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Except for emulsions, I agree. Drying oil is the key. Good---and fresh---drying oil dramatically changes the handling quality of oils, both linseed and walnut. As far as emulsions go, they're found it in many old masters' paintings---Rembrandt, Rubens, Caravaggio, etc. And far from being unstable, it increases stability. The idea is to get transparent and broad treatments working in conjunction with crisp and matte ones. In addition, you can paint oil over emulsion as much as you like. Simple materials: drying oils and emulsions.
Mediums such as maroger et al attempt to be all things to all people; as such they're useless and actually very limiting.
By the way Derek, you do understand don't you that no matter how good your paintings may become they won't win debates for you. The next thing is bragging about how much money your daddy left you and how big your loft is. Your points rest on their own merit.
So how did the Medieval painters depict form? Tempera.
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