Back in 2008, I purchased some metallic colors for this painting, which is a work in progress off and on. This is a tribute to Johann de Sacrobusco’s Textus de Sphaera which was printed by Simon Colins, in Paris, 1531. Basically it is a painting about old world astrology versus the new thought of Ptolemy. Flat earth versus the globe model. It’s a fun piece.
I had used some metallic oil paint on this piece, and noticed that it no longer simmers in the light. Not only that, the metal part had completely absorbed! The copper around the border, and the leaves within the border had the shimmering colors.
But what will happen in the future with the metallics beneath the painting if it was covered up? I’m thinking I’ll just leave it as is and continue the narrative of the piece. It doesn’t look bad, just doesn’t shine as much as it did. The painting is still in the work in project phase, as there is much to be done. Luckily, for me, I decided to go all out on this piece, so that now, which was about ten year from the beginning, I can see the damaged caused by ignorance and know not to do it again on future pictures! Exhaustive note keeping is key!
Now, I’ve created many works of art during that time, and have published three books. But the masterpieces…. All I can pray for is health and longevity. I have about 40 paintings in mind, but I absolutely do not want what had happened to this painting to happen to the rest of the series! I feel blessed to have some foresight!
With that said, however, again, it takes a very long time to figure out what is going on the hard way. Mostly, I am self taught, seeking out adept artists, and paying them a sum of money to teach me their ways. Almost always, however, they give out information that had been passed down for aeons, such as the use of the fugitive, fading pigment called Alizarin Crimson. I learned what I can from those types of artists, which was predominantly the execution of an oil painting.
The metallic paint of any medium are generally coated mica flakes.
Now, my acrylic paintings from 20 years ago have metallic colors on them and had not absorbed or faded in any way. Similarly, I did a watercolor in a journal with metallics. Both the acrylics and watercolors still shine. At that time, my acrylics were created in Winsor & Newton acrylics and watercolors. This current oil painting, most of the pigments initially were Winsor & Newton oils. Now it is a mixed bag of Winsor & Newton and Gamblin Oils. I really like Gamblin and prefer them, but once you get into the swing of things, and run out of a color, take which ever is available. It’s like Coca-Cola and Pepsi, they both do the job, but most stores carry only one or the other.
All I can say is veer away from metallics in an oil painting. Acrylics and watercolors will remain sparkly, but still remain skeptical and do your own experiments.