What are the characteristics and production methods of colloidal base

The production of colloidal base, the materials and procedures are relatively simple, the cost is short, the coloring is firm, the flexibility is strong, and it is more suitable for the thick painting method with strong performance. Rubber canvas is the ideal material for modern painters to sketch and create, it is not only suitable for oil painting, but also suitable for tempera, wax painting, acrylic and other mixed media painting. It was popular in the era of classical transparent oil painting techniques, and was later adopted by Impressionist painters.
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The disadvantage of the substrate is that it is not resistant to moisture, and the canvas is easy to relax in a humid environment; It does not have the bright, durable white of the gypsum base; Not as elastic as a pure oil base.
Ancient European painters used animal skin glue (rabbit, sheepskin, deer skin, etc.). The rubber must be soaked in cold water and then dissolved by heat. The concentration of animal glue can be adjusted according to the amount of water added, and the glue used as the base generally uses 45 to 80 grams of animal glue plus one liter of water.
Modern painters use latex as a base. See how to use latex as a base for details.
At present, the finished base coating (GESSO) on the market is a colloidal coating, which can be directly painted.
In addition to animal glue and latex, there are a few painters who use engineering glue, but it cannot contain acidic substances, it cannot be corrosive, and white Libon paint can also be used as a base as a colloidal paint.
Professional painters have their own habits and ways in the production of the base, which is related to the style of the painter's work. The following introduces several methods for oil painters to make rubber bases:
(1) The painter Yang Feiyun uses medium density linen, dilute the latex with water, brush it on the cloth once as the bottom layer, dry it again with latex and water and white paint twice, after drying with fine sandpaper, smooth the cloth, after comparing it with latex and water diluted thin coating one to two times, the cloth bottom is matte effect.
(2) Mr. Quan Shanshi uses coarse grain linen. First scrape the bottom with cow skin glue, and then scrape a layer of fish skin glue, the first layer is the upper background color (Lide powder + glue), generally brush at least five times. The gelatinous base absorbs little oil.
(3) The painter Chaoge used medium density linen. Because the fabric is not very thick, after several times of thin coating of rubber powder, it is half oil-absorbing, exposing the linen texture. If there are particles on the surface, place the canvas against a flat surface and lift the hard object from the back. Do not sand the cloth too much, so as not to make the surface of the canvas too smooth to prevent the use of the pen.
(4) The painter Welshen chose type 42 engineering glue (used to stick ceramics, wood, SLATE and other materials) to brush the bottom. He usually uses a scraper to scrape the glue all over the canvas. If the gap is too large, you need to add water in the glue and brush it again.
(5) Painter He Duoling often chooses medium texture chemical fabric. Brush the bottom layer with the glue solution, then apply the second time with GESSO.
(6) Painter Liu Xiaodong used to use coarse grained linen. First, apply the bottom layer with one part of white latex and one part of water. After drying, add more latex and brush it again as described above. The next day, finish the cloth with fine sandpaper, grind off the thread particles, and then brush it twice with GESSO paint and water dilution. The cloth surface is matte effect, half oil absorption state.
(7) Mr. Rolchun usually chooses coarse grain linen. Brush with latex and water first, trim with sandpaper after drying, and then brush with Lide powder and glue, white powder and water once or twice, and then apply the glue once.
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