Here, you will find some pieces of information about my tools, canvas, pigments …
This page is designed for people who want to learn more about my paintings and my overall approach. I may mention brands I use at one point or another.
Before going any further, I set the context. For ethical reasons, I am trying to reduce my consumption of animal products as much as I can. This raises a few conflits and contradictions in several parts of my life (oil painting, watercolor, cello …). It is important for me to use plant alternatives when they exist. However, to follow my passions, I tend to make compromises on my own values. You will see inconsistencies in the way I behave. Like most people, I move forward at my own pace and I hope that people won’t blame me for the road ahead.
OIL
canvas
My first two paintings are wooden planks, but I quickly got some canvas frames for practical reasons (lighter, possibility of hanging without a frame, possibility of making large formats …).
I use linen canvas to help moisture resistance.
Before painting I apply several coats of gesso (coating to protect the canvas which also allows to smooth its surface).
I am not ready to make my own canvas and those which are on the market are primed (“glued” then pre-coated with gesso). In the industry, the gluing is done with rabbit skin glue. This glue is also found in classic gesso pots.
Since the painting “Hiver”, I make my own gesso with marble powder, water and “Cléocol”. To understand this choice, I suggest you consult their commitments.
Unfortunately, I still use primed canvas. Thus, none of my paintings are vegan. It will be the case until I use up my board stock.
Regarding traceability, I chose to put symbols on the back of my paintings. The rabbit you can see on the right will be drawn on every frame which contains animal remains (ivory black, gesso or glue). Now, it is up to you to decide whether or not you take them.
Brushes
Brushes are also a topic to dig into. I have a few of them made with marten fur and pig fur. Since they are still usable, I will continue to use them along with synthetic brushes. Of course, I will replace them with brushes that don’t come from the animal exploitation industry.
paint
As far as pigments are concerned, there are two subjects I think about: health and the origin of those pigments.
To put it simple, I use these:
- Raw umber
- Burnt umber
- Venetian red
- Prussian blue
- Yellow ocher light
- Permanent yellow light
- Titanium white
- Sevres blue
- Permanent red medium
- Oxide black
- Cobalt violet
Until 2017, I used ivory black, made from burnt bones.
Regarding the health aspect, I invite you to read this page (in french…). I avoid pigments made from toxic heavy metals (especially lead and cadmium). Normally, in paintings they do not present any dangers (especially when the piece is varnished). However, the question of the treatment of used tubes is still there. So I avoid this kind of pigments.
Varnish
I use a gloss varnish for my oil paintings. This is an esthetic choice : dark areas feel deeper.
Digital paintings
I use the software “Corel Painter 2019” and a graphic tablet “Intuos” of the brand “Wacom”.
