Distinction Between Oil Driers and Japan Driers
The use of driers in oil painting is a practice rooted in the need to control the drying time of oil-based paints, a critical factor that directly influences the longevity and quality of the painting. Among the various types of driers available, two primary categories stand out: oil driers and Japan driers. Though similar in purpose, these driers differ significantly in composition, application, and impact on the paint film.
Composition and Function of Oil Driers
Oil driers are traditionally composed of linseed oil and metallic salts, primarily lead and manganese. Linseed oil, a staple in oil painting, dries through oxidation, where it absorbs oxygen from the air, forming a hard, durable film. Adding driers such as lead oxide (Pb₃O₄) or litharge accelerates this oxidation process, ensuring that the oil dries more quickly and evenly. However, the choice of metallic salt has a profound effect on the characteristics of the dried film.
For instance, when red lead is added to linseed oil and heated to high temperatures, it produces a very hard but eventually brittle film. This can be observed in applications where flexibility is not a concern, such as in certain types of protective coatings. Conversely, adding litharge to linseed oil results in a more elastic film, ideal for applications requiring flexibility, such as on surfaces that might expand or contract due to temperature changes.
Manganese salts are particularly important in the drying process. Manganese initiates the drying, while lead salts sustain it, ensuring the paint dries uniformly. Among manganese salts, manganese dioxide is frequently used due to its effective catalytic properties, which help speed up the drying process without causing significant harm to the paint structure. However, manganese must be used judiciously, as excessive amounts can lead to overly rapid drying, which might compromise the paint's flexibility and durability.
The Unique Properties of Japan Driers
Japan driers, in contrast to oil driers, are typically composed of a solvent, manganese drier, and a small amount of linseed oil. Historically, Japan driers also included resins such as shellac, rosin, anime gum, and kauri gum, which contributed to their fast-drying and durable properties. The addition of resin to Japan driers served multiple purposes: it enhanced the adhesion of the paint, provided a glossy finish, improved the storage of driers, and improved the paint’s resistance to environmental factors such as humidity and temperature fluctuations.
The distinction between oil driers and Japan driers lies primarily in the presence of resin. While oil driers are free from resin and are thus preferred for exterior applications where flexibility and long-term durability are paramount, Japan driers contain resin, making them suitable for applications requiring quick drying times and a harder finish. This makes Japan driers ideal for tasks like finishing wood or metal surfaces, where a fast-drying, hard, and glossy finish is desired.
However, it is crucial to note that the presence of resin in Japan driers can introduce some drawbacks. Resin can make the paint more brittle over time, which is why Japan driers are typically not recommended for exterior paints or surfaces exposed to significant wear and tear. If the resin constitutes a small proportion in the Japan, drier, it is generally not sufficient to cause significant issues in most applications.
Advertisement for Japan Gold Size in Henry Murray, The Art of Portrait Painting in Oil Colours, with Observations on Setting and Painting the Figure. published by Winsor and Newton in 1851. Japan Gold Size is listed along with drying oils, oil painting mediums, and varnishes.
The Historical Significance of Japan Driers and Japanner’s Gold Size
Japan driers are closely related to Japanner’s gold size, a material historically acknowledged as one of the most powerful driers available to artists. Japanner’s gold size was particularly recommended for use with slow-drying colors, such as dark and transparent hues, which are notorious for their extended drying times. This made it an essential component in glazing techniques, where artists needed their layers of paint to dry at a manageable pace without delaying the entire process.
Japanner’s gold size was a strong drying oil and often included a mixture of linseed oil, red lead, litharge, and other substances that were boiled together to create a highly effective drying agent. Nineteenth-century artists like George Arnald and John Burnet emphasized its use in dark glazing colors, which not only expedited the drying process but also enhanced the clarity and mellowness of the colors. Arnald’s recipe, for instance, combined Japanner’s gold size with linseed oil and mastic varnish to create a medium known as Brown Megilp, which was praised for its ability to maintain color clarity without altering the tonal quality of the paint.
Throughout the 19th century, Japanner’s gold size was listed consistently in colormen’s catalogs, including those of Winsor & Newton, Rowney, Reeves, and Roberson. Despite its potent drying properties, it was noted that the formulation of Japanner’s gold size could vary significantly, leading to differences in drying times and consistency. This variability made it a product best purchased from reputable suppliers rather than being made by individual artists, as the precise boiling time and ingredient ratios were critical to achieving the desired drying speed and quality.
The Water Hole, George Arnald (1763-1841), oil on canvas, 31 x 41 cm. In 1825, George Arnald worked for the Duke of Gloucester, and two years later, he exhibited his most famous painting, The Destruction of the Orient at the Battle of the Nile, on August 1, 1798, at the British Institution. In 1828, he visited France, where he painted a number of paintings of the River Meuse, which he made into an album that he published at his own expense on his return to England. He also published a painting manual entitled A Practical Treatise on Landscape Oil Painting in 1939, in which he writes about the use of Japanner's gold size or Japan drier.
Practical Implications for Artists
For artists, the choice between oil driers and Japan driers, or even Japanner’s gold size, should be informed by the specific requirements of their work. If the objective is to create a flexible, long-lasting paint film, especially for outdoor works or surfaces that might experience movement, oil driers are the preferred choice. Their lack of resin ensures that the paint remains less prone to cracking or brittleness over time.
On the other hand, Japan driers and Japanner’s gold size are more suited for projects that require a quick turnaround and a durable, glossy finish. These driers are particularly effective in studio settings where time is a critical factor and the artwork is not intended to withstand harsh environmental conditions. The use of Japanner’s gold size, in particular, can be beneficial when working with dark or transparent glazes, as it helps to maintain the vibrancy and clarity of the colors while ensuring they dry in a reasonable timeframe.
The historical and modern formulations of these driers reflect the nuanced understanding that artists and paint manufacturers have developed over centuries. The careful balance of components—whether lead, manganese, or resin—dictates not only the drying time but also the final texture, flexibility, and durability of the paint. As such, a thorough understanding of the chemical and physical characteristics of these driers is essential for any artist seeking to optimize the performance of their materials.
Japan Driers: Best Practices for Artists
In summary, the choice between oil driers, Japan driers, and Japanner’s gold size depends largely on the specific needs of the artist and the intended use of the artwork. Oil driers, with their resin-free formulation, offer flexibility and durability, making them ideal for long-lasting exterior applications. In contrast, Japan driers and Japanner’s gold size, with their resin content and potent drying properties, provide a faster drying time and a harder finish, suitable for interior applications or when working with slow-drying colors and glazes. By understanding the properties and best practices associated with each type of drier, artists can make informed decisions that enhance the quality and longevity of their work.
Bibliography
Transactions of the Society for the Encouragement of Arts, Manufacture and Commerce, Volume 49, Royal Society of Arts (Great Britain), United Kingdom, 1832.
Arnald, George. A Practical Treatise on Landscape Painting in Oil: Illustrated by Various Diagrams and with Two Original Studies in Oil Painted on the Principles Given in the Treatise. United Kingdom: author and sold by Roberson and Miller, 1839.
Boughton, Everett William. Detection of Resin in Drier. United States: U.S. Government Printing Office, 1916.
Burnet, John. Landscape Painting in Oil Colours Explained in Letters on the Theory and Practice of the Art: And Illustrated by Examples from the Several Schools. United Kingdom: D. Bogue, 1849.
Carlyle, Leslie. The Artist's Assistant: Oil Painting Instruction Manuals and Handbooks in Britain, 1800-1900, with Reference to Selected Eighteenth-century Sources. United Kingdom: Archetype Publications, 2001.
Edwards, J.. The Art of Landscape Painting in Oil Colours. United Kingdom: Winsor and Newton, 1859.
Field, George. Chromatography, Or, A Treatise on Colours and Pigments, and of Their Powers in Painting, &c. United Kingdom: Charles Tilt, 1835.
Murray, Henry. The Art of Portrait Painting in Oil Colours, with Observations on Setting and Painting the Figure. United Kingdom: Winsor and Newton, 1851.
Neil, J. W.. The Painter's Guide to the Art of Varnishing and Polishing, with Directions for House, Coach, Sign and Ornamental Painting [etc.]. United Kingdom: author, 1824.
Toch, Maximilian. The Chemistry and Technology of Mixed Paints. United Kingdom: D. Van Nostrand Company, 1907.
Toch, Maximilian. The Chemistry and Technology of Paints. United States: D. Van Nostrand Company, 1916.
Rublev Colours Japan Drier
Rublev Colours Japan Drier is an authentic recreation of historical formulas of Japan Driers from the late 19th and early 20th centuries. This drying agent is specifically formulated to enhance the drying time of oil-based paints without compromising the integrity of the paint film.
Low Resin Content For Enhanced Durability
With a resin content of less than 2%, this drier is designed to be safe for use in oil paintings. It offers artists a reliable solution that minimizes the risk of brittleness or cracking over time. The low resin content ensures that the drier integrates seamlessly into the paint, improving its performance by accelerating the oxidation process while maintaining the flexibility and durability essential for long-lasting artwork. This balanced formulation makes Rublev Colours Japan Drier an ideal choice for artists seeking both efficiency and quality in their painting practice.
Frequently Asked Questions
What are Japan driers?
Japan driers are oil drying agents that are typically composed of a solvent, manganese drier, and a small amount of linseed oil. Historically, Japan driers were composed of lead and manganese driers cooked in a mixture of linseed oil and resin. The resins used in historical Japan driers included shellac, rosin, or kauri gum, which contributed to their fast-drying and durable properties. They are used in artistic practices to speed up the drying time of oil-based paints.
How do Japan driers differ from oil driers?
The primary difference between Japan driers and oil driers lies in their composition. Japan driers contain resins, such as shellac, which provide a hard, glossy finish and quick drying time. Oil driers, on the other hand, do not contain resins and are preferred for applications requiring flexibility and long-term durability, especially in exterior settings. This makes oil driers more suitable for applications where cracking or brittleness over time is a concern.
What role do manganese and lead play in Japan driers?
Manganese and lead are crucial components in the drying process facilitated by Japan driers. Manganese acts as a catalyst that initiates the drying process, while lead helps to sustain and complete the drying, ensuring a uniform film. Manganese is particularly effective but must be used carefully to prevent overly rapid drying, which could compromise the flexibility of the paint film.
Are Japan driers suitable for all types of artwork?
Japan driers are ideal for artwork that requires a quick drying time and a hard, glossy finish. They are particularly effective in controlled environments where the artwork will not be exposed to extreme weather conditions or significant movement. However, for exterior works or projects that demand flexibility, oil driers without resin are generally preferred due to their ability to withstand environmental stress without cracking.
Why is the choice of drier important in paint longevity?
The choice of drier is crucial because different driers influence the drying time, flexibility, and durability of the paint. For instance, a paint that dries too quickly may become brittle and crack over time, while a paint that dries too slowly may not cure properly. Understanding the chemical properties of the drier used, such as the roles of manganese and lead in Japan driers, helps artists create works that maintain their integrity and appearance over time.
What are the historical uses of shellac in Japan driers?
Historically, shellac was a significant component in Japan driers due to its excellent film-forming properties and ability to create a durable, glossy finish. Shellac-based Japan driers were particularly valued in the production of paints for surfaces that demanded a quick-drying, water-resistant, and visually appealing finish, such as in lacquerwork and metal finishing. Although modern Japan driers may contain less shellac, its legacy remains in the preference for resins that enhance the durability and aesthetic quality of painted surfaces.
How should artists choose between Japan driers and oil driers?
Artists should choose between Japan driers and oil driers based on their project's specific requirements. Japan driers are best for applications requiring quick drying and a hard, glossy finish, making them ideal for artworks that need to be completed rapidly. Oil driers, on the other hand, are better suited for exterior works or projects where flexibility and long-term durability are essential. The absence of resin in oil driers reduces the risk of cracking over time, making them more appropriate for works exposed to variable environmental conditions.
What are the safety considerations when using Japan driers?
Japan driers contain hazardous materials, including solvents and metallic salts like lead and manganese, which can pose health risks if not handled properly. Artists should use these driers in well-ventilated areas, wear protective clothing and gloves, and avoid inhaling fumes or allowing the drier to come into contact with skin. Proper storage and disposal of these materials are also essential to minimize environmental impact and ensure safety.
What is Japanner's Gold Size?
Japanner's Gold Size is a powerful drying oil historically used by artists, particularly in the 19th century. It is known for its ability to expedite the drying process of oil paints, especially when working with slow-drying dark and transparent colors. The composition typically includes linseed oil, red lead, litharge, and other substances that are boiled together to create a highly effective drying medium.
How is Japanner's Gold Size related to Japan Driers?
Japanner's Gold Size and Japan Driers are closely related, with both serving as drying agents in oil painting. They share similar compositions and functions, with Japanner's Gold Size being a variation that was particularly powerful and recommended for use with slow-drying colors. Both were used extensively in the 19th century to speed up drying times and achieve specific effects in glazing techniques.
Why were Japanner's Gold Size and Japan Driers recommended for slow-drying colors?
Japanner's Gold Size and Japan Driers were recommended for slow-drying colors, such as dark and transparent pigments because these colors naturally take longer to dry. The potent drying properties of these mediums ensured that the paint would dry in a reasonable timeframe, allowing artists to layer and glaze without extended delays. This was particularly important in achieving the desired finish and clarity in dark glazes.
How were Japanner's Gold Size and Japan Driers used in the 19th century?
In the 19th century, Japanner's Gold Size and Japan Driers were widely used by artists to control the drying time of their oil paints. They were particularly valued for glazing techniques, where they helped maintain the vibrancy and clarity of dark and transparent colors. These driers were also listed consistently in the catalogs of major art suppliers, reflecting their importance in artistic practices of the time.
What were the challenges in making Japanner's Gold Size?
The preparation of Japanner's Gold Size required specialized knowledge and precise control of boiling times and ingredient ratios. If not boiled long enough, the drying time could be too slow; if boiled too long, the mixture could become coagulated or slimy. Due to these challenges, it was more common for artists to purchase Japanner's Gold Size from reputable suppliers rather than attempting to make it themselves.
Is Japanner's Gold Size still used today?
While modern formulations of drying agents have evolved, the principles behind Japanner's Gold Size continue to influence contemporary products. Today, artists may use similar driers that offer controlled drying times and are compatible with various pigments. However, the exact historical formulation of Japanner's Gold Size is less common, with modern alternatives providing safer and more consistent results.
