Does oil paint and paper go together?

wrote

on 10 Oct 2008 7:38 AM

To paint with acrylic or oil on watercolor paper, the paper must first be made non-porous. Shellac, fixative or rabbit skin glue will seal the paper for oil paint. If the paper is not sealed the oil will soak out, discolor the paper and eventually ruin it.  I would recommend 300 LB watercolor paper, as its thickness is more substantial and will not buckle of wrinkle when sealed.

I'm not familiar with rabbit skin glue, and I happen to like bunnies -- however -- I have read several articles which recommend using 2 coats of gesso before applying Acrylic paint and 3 goats of gesso before applying Oil paint.  A light sanding (I.E.) 220 grit sandpaper between coats is recommended.  The brand of gesso I use is GOLDEN GESSO and their recommendation is for THREE coats of gesso prior to applying oil paint.  Information can be found on their web site: www.goldenpaints.com

This site has a wealth of information and is worth checking out. 

Although I do not paint in Oil, I use 300 Lb watercolor paper all the time for Acrylic paintings --- after applying 2 coats of gesso and have never had any problems.

vivien5 wrote

on 10 Oct 2008 11:43 AM

I never prime paper for acrylics as they don't sink into the paper or rot it over time as oil will.   They behave very differently on primed vs unprimed surfaces and I quite like the way they behave on unprimed.

i do sometimes sketch plein air on paper with oils directly as I like the surface - Degas and Toulous Lautrec did.   Archivally it isn't sound but will last a long time  - their work has :>)

In the studio I use canvas for oils.

Bob Bahr wrote

on 10 Oct 2008 3:26 PM

I agree. The only major concern, assuming an artist isn't bothered by the surface qualities of the paper, is its decidedly not archival properties.

The biggest advantage to paper for me is that I feel a little freer when painting on it because (at least some of ) my materials are cheaper. I may take more chances when i feel like i am just "playing around" on paper.

davidpyle wrote

on 11 Oct 2008 4:11 AM

Interesting thread!  If using acrylics on a sized watercolor paper, there's no need to do anything else as prep.  And acrylics are so flexible when dry that they'll hold up very nicely on a flexible support like paper.  All indications point to good stability for a long, long time with modern acrylics.

If working with oils, Richard is correct.  The oil can and will leach into the paper surface.  There will be discoloration and the oil can accelerate the acidification of the cellulose/paper fibers.  So further sizing or gesso is a really, really good idea.  That said, there's a fair body of work done with oil on cellulose board and heavy paper from the 18th and 19th centuries that has held up surprisingly well.  Why? Because of the quality of the paper (and some good work done by conservators).

Well-made paper is highly durable and 'archival' (a term that I'm not wild about - it's very hard to know what it means).  Check out the almost 600-year old sheets used by that Gutenberg guy in 1452-53.  As long as the paper is well made, from a fiber that is resilient and strong (like cotton, help, linen/flax, or others from Asia like kozo or mitsumata), it can hold up for a long, long time.

The real stability/durability issue with oils has to do with the flexibility of the support - and that's true whether your working on paper or canvas or board or pets or children.  When oils are fully dry, they remain flexible to a degree of around 1-2% (it varies from color to color).  So, any support that moves around MORE than that will inevitably lead to cracking of the paint film.  

So, one of the very best things you can do to ensure the stability of your oils is to work on a support that's rigid.  If you're working on paper, choose a heavy paper (like 300lb watercolor sheets), that are well-sized (the gelatin that's added during formation or added on the surface).  Adding more size or a gesso layer will add some rigidity.  Even better would be to mount the paper on a panel.   That does, however, take away some of the charm and ease that comes with paper to begin with!  

David

dbclemons wrote

on 10 Nov 2008 11:11 AM

When oils dry they release acid which can damage or at least severely stain the paper unless it is properly sized to prevent oil penetration. Don't rely on the amount of sizing commercial papers may already have used as it's typically only enough to reduce absorbency. Other than animal hide glues, acrylic medium can work well as a size, or PVA adhesive. I would personally recommend shellac since it doesn't require water that can buckle the paper.

Golden actually recommends prior to oil painting to size paper with acrylic medium first (their GAC 100) and then using a couple coats of primer. The primer isn't really necessary, however. In fact, if you prime the paper you loose much of the surface quality that paper offers. High quality paper isn't really less expensive than canvas.

tom12 wrote

on 4 Oct 2011 8:18 PM

Hi David,

 Funny that I am responding to your thread now after 3 years but I'm interested in painting on watercolor paper with oils. I like the way the colors bleed into the fibers of the paper. You probably think why not use watercolors instead, well, because no one else is doing it this way today, I mean paiinitng on unsealed /unprotected paper.  I plan on sealing the back side and then protecting the painitng with a varnish or acrylic varnish after the paint dries. The Gutenburg guy from the 13th century  appeard to have pulled it off with archaic methods/materials of his time and they are still standing the test of time.   I'm finishing a few projects now but will attempt to paint one of these gems within the next few months or in the beginnig of the new year. I would like any other information regarding any artist who were and are succesful in painitng on paper and any conservators input on the pros and cons of this method.  Regards Tom Jennerwein

KatPaints wrote

on 5 Oct 2011 5:54 PM

What I do is, I tape the heavy (archival) paper down to a board. Then I use two coats of gesso. Let dry before removing the tape or you can then paint, keeping the paper taped to the board.

You can create stucco effects or any other textures which look great with a wash of thinned painted rubbed into the texture. You could even use any of the acrylic modeling pastes for an added effect.  If you want a smooth texture. apply the gesso in one direction and then when it is close to being dry, use a fan brush to better smooth out any bumps. Then repeat applying a coat of gesso in the other direction. Sand lightly.

Artwayze wrote

on 6 Feb 2012 1:11 PM

Me too.

I glue the paper to a sheet of 3mm MDF first, then prime with acrylic gesso, tinted as required with acrylic colour. I normally use a failed watercolour for this, but I have gone so far as to use new Arches heavyweight paper. It makes a lovely surface for plein air, and even suits a finished painting.

Have fun and try it.

AW

Reiden wrote

on 22 Mar 2012 5:11 PM

Tom-

After I saw what Latrec did on paper in Albi, France I went home and experimented with Tientes colored paper.  I don't use any linseed oil but just the oil paints.  Its like a dry brush method.  I let the paper show through in areas.  You get the most amazing results.  I am now graduating to red paper.

Talk about the test of time.  The Latrec paintings look as vivid today as probably when they were painted.  He even used cardboard.

Sincerely, Rosemary Eiden

Jay Babina wrote

on 25 Mar 2012 10:55 AM

One of the reasons that sizing or gesso is used on canvas is to prevent the linseed oil from getting into the natural fibers which can grow mold over time. The same is true with paper. Mold grows where there is a lack of sunlight and where there is moisture on a natural surface where it can feed. Will this happen to your oil on paper painting ??? But it could and that's a fact. It may never happen as well. 

Once in a while I buy some old paintings (junk) just for the frames at tag sales. Many times the back of the canvas is very stained and more often than not the canvas rips off like paper. That's because of rot and mold.

aiesha12 wrote

on 24 May 2012 6:50 AM

On the contrary, there's many examples of 'oil on paper' that have lasted quite a good long time. Preferably on a fine acid-free variety, mounted on a board.. and using something a little better than 'student grade gesso' as the primer.