archival oils. The Thigh painting was done about a year ago and I was experimenting on the effects I could do by only varnishing certain parts of the painting. The feet painting I had just finished. I used Golden bone black fluid acrylics as the ground on wood panel. I used some impasto technique on the background and on one of the feet. I don't think I would be able to get the paint to have an even thicker texture because its so smooth. This might be a negative character for certain painters. I haven't gotten the chance to test the paint on canvas yet.

  14. comment_14_4132

    pinkeye commented on March 1, 2008, at 2:07 pm.

    A few more images.

  15. comment_15_4132

    michael chester commented on March 1, 2008, at 4:48 pm.

    hi its michael chester.

    Unfortuantley i have been working for the past 3 months and havn't been up to much in the way of art, which is strange for me. But i have been reading keenly about art history, and am now inspired to get going with my visual work. i will post some of my previous work soon , and my new work will be developing from this. Keeping with the subject of the body and the domestic, the new work will be more active and eluding to ideas of movement, sensuality, and violence. I will be in the research stages of things for a month or two , drawing, writting , painting so there may be quite a break before more resolved work comes into play.

  16. comment_16_4132

    walk49 commented on March 2, 2008, at 7:17 pm.

    Hi its Eileen Moon

    I am now testing archival oils on my painting, in the first coat of the painting the archival oils paint dried very fast which allowed me to work on my paintings the very next day. I am very satisfied about these archival oils, however some of the paints when I first opened the paints the oil come out before the paint. especially the yellow ocha, I use the pallet alot to move my paint around and some of the oil paints are too diluted so it is very hard to move around with the pallet knife. Also in that case i was wondering if i could mix medium into the paint, odorless lean medium is a very good to use because of there is no smell, dries fast and is easy to work with. flow gell medium is very good for my thick paintings because it can create good texture.
    after ive finished testing ill add my paintings on here

    thank you enjoy

  17. comment_17_4132

    Jezabell commented on March 3, 2008, at 12:35 am.

    Posting some images of the painting I last wrote about- 4 entries ago. Unfortunately lots of detail is lost in the reproduction, they are so small, but I hope it conveys the idea.
    Also love your work Pinkeye. The only thing that troubles me is the circle background of the figure we're looking up at. The relevance isn't immediately obvious. I agree with your comment about the flow gel medium not being enough to bulk up the paint for impasto. I'm using this in my current work and find that it dries super fast and is really good for scratching in because of that. It also has a nice transparency. I did'nt realise this when I first worked it so have added another layer using the lean medium. I shall paint over the last layer with the gel which adds a lovely luminosity and lay in some more scgraffito.
    For bulking up the paint you might want to try a WAX medium. Unfortunately, archival doesn't have one in their range. Apparently you can make it yourself, it's fairly straight forward but you'd have to research the receipe. Alternatively have you tried Whiting, or calcium carbonate as it's called. A pinkish , yellowy gritty powder that bulks up paint beautifully when used with a medium?
    Talk again soon

  18. comment_18_4132

    rhonda commented on March 6, 2008, at 4:51 pm.

    Hi my name is Rhonda Ferling student QCA. Am using an underpainting first with Lean Med. Have noticed that this seems to be taking at least 6 days to feel dry. The colours that I have used to get a nice grey, Titanium White, Ultramarine blue, yellow, red mixed the lean medium. and only 1 coat.

  19. comment_19_4132

    Jim Cobb commented on March 7, 2008, at 5:38 pm.

    Dear Rhonda

    To answer your question - oil paints can take from 2 days to 2 weeks to dry.

    Weather has a strong influence, I suspect it could be humid in Brisbane and other students could be experience slow drying paint too, for a detailed explanation of how to speed up drying time please read the attached document.

    Will the paint be stable you ask? Please visit the Gallery - and look at Elizabeth Cumings, Euan McLeod and John Walker, who are the pioneers of Archival Oils - it may help to build your confidence.


  20. comment_20_4132

    rhonda commented on March 8, 2008, at 3:36 pm.

    Hi from Rhonda,

    working wet into wet I have found the archival layering in medium to be the best so far that suits how I work. Layering thin working until I have the correct colour and then letting dry before adding any new colour. I work with a very small brush blending as I go. In the past I have used another brand of oils that is very oily and had trouble when blending that I lost some of the clarity of the sharpness. I work in a realistic format.

  21. comment_21_4132

    rhonda commented on March 8, 2008, at 3:43 pm.

    Hi from Rhonda, Qld College of Art Brisbane

    So far, I like the colours of the archival oil paints and while working with my medium Laying In Medium, there seems to be a solid base to add further layers. There is no need to do a lot of blending. and I move the paint around with my brush and there seems to be a lot of stability there.

  22. comment_22_4132

    Jim Cobb commented on March 11, 2008, at 9:50 am.


    A short note to follow up your email when you gave us the batch numbers of the colours with oil separation:

    The colours which pooled oil upon opening were:

    Burnt Umber; pigment PBr7, batch 8769

    Burnt Sienna,pigment PBr7, batch 13444

    Paynes Grey,pigment Pb 29 PBk 7, batch14281

    Yellow Ochre, pigment PY 42, batch 9107

    Transparent Yellow, pigment Py 74, batch 80

    These batches were all made in 2006 and we believe that subsequent batches will be OK because adjustments have already been made. Some of the other students have mentioned similar problems and I suspect they are using paints from these 2006 batches too. If you come across this problem you can either discard the separated oil, which will result in a thicker paint or mix it back in with the pigment. It is a little messy but there is no need to throw the paint out.

    These little glitches annoy us, because we are perfectionists and we appreciate comments like yours which could help us to track them down. Paint stays in the distribution chain for years sometimes as yours has, but we are grateful for your help.


    Jim Cobb

  23. comment_23_4132

    Jezabell commented on March 27, 2008, at 12:44 am.

    Here is another work completed with archivals. Sorry it has taken a while to add to the website but as uni started 4 weeks ago I have been at lot busier and let it go. I did this first with 2 layer using the gel medium and then another using archival paints with lean medium. I did mean to go another vlayer with more gel medium to see how that would go but haven't got around to it. Anyway I like the painterly effects as they stand. I liked using the gel medium at lot cause it does bulk up the paint slightly and is great for scgraffito which I started playing around with. It also has a very transparent quality which I have statred trying to exploit in another work which I shall put up when done. I was after that raw, in movement type of feeling.
    This work is taken from an image of a heart, internally. I have started playing with the orientation of the painting and suprised at how the image changes yet is still very readable as human body.
    Happy to be part of the survey,
    See you later,

  24. comment_24_4132

    walk49 commented on April 2, 2008, at 12:47 am.

    hi there i have finished a couple of paintings recently ive used archival oils mostly except zinc white ( AS brand) 'In self contradiction' i used Cadmium red (series 4) on top of Napthol Red light ( series1) and Cobalt bblue ( series4) on top of french Ultramain Blue( series 1). I am very satisfied with both sets of combinations. the colours matched very well and also the mixing of series 1 and 4 was successful. I also tried Pearl Titanium for the white section in the corners, and all over the painting for the highlight effect, this created a tinting effect. This was so i could reduce the boldness of the primary colours. I used Flow Gel Medium in the blue section for special textures - the thick streaks of paint across the work. Now i know how useful these gel mediums work effectively.

    i have got a few questions, im still usuing As zinc white for mixing colours because of its transparency, how can i make transparent white out of archival Titanium White?I do need this urgently as i am using this alot within my paintings. I have also tried this layering medium in several ways, could you tell me if these methods are correct. in some cases i mix layering medium and classic medium whereas in other cases i just use the layering medium only for the second coat of my paintings; in the case of just using the one layrering medium, i use 3 parts layering medium and one part of colour to get a glazing effect or a very thin substance, is this correct?

    I will attach my recent 2 paintings

  25. comment_25_4132

    Jim Cobb commented on April 3, 2008, at 4:03 pm.


    Here are some ideas...

    You will find a full palette in series 1, from which you can then extend to the higher series, as you are already discovering.

    Zinc White: is more transparent and reputed to be bluer than titanium.
    To get the dilution effect you need for translucent layering, use extra medium Smooth Gel or Flow Gel which should give you the see through effect.

    A little Pearl white mixed into the titanium also has a subtle effect.

    If you check out the AO Info Sheet it will tell you that Classic Medium is slow drying, but you may prefer Lean medium if you want fast drying, however the main thing is that you can proceed with layering as fast as you like, layer on layer.
    Here is a link to the Archival info sheet

    The only pitfall is doing thick Impasto under-painting, where you will not get good through-drying if you don't use Smooth gel..


  26. comment_26_4132

    rhonda commented on April 4, 2008, at 6:36 pm.

    hi from Rhonda Ferling 3rd yr Fine Art Griffith Qld College of Art

    How soon after finishing the painting can I varish using Chroma Satin Solvent Finishing Varnish? . Before, with other paints that I have been using since the trial, it's been months before varnishing.

  27. comment_27_4132

    Jim Cobb commented on April 10, 2008, at 12:45 pm.

    Hello Students

    Here are a few ideas I have had in regards to the Archival and Interactive student surveys.

    The Archival Oils users have the easier task because they only need to match up their choice of paint and mediums with the way they want to work – for example:

    FAST = Fast White plus the Fast Mediums, which will also be chosen for their consistency.
    SLOW = Standard Titanium White plus Classic Slow Medium.
    Everyone will presumably be pleased that the mediums are odourless.

    The techniques you can develop are all the traditional oil painting techniques – the paint gives you control over drying time and freedom to overpaint without long delays between layers, provided that you use Smooth Gel in your underpaint.

    It seems only natural to choose this modern, easier to use paint unless there is something you don’t like about its consistency.

    It is not likely that a young person will be shocked at the idea of a modern oil paint replacing an old fangled one, in fact if you go back in time to where oil paint was new in 1450 it’s popularity grew quickly because it was easier and much more versatile than fresco and tempera.

    I hope you will find Archival Oils are also easier, and more free and versatile to use than traditional oil paints. Possibly other brands may be “modernised” as the 21st century moves on.

    The Archival Basic Information Sheet has been updated, click the link below to get the new pdf.

    Atelier Interactive is vastly different

    While Archival Oils can be described as a “better mousetrap”, easily adapted to your purpose, Atelier Interactive is a “different mousetrap” and there are many techniques that can be developed which have never been available to artists before. After four years of intensive use, I am still finding out new ways to carry out this painting process.

  28. comment_28_4132

    rhonda commented on April 12, 2008, at 3:02 pm.

    Hi Rhonda 3rd yr student using archival oils.

    Need some info please on using Chroma Finishing Varnishes. How long before the painting dries can they be used. Usually the norm is 6 - 9 months to allow the paint to cure. Any thoughts........rhonda.

  29. comment_29_4132

    Jim Cobb commented on April 15, 2008, at 3:00 pm.

    When to Varnish Archival Oils

    An Archival painting needs oxygen to cure properly like any other oil paint. It’s flexibility will prevent cracking when the paint moves, if you varnish too early you slow the whole curing process down, so DON”T DO IT if you don’t need to, and in particular if the paint application is thick. This applies also if the painting is on a non brittle surface such as wallboards where oxygen cannot get in from the back.

    If you want a retouch varnish which will even out the surface, over Umber for instance, use Chroma Solvent Varnish Gloss 50/50 with turps so that the application is very thin.
    Note also the need to use Smooth Gel in thick impasto.

    When a painting is on canvas, and not abnormally thick, common sense suggests you can varnish in much less than 6months.


  30. comment_30_4132

    rhonda commented on April 16, 2008, at 9:05 pm.

    Hi from Rhonda Ferling 3rd yr student Griffith University.

    What medium do you recommend when putting down a thin layer of underpainting. I have been using Lean Medium and the drying time is about 1 week. regards, rhonda. p.s. am happy with the colours I have posted my recent work just finished with archival

  31. comment_31_4132

    Timothy commented on April 17, 2008, at 8:11 am.

    I really enjoyed using the new paints, the colors are vibrant, and i completed 2 new painting with them that were part of my portfolio to yale and the art institute of chicago.

  32. comment_32_4132

    Jim Cobb commented on April 18, 2008, at 3:20 pm.

    Lean medium should dry in a day. I can't understand what is happening. Could you please check the label on the bottle against the label as depicted here to make sure that it is a current batch.

  33. comment_33_4132

    rhonda commented on April 19, 2008, at 1:42 pm.

    Hi from Rhonda Ferling, 3rd yr student Griffith University Bne.
    Just finished my work and was hung in an exhibition this week. General comments were what paints did you use for this work and why is it so glossy. They really liked it. This is good for us as students to know and pass on the brand of paints you have used. You generally find out what other artists use and what they don't like about their own brands.

  34. comment_34_4132

    Eric Rossi commented on April 20, 2008, at 4:26 pm.


    My name is Eric Rossi, I'm a 3rd year painting student from the Queenslnad COllege of Art, Griffith University in Brisbane. I am a regular user of the mediums, the Lean, Fat and Classic, and also the Smooth Gel Medium. I just want to say how much I love them and the paints.

    I have a question, is there any chance the clear mediums will darken over time? I ask this as I use many layers of medium, up to 10 at times and sometimes I por it on quite thick.

    Another question on a different topic, is there a possiblity that 'fluoro' paints be developed?

    Thank you.

    Many regards, Eric...

  35. comment_35_4132

    Jezabell commented on April 23, 2008, at 1:08 am.

    I've been doing a lot of work recently with archival mediums, finding them very easy to use.For this image that I'm posting below I used classic and was delighted with it's smooth consistency and they way the paint colour maintains it's body. The image below has only had 2 layes so far and is ar from resolved.
    Now that I've been using archival for a few months, I'mfinding I chose the medium in accordance with the effect I want to creat in the work.
    Yesterday i was doing a study for self portrait and had to work fast becasuse I didn't have long. I used the flow gel medium. In the heat I find it dries too quickly, but now that the weather is cooler I wan't having any trouble with it. I like using this as it is easy to bulk up the paint on the brush whilst still having it flow beautifully and smoothly.
    Although I like the lean medium, and use it a lot because it dries quickly, I prefer the flow gel and classic. With these 2 mediums I can load up the brush with plenty of paint and it applies thick and consistent. As I tend to paint in just a few layers, sometimes only one,, getting good thick coverage with the medium is really important. and advantageous.
    Also, some of the colours are wonderful, highly saturated, clean, clear, smoth and consistent.My favourites are Red Gold, Indian Yellow, Cerulean Blue,,Paynes Grey, Brilliant Violet,and Dioxozine Purple.
    Today whilst painting I used the fat medium for another self portrait study. After I finished painting I noticed rivulets forming in some areas through the paint. I was working on board with 2 layers of white acrylic undercoat, on an easel.Perhaps the paint I mixed up was too viscose,but I didn't realise this as it didn't run straight away.Is this supposed to happen, where the paint separates after application, if there is too much medium mixed in?
    I've just got one image to post at the moment. I have others that I have to photograph and will post soon.

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    Miles Hall commented on April 28, 2008, at 4:20 pm.

    Firstly, congratulations on a great web-site, full of elucidating facts and examples of work. I am a doctorat student at qca and participant in the archival oils forum. My work is largely focused on the materiality of paint, its surface and relation to the choosen support.
    I work in single colour layers, slowly building up the surface of the image in a geological/sedimentary like way. Due to the time it takes to produce the works (mainly drying time between each application of paint) this is my first entry into the blog, as I now have some images to share.
    I have recently started working on primed panels of aluminium, (prepared with an etch primer and then gessoed) as I wish to work on a really thin support to emphasise the physicality of the paint. The last series of works (see attached) I have bent and twisted the aluminium panels in the desire to work on a more sculptural surface that is not flat and one that becomes itself a landscape-like contour on which to paint. So far I have really appreciated the flexibility of Archival oil and its rather quick drying time which as alllowed me to work quicker. The best discovery is the smooth gel medium, that makes the paint go a bit further but also seems to act as a binder between each of the layers. In the past I used to put damar varnish in my paint to encourage the binding between dried paint and the newer layer on top (I'm not sure if this is advisable?) As with a lot of impasto work, working up layers fat over thin, sometimes it is hard to ensure that all the paint that goes down over the previous layer is thicker, so far I haven't had any cracking, but its only early days.
    Does the use of the gel medium help to stop cracking? I am hoping that archival oils supposed flexibility will ensure a good adhesion and binding to the bent contours of the aluminiums surface.
    Another question, it seems that the drying period for your paints are indeed faster than those of other brands I usually use (winton, art spectrum, rowney), is this due to the solvents you use,if so are they toxic?
    One more question concerns the use of both the gel medium and the texture medium (that I found a great consistency mixed in with the paint) are thety likely to yellow or change colour with time and when working fat over lean do they contribute to stopping eventual cracks?
    The only problem I have found so far with the paints are their consistency, as often the oil seems to have separated a lot from the pigment and the first squeeze of an expensive cad. orange tube is just a lot of oil!
    However from reading some of your responses there have been a few bad batches that have since been delt with.
    Please enjoy some of my images and I would be happy to receive any responses.
    Miles Hall

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    Jezabell commented on April 29, 2008, at 11:19 pm.

    I have been Painting a lot recently and many comments on my work indicates that my painting has really come along. I really appreciate this survey and the ability to put my work on line. I feel that this progress in my work has been aided greatly by the variety and reliablity of the archival mediums and th freedom to experiement with their differences. T0 this end I am singing the praises of these mediums to fellow students and will very shortly need to make my own purchases of archival mediums, especially the odorless solvent.
    Below are some images. The one of sandune with blue object is still a work in progress but is a development on the image posted last week. This image has been laid up using flow gel medium, and classic, possibly a bit of lean as well in at least 3 layers, possibly 4.(can't quite remember.) I started with classic, left it a week, then a layer with lean and flow gel. Then more flow gel and classic. Is this a problem, mixing up the layers like this?
    THe Figure painting on the red ground was done using smooth gel medium. I enjoyed it's impasto effect but found it v ery tacky on my brushes and difficult to apply. I ended up mixing it with fat medium to help it to flow. Is this alright? I realise that this reduces the impasto effect a little. I was using a lot of paint, should I have been mixing smaller amounts of pigment to the gel or more gel. What can you recommend.
    The other image is also a work in progress, part of my series of surreal objects located in the Australian landscape.

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    rhonda commented on May 2, 2008, at 5:55 am.

    Hi from Rhonda, 3rd yr student Griffith Uni Bne.

    I find using a synthetic brush helps with a good coverage of the paint instead of using my natural bristle brush. Whilst at Uni we prime our canvas with an acrylic sealer then I mix up my underpainting colours with Lean Medium and then I paint with the Laying In Medium mixed with my white and this I find is all I need in the way of mediums. I notice with using the Lean medium in an underpainting it gives a low sheen to the surface. I don't mind this.

    Am I able to get more products when I need them sent to my home address?
    Also any info sheets available on the new mediums Laying-In-Medium and the varnishs pls. Cannot seem to find them on your web site.

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    Eric Rossi commented on May 17, 2008, at 11:34 am.

    Congratulations on you website and thank you for providing the interactive forums and information on oil painting on this site. Navigation around the sire is easy and I've noticed changes and updates so can see that there is constant maintenance and updates to the website.

    The only comment I have to make is that I was uploading some of my paintings and the screen seemed to freeze while the pictures were being uploaded, I was loading 6 images. Perhaps I had too many images or they were too large?

    Regards, Eric Rossi...

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    Eric Rossi commented on May 17, 2008, at 12:26 pm.

    Hi !
    Eric Rossi from the Queensland College of Art, Griffith University again.
    I have exclusively been using only Archival oil paints all year and am loving them.

    With the mediums- do I need to obey the 'Lean to Fat' rule? I ask this as I use a lot of layers and sometimes pour the medium on very think and leave the work flat it to dry. So far I haven't experienced any problems with the mediums, they are performing extremely well.

    I have attached just a couple of images of some recent works.

    Regards, Eric...

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    Jezabell commented on May 28, 2008, at 1:52 pm.

    Thanks for the additiional supplies. They will be extremely useful in the next few weeks. I have been telling a lot of people at uni about the survey as I get a lot of interest in my work and questions about what paint and mediums I use. The FAt medium seems to be gaining in popularity as well as the odorless medium. One of my tutors, who did a survey on toxicity of various solvents last year, was favourably impressed with the low evaporation rate of the odorless solvent. She is also an active artist and was going to try the fat after looking at it in my workspace.
    I have a few images to add but much more work that I haven't photographed todate. Some of these are done with a mixture of archival and other brands of oil pain t but always using your mediums which seems to be the main lynch pin in the paintings I do. In The last few works I have done I relied heavily on French Ultrmarine and Prussian blues and Paynes Grey. The are wonderful colours in their depth of pigment and clarity and consistency, so smooth.
    With regard to varnishing- what is it's main purpose? To add shine or protect the archival quality of the work? I have a work that I'm getting ready for exhibition by 23 of JUne. By that date it needs to be dry but I still have work to finish on it so I guess it won't have time to dry for the application of varnish. Is this right? I'll post a few images of the work. 2 of these are still in progress. More later when I get my photos up to date.

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    Bg commented on June 1, 2008, at 3:18 pm.

    hi I am studying at Curtin Uni W.A. I use oils and mostly paint with Art Spectrum paints and mediums. Last year I attended a painting demo by a well known WA painter and was amazed to see he only used Archival paint and fat medium for all his work. After this I began using the fat mediums with my paint but I found it dried quickly so I had to use more of it and work steadily. Results were good but I had to be careful that the paint didnt get tacky and start to drag.
    I ma looking forawrad to starti ng the trial so I can experiment with other mediums.

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    Nathan Kelly commented on June 2, 2008, at 11:45 am.


    It appears that a couple of posters are having some trouble adding images to their comments. We are currently trying to get to the bottom of these issues and we ask that if you are having difficulty adding images can you please email at least one of your images along with your name and some details about what web browser you are using (i.e. Internet Explorer, Mozilla Firefox, Safari) and the browser version to:

    We hope to resolve this issue quickly but to do that we will need your help.

    Thank you.

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    Eric Rossi commented on June 7, 2008, at 2:14 pm.

    Eric Rossi here from the Queensland College of Art. The paints are performing really well. They are versatile and the colours are satisfying and inspiring. My personal favourite colour in the range is Cobalt Green (Series 4), what a beauty!! These paints recently helped me get in as a Finalist in the Churchie Emerging Artist Exhibition 2008.

    Perhaps a Zinc White (transparent) could be developed for the range. That is the only one I'm missing. An Ivory Black could also be useful.

    Thanks, Eric...

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    Eric Rossi commented on June 7, 2008, at 2:19 pm.

    Here are some images. Thanks, Eric Rossi...

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    Jessica commented on June 10, 2008, at 3:09 pm.

    Hi I have just joined up for the student survey and in the past used other brand oil paints with the archival fat medium. I am looking forward to trialing the Archival range of paints. I have attached a recent painting so my improvement using the Chroma range can be tracked. I enjoy a range of techniques however more recently I have enjoyed using a fat medium and creating a thick painterly effect with individual paint strokes.

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    rhonda commented on June 11, 2008, at 10:16 am.

    Hi from Rhonda at QCA Bne.

    Just finished a work with archival and have had many comments on it. Great colours as I work with a limited palette. Now started another portrait this time of my daughter and I find the paint covers well, I don't need to add another layer but where I want to add highlights I go over again in some areas and it all blends in well. I am finding that I hardly use any mediums as I paint only a few drops mixed into the titanium white that I am using.. I still had a good control of the paint on the brush but I had to use a synthetic brush to move the paint just they way I like it. Am pleased with the colours that I am using, Ultramarine blue, yellow, red, ochre and vermillion, brillent violet, permanent alizarine, cobalt turquoise. that's about it for my palette. Hope you like my image.

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    rhonda commented on June 11, 2008, at 10:18 am.

    posting the image of my recent work from Rhonda at QCA

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    Bg commented on June 13, 2008, at 1:36 am.

    just having another try at posting my pictures

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    Bg commented on June 15, 2008, at 1:26 am.

    some recent images of my work

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    Jezabell commented on July 4, 2008, at 12:11 am.

    Here are a few finalised pieces.I found in the final layer of the landscape with the purple object I used a variety of mediums for different mark making areas of the painting. Lean for the smooth brushed effect of the sky, Fat for the luscious feathery purple tail and flow gel for the ground. Once again I really like the was the flow gel tacks up quickly and holds the pigment with body. I seem to be using more and more of it.In the final resolution this painting has at least 4 layers in combinations of fat, lean and flow gel medium. Again I used a lot of it in combination with the fat in the work of he huge hovering shell. it holds the brush stroke really well where I want it to go on firm and was of real assistance in the glowing , highlight sections. The work of the large Blue object also has about 4 layers and has progressed on from the stage originally posted on the site, but I'm fairly satisfied now. I'm taking a break from painting for about a month. I've been working intensely and have to move back to Sydney, NSW. I hope to start some more work in about August. See you later. Hope that you enjoy the work. Ciao.

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    rhonda commented on July 18, 2008, at 6:43 am.

    Hi again from Rhonda 3rd yr student QCA.

    Working with oils and have done 2 more paintings, will post soon. anyone having difficulty posting the image. I will try again. I am finding I don't have to use mediums a lot, which is a big saving just a little medium in my white which I tend to use a lot. The medium is use is the laying in medium. The rest of my colours are reds, violet, vermillion and I mix browns out of this and blacks. Doing the flesh tints in my portraits is working well and am really happy with the coverage. When one layer is dry and I want to add another layer is needed, it goes on really well and easy even if I don't use any medium with it. ...cheers, rhonda.

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    rhonda commented on August 6, 2008, at 10:31 pm.

    Hi again will try and update the image of my last painting. Nearly finished my portrait with the oils and they really cover well and blending is a breeze. Anyone got any ideas on how to keep paint on the palette from drying out too fast. I am only using the smallest amount at a time, because the next day, it has formed a skin and is not very useable.

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    rhonda commented on August 6, 2008, at 10:36 pm.

    Hi again. will try to post my image. rhonda Brisbane, Qld.

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    rhonda commented on August 6, 2008, at 10:37 pm.

    hello from rhonda. trying to add my image. not having much luck.

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    improperdancin commented on September 4, 2008, at 4:50 am.

    Hello fellow artists, my name is Amy and I'm from Baltimore, I'm new to this survey but super excited about using this paint. The images I have of my art are just up to show my interests in painting, I'm switching over to Interactives as soon as I get my hands on them. I'm a third year student at Maryland Institute, feel free to chat with me, I love feedback and giving others feedback as well.

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    aburk commented on September 11, 2008, at 3:07 am.

    Hi folks. My name is Andrea Burk. I am studying painting at the University of Arizona in Tucson. I am very excited about starting to use these paints, and grateful to have this opportunity.
    I'm still finding my painting style, and I think I'm influenced by different things at different times. I don't have any images of recent work just yet, but I will try to post some soon. I am looking forward to using this community for feedback, giving and receiving.

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    GeorgeBelcher commented on September 15, 2008, at 1:37 pm.

    Hello, this is George, I am a painting student at the University of Arizona. I cannot wait to try out these new oil paints and am very excited to be participating. I am already impressed at the works and comments I have viewed so far...

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    aburk commented on September 17, 2008, at 5:30 pm.

    Hi George!

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    Jezabell commented on September 24, 2008, at 12:20 pm.

    Hi Jezzabelle here again. Well I did start painting in August but now that I'm doing theory subjects by distance from Curtin and painting solely from home it's taken me a little longer to get organised. Anyway I'm posting my next painting for you to see. It is along the same lines as the other works- gruesome abject objects set in a fairly general image of Australian landscape. This was done on canvas where as my most successful ones have been done on board. However I do feel that this one is fairly successful as well. The major difference I believe is that I've painted the body almost entirely with smooth gel medium. I had only used it once before and found it a bit too tacky. I mixed the paint with a little lean medium to start but as the painting progressed I used the gel medium almost exclusively for the body. It gives the paint and the brush strokes a lot of substance. I really like the tactile appearance of paint. It also is important I believe in support of my subject matter. Smooth gel also used for the dark areas of foliage in the forground and lean for the sky and landscape.
    As for colours this work has a lot of terre verte in it and Naples Yellow Reddish and Paynes Grey. As usual the depth of pigment in the paints is great and the consistency is really good. As well as ultra marine I also used mixtures containing brilliant violet for the shadow area which worked well too. it is really excellent having such high quality paints to work with as a student because you learn so much more about effects, colour mixing and techniques that you can achieve.
    I have a few more works to go on this subject matter but also want to try painting outdoors as there is so much discussion about it in relation to the acrylics. I will be using oils though but I want to see the effect it has on my colours. Also would appreciate some feedback on my images from fellow students.
    Thanks Chroma

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    rhonda commented on September 24, 2008, at 2:38 pm.

    Hi again from Rhonda. working on the portraits at the moment and am working with thin layers, and getting good coverage. I hardly use mediums now and just a few drops of layering in medium into my white. Using white a lot in the skin colour with just a touch of red or vermillion.

    will get some more images posted. here goes. rhonda ferling, 3rd year student Qld College of Art.

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    rhonda commented on September 24, 2008, at 2:40 pm.

    Hi from Rhonda, will try to add some recent images.

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    rhonda commented on September 24, 2008, at 2:43 pm.

    Hi from Rhonda Ferling. will try to get some images across.

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    rhonda commented on September 24, 2008, at 2:45 pm.

    Hi from Rhonda Ferling. Having difficulty in posting images. will try again.

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    aburk commented on September 24, 2008, at 6:45 pm.

    I received my paints on Saturday and was able to try them out in class today. Our task in class was to begin a painting from a live model and to paint alla prima. We have a few more weeks to flesh out the painting -- add layers and what not, but today was the only day we had the model.

    I started by mixing a nice blue using Payne's Gray, Titanium White, and a little bit of raw umber (I left my paint box at school, and so I'm trying to remember exactly what I ended up using). I mixed this with some of the fast dry liquid medium and used the blend for the entire background, leaving the major highlights on the figure raw. I would have liked to use some burnt umber at this point to block out some of the deep shadows, but I wanted to try to use exclusively the Chroma paints I received, so I mixed a deep red brown with Sap green, Crimson and a tad more Raw Umber, plus some of the gel medium. The brown tone I got was a satisfactory substitute. Moving on with the painting, I noticed that the fast dry liquid medium must have started drying already, because it was already getting a little sticky after only an hour or so of painting. Generally speaking, I was able to mix some nice colors with the selection I've been sent, despite some of the hues being outside the palette I'm used to working with.

    I did run into some issues, however. I initially tried to use the tube of Ultramarine blue, but there was some coagulation at the top. I tried to clear the clot with a small handled brush, and ended up breaking the wooden handle in the tube. I thought for sure there must be useable paint in there, but I never found it. After pulling the brush handle out of the tube I found the coagulated mass was pretty deep, maybe even throughout the tube, so sadly I gave up on Ultramarine.

    There was a little separation in some colors, but the most in the Crimson.

    When getting into more detailed work and painting wet into wet, even without medium, I found that I was lifting the painted color off the canvas in some places. This primarily happened when trying to paint highlights with some straight Titanium White onto places in which I had mixed color with the gel medium or the liquid medium.

    Lastly, I want to try to paint exclusively with the kit I received for as many paintings as I can, to give Chroma the most valuable feedback possible, but school and EPA regulations prohibit having some of the colors you sent: Cadmium Orange, Cadmium Red, and Cadmium Yellow. I also prefer to mix my own black, which I successfully accomplished with the separated Crimson, Sap Green, and a little Raw Umber, but this means I doubt I'll pay very much attention to the Mars Black that was sent.

    I look forward to working some more on this painting again when it's dry, and I'll keep you posted with the results.


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    xheartsofhavocx commented on October 4, 2008, at 10:32 am.

    My Name is Danielle Feliciano and I'm an Illustration senior at the Savannah College of Art and Design and I'm greatly looking forward to working with Chroma's line of Products

  67. comment_67_4132

    xheartsofhavocx commented on October 4, 2008, at 10:39 am.

    Danielle Again. I havn't worked much with oils or acrylics because I'm mainly a watercolorist but I'd love tot give it a try. Heres a few exercises using some acrylics I had lying around

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    GeorgeBelcher commented on October 23, 2008, at 4:04 pm.

    This is George from the University of Arizona. I have completed one painting so far with the new archival oils. I use the impasto gell medium as well as the fat medium. I love the impasto gell. It thins out the paint with almost no loss of color intensity, and the colors themselves are gorgeous. The cadmiums especially are really brilliant. The red crimson as well. I am working on another work at the moment and will post the two paintings as soon as this is finished.

    P.S. one problem I have encountered though is simply of restriction of my college. We are not allowed to use cadmiums on the premises, thus I have had to complete my works outside of school. Sorry for the delay in getting them out there.

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    finker commented on October 24, 2008, at 12:59 am.

    Hi, this is Erica from University of Michigan. I am interested in all kinds of 2d media including painting, printmaking, writing and the integration of all three. I look forward to using Chroma's products! Talk to you all soon.

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    goosey451 commented on October 29, 2008, at 12:23 pm.

    Hello hello. My name is Kelsey. I am a third year student at the University of Michigan School of Art and Design. I have been painting seriously for about 3 years now but have been using oils solely for about a year. I am super excited about trying the paints out. I love working with new materials and I hope that I can develop some new techniques with these pigments.

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    improperdancin commented on October 30, 2008, at 11:56 am.

    Hey all this is amy from B-more at MICA. I've been very busy at school and haven't had time to get on here much. There's some really great work being posted. I'm really enjoying the vibrance of the oils, I'm happy with that and the lean medium is great because it thins out the paint, dries it a little faster but the pigment still remains bright as ever. Here are two small abstraction studies

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    aburk commented on November 12, 2008, at 7:37 pm.

    Here is a picture of a work in progress for class. I have tried to only use interactive on this painting, and I'm pretty happy with how much I've learned about the paint and various mediums. I think I already went over my main frustrations in a previous post. The only non-Chroma material I used for this so far has been some ultramarine blue, since the blue provided in my sample was coagulated all the way through. What I like best so far about the products offered in the trial is the shine of the mediums. It's a very interesting new attribute to consider when painting. I like the shine, but I find when painting with the paints straight out of the tubes, they dry flat and in great contrast to the other layers in which mediums, especially the lean medium, were used. I think there's still a lot to fix in this. Let me know what you all think.

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    goosey451 commented on November 15, 2008, at 1:15 pm.

    hello hello...i just received my package of goodies and have been experimenting with them for about a week now. So far I have noticed that the pigments dry differently than I expected. They seem to loose some of their richness but that might also happen because I have not quite figured out how to manipulate the mediums. I noticed right away that the pigments have extremely different consistencies. Also, I have not been able to make a convincing dark when I mixed cadmium orange with french ultramarine like I can with other oils. I'll write back soon with more observations and hopefully some solutions...

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    Jennifer commented on November 19, 2008, at 11:38 am.

    Hi Andrea! I really like how you did your background in the study. There's always a bit of a curve when reading about mediums to actually using them, because everyone paints differently and wants it to behave in a way that works for them. It seems like you are well on your way to figuring out what works for you!

    Hi Kelsey! I'm curious about what type of surface you are working on...One of the comments I often get about Archival is how rich and bright the colors are, which is why I think your surface may be coming into play. Could you post a pic of a wet painting and dry painting? Don't be surprised if you get a call from me so we can talk live!

    Thanks to all who are posting and commenting and making this a worthwhile trial!

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    rhonda commented on December 24, 2008, at 12:33 pm.

    Hi from Rhonda Ferling QCA Brisbane.

    I am busy painting now as we are in the holiday period and am finding that I don't need as much mediums. I like the build up of the paint and its very easy to move around the canvas. Love the colours especially the reds and vermillions.

    posting recent work.


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    rhonda commented on December 24, 2008, at 12:38 pm.

    Hi from rhonda at QCA Brisbane

    I enclose recent portraits using archival oils over a acrylic primmed canvas. I haven't had any problems with cracking and this saves a lot of heartache so can trust this paint completely which is a good thing.

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    Shanipants commented on January 14, 2009, at 11:03 am.

    My name is Shannon and I am a junior at Virginia Commonwealth University in Richmond VA. I have been experimenting with Chroma Interactive acrylics and I am excited to try the oil paints. I have been very pleased with the unique qualities of Chroma's acrylics and I can't wait to see the work from everyone this year. Please include notes about your techniques and methods. I hope to post some videos on youtube of my process. If you are feeling ambitious I challenge you to do the same!

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    aburk commented on February 5, 2009, at 2:39 pm.

    Hi everyone.
    I had a bit of a rough semester creatively speaking -- I started a lot of paintings (too many, probably) and only finished a few, but I thought I'd show some final images and mention my favorite products from the trial so far.

    I have really grown attached to the archival mediums in my painting. I particularly like the lean for backgrounds, and the laying in medium works very well for painting wet-on-wet, and I've found that it is essential to use the laying in medium if you are trying to paint into a wet layer of paint mixed with the lean medium. I like both of these mediums because they help speed up drying time, mix up quickly with pasty paints, and spread out smoothly in a way that is easy to control and not too slick or runny. I haven't worked much with the paste mediums since I use that sort of thing for finish work, and I haven't been very good about finishing things lately. I think using archival mediums, experimenting with them, has altered my approach to painting somewhat. I didn't use very much in the way of mediums (other than linseed oil and mineral spirits and that popular gel medium that begins with an L from a different company). I will post a painting from my first semester, and perhaps you'll see the alteration in method. The new semester has begun for me and I am freshly inspired in my new painting class.

    Here are some images from last semester. The puffy lady (figure painting assignment) is done. You can see I made some changes from the image I posted before. There is a double-exposed self portrait which is not finished, and a mongoose cobra battle which also needs some work. All of these were made using entirely archival products (except ultramarine blue). The street scene is a painting I made before the archival trials. I apologize for the quality of these images, by the way.

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    aburk commented on May 26, 2009, at 5:36 pm.

    Hi again. I'm a little dismayed that nobody has posted since my last post, but since I have been so kindly supported again by Chroma with paints for this past Spring semester, I figure I ought to post what i made with the materials, and talk about some of them as well.

    This semester, with my new round of paints and mediums from Chroma, I came to rely on and enjoy some of the products very much. As with last semester, the lean medium was one of my favorite tools, and I was able to work more with its shiny properties in my new work. I also came to rely a little more on the gel medium. I appreciated its faster drying time, the not-too transparent quality it added to the paint, and the way it improved the viscosity of some of the thicker paints without them becoming too runny. I was never really going for an impasto effect, but the medium does allow brush strokes to stand out more than thinner mediums, which is nice for some finish work. I also like the laying in medium for the smoothness and sleek transparency when adding layers over layers which have not completely dried.

    Some of the colors I received that I really enjoyed were Indigo (blue-black), which is a novel and beautiful color that I haven't used before, but mixed myself with other brands, Transparent Yellow, and Transparent Orange. There was still a little issue with oil separation in the Ultramarine, but mixing it with a little gel meduim worked fine, and the pigment was just as bright as I needed.

    Artistically this semester, I found myself working less figuratively (given the openness of the assignments) and mainly focusing on playing with colors and ideas. I can't say that I'm totally enthusiastic about anything I produced, but I did learn a lot about technique, and I think this trial has truly enriched that learning process.

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    rhonda commented on June 5, 2009, at 5:52 am.

    Hi from rhonda, QCA Bne

    just posting new work, am working on a paintings with a lot of foliage that can be tricky with green but the colours are working well. will post when finished. I notice works completed 4-5 months ago don't appear to be dull which is a bonus and maybe not necessary to varnish...............anyone else find that...cheers,