Glazing perils and alkyds
Does anyone have advice on the perils involved in glazing, with oils, and with alkyds?

Somewhere on the net I read that an artist discovered that she had been blissfully piling up glazes until she read something on a Cennini site, to the effect that her techinque was flawed. I haven't been able to locate the topic again. What are the perils involved in glazing, apart from fat-over-lean mistakes?

ALSO, in a book I have, an artist's comment about her oil painting is that she started off with a layer of liquin to give the painting it's luminous look. I thought liquin was to be saved for the later layers (fat-over-lean rule).

And while I'm wound up, does anyone out there have experience using ground glass in their paintings?

Thanks.

Shirley.
 
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