Dammar varnish with linseed oil remnants???

Hi friends,
I need some help again, I was just mixing up some glazing medium equal parts turpentine, linseed oil, dammar varnish, and I was working in that order and measuring using a jar cap (I know, I know). However when I went to measure the dammar varnish, I carelessly poured the contents back into the original varnish container instead of the container used for the medium. So my question is: will the remnants of the linseed oil in the jar cap have a negative effect on the rest of the varnish inside the container?


  • Use DMP medium NO varnish. DMP with or without clove. I don’t use clove oil. Recipe somewhere on the site. 

    Lately to speed up drying I have been using Gamblin Galkyd Lite. 
  • May I ask, where did you get that recipe? What did you hope to accomplish with the dammar varnish? Is this glazing recipe to be used on top of DMP medium made with clove oil?

    I don’t have an answer to your direct question (although I suspect the answer is ”no”).  However, there is a lot of evidence that using dammar varnish, a natural resin, can cause problems later on. Check out MITRA forum and resources section. Its free and in English language. MITRA (udel.edu)  

    I have always glazed just with the paint out of the tube, or with a little linseed oil or a little Liquin, a modified oil resin. I suggest that you glaze using your original medium, just spread the glaze out thinner using your brush. I think I recall Mr. Carder demonstrating this on one of his videos. Using turpentine to thin paint can cause problems because it is so easy to overdo it, and turpentine is not good for you to breathe in. I am old and am happy to share my mistakes with others. For free :) 

  • @Desertsky Its on old recipe i came across and started using years ago. For a while i didnt use any mediums, like you, i just glazed in thin layers straight from the tube (The painting in my AVI was painted using this method). This is after using liquin which i had a strong dislike for. I just started to use a medium again because I've started making some Vermeer copies...Essentially what I'm trying to achieve with the varnish is luminosity. I have a decent amount of experience working with damar varnish and I know that it'll catch the light and reflect it back out no matter what stage of the painting its used at. I can't really speak on why the recipe also uses turpentine and oil but it makes sense to me somehow.
  • @KingstonFineArt I'm really sure what the DMP recipe is? Drying time is never really a huge issue with me. Whenever I'm letting a piece dry I will usually use that time to jump into another painting. 
  • @LogosChroma
    Somewhere on the main site is the recipe for DMP medium. I made over a pint 7 or 8 years ago. Split the batch in half and added the clove oil to one. I'm almost out of the non- clove medium. I have a little of the clove. I only use it when I mix and tube paints a couple of times a year. The non clove oil I mean. Even then just enough to lighten the consistency when needed. 

    The pull between modern materials and traditional materials seems to be a constant on the forum. When it comes to medium I'll go with the simple DMP recipe.

  •  when I went to measure the dammar varnish, I carelessly poured the contents back into the original varnish container instead of the container used for the medium. 
    That is SO totally something I would do.

    Mark Carder's Slow Drying Medium recipe is as follows:

    recipe for slow-dry medium (for all colors except titanium white):

    10 parts odorless mineral spirits (any artist-grade odorless mineral spirits will do)
    5 parts stand oil or linseed stand oil (this is viscous like honey and is not the same as refined linseed oil)
    1 part refined linseed oil
    5 parts Venice turpentine *
    2 parts oil of cloves †
    For burnt umber, you will need extra clove oil. Please watch this video for instructions on how to incorporate the extra clove oil into burnt umber: youtu.be/lpU9egKu-kM

    recipe for slow-dry medium for titanium white:

    10 parts odorless mineral spirits
    1 part stand oil or linseed stand oil
    5 parts refined linseed oil
    5 parts Venice turpentine *

    * Venice turpentine is not at all the same as what is commonly known as "turpentine", a solvent commonly used by artists many years ago (and still used by some artists today). Venice turpentine, on the other hand, is simply tree sap — a thick resin which is thick like honey.

    † Oil of cloves is sold as "clove leaf oil", "clove bud oil", or simply "clove oil" — any of these forms is fine. You may try looking for it in drug stores, health food stores, or from an online supplier.
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