Gesso: Difference between revisions

Content deleted Content added

Inline

Revision as of 09:13, 10 January 2023

Gesso (Italian pronunciation: [ˈdʒɛsso]; "chalk", from the Template:Lang-la, from Template:Lang-el), also known "glue gesso" or "Italian gesso",^[1] is a white paint mixture consisting of a binder mixed with chalk, gypsum, pigment, or any combination of these.^[2] It is used in painting as a preparation for any number of substrates such as wood panels, canvas and sculpture as a base for paint and other materials that are applied over it.

Composition

Gesso is a traditional mix of an animal glue binder (usually rabbit-skin glue), chalk, and white pigment, used to coat rigid surfaces such as wooden painting panels or masonite as a permanent absorbent primer substrate for painting. The colour of gesso is usually white or off-white. Its absorbency makes it work with all painting media, including water-based media, different types of tempera and oil paint. It is also used as a base on three-dimensional surfaces for the application of paint or gold leaf.^[3]

Mixing and applying it is a craft in itself, as it is usually applied in ten or more extremely thin layers. The hide glue mixture used to make the traditional gesso is rather brittle and susceptible to cracking, thus making it suitable for rigid surfaces only.

Variations

Half-chalk ground

For priming flexible canvas, an emulsion of gesso and linseed oil, also called "half-chalk ground", is used.^[4]

Acrylic gesso

Acrylic gesso is a mixture of white pigment and some kind of filler (chalk, silica, etc.) and acrylic resin dispersed in water. It produces a soft, flexible non-absorbent surface that is technically not gesso (although it is commonly called that by its manufacturers).^[5]^[6] It can contain calcium carbonate (CaCO₃) to increase the absorbency of the primer coat as well as titanium dioxide or "titanium white" as a whitening agent. It is sold premixed for both sizing and priming panels and flexible canvas for painting. Art supply manufacturers market canvases pre-primed with acrylic gesso.

Acrylic gesso can be colored, either commercially by replacing the titanium white with another pigment, such as carbon black, or by the artist directly, with the addition of an acrylic paint. Acrylic gesso can be odorous, due to the presence of ammonia and/or formaldehyde, which are added in small amounts as preservatives.

Acrylic gesso's non-absorbent acrylic polymer base makes it incompatible with media that require an absorbent substrate, such as egg tempera.^[7] The Painter's Handbook notes a problem with using oil paints over an acrylic gesso ground instead of a traditional oil ground, citing a mismatch in flexibility that over time could cause the oil paint to delaminate.^[8]

Uses

Gesso is used by sculptors to prepare the shape of a final sculpture (fused bronze) or directly as a material for sculpting. Gesso can also be used as a layer between sculpted wood and gold leaf.^[9] In this case, a layer of refined and coloured clay called 'bole' is used to cover the gesso before applying the gold.^[10] Bole is usually red in colour.

Notes

^ The Painter's Handbook: A Complete Reference by Mark David Gottsegen. p. 321 Archived June 3, 2015, at the Wayback Machine
^ Daniel Varney Thompson (January 1956). The materials and techniques of medieval painting. p. 32. ISBN 9780486203270. Retrieved 2014-04-09 – via Books.google.com.
^ Lettering & Calligraphy Workbook. Diagram Group. 2006. p. 148. ISBN 9781402741012. Retrieved 2014-04-09 – via Books.google.com.
^ The Painter's Handbook: A Complete Reference by Mark David Gottsegen, p. 64
^ The Painter's Handbook: A Complete Reference, by Mark David Gottsegen. p. 321 Archived June 3, 2015, at the Wayback Machine
^ Michael Friel (2010). Still Life Painting Atelier: An Introduction to Oil Painting. Random House Digital, Inc. p. 58. ISBN 9780823034086. Retrieved 2014-04-09 – via Books.google.com.
^ Altoon Sultan (1999). Luminous Brush: Painting with Egg Tempera. p. 33. ISBN 9780823028887. Retrieved 2014-04-09 – via Books.google.com.
^ Gottsegen, Mark David (2006). Painter's Handbook: Revised and Expanded (Revised, Expanded ed.). New York: Watson-Guptill. p. 60. ISBN 978-0-8230-3496-3.
^ "What Does That Do: Gesso Carving Chisels". Chicago: The Conservation Center. November 29, 2017. Retrieved May 23, 2020. {{cite magazine}}: Cite magazine requires |magazine= (help)
^ Thompson, Daniel V. (2012). The Materials and Techniques of Medieval Painting. Dover Publications. p. 219. ISBN 9780486142036.

References

"The Technique of Raised Gilding" by Jerry Tresser, 1992.

External links

Media related to Gesso at Wikimedia Commons

[1] The Painter's Handbook: A Complete Reference by Mark David Gottsegen. p. 321 Archived June 3, 2015, at the Wayback Machine

[2] Daniel Varney Thompson (January 1956). The materials and techniques of medieval painting. p. 32. ISBN 9780486203270. Retrieved 2014-04-09 – via Books.google.com.

[3] Lettering & Calligraphy Workbook. Diagram Group. 2006. p. 148. ISBN 9781402741012. Retrieved 2014-04-09 – via Books.google.com.

[4] The Painter's Handbook: A Complete Reference by Mark David Gottsegen, p. 64

[5] The Painter's Handbook: A Complete Reference, by Mark David Gottsegen. p. 321 Archived June 3, 2015, at the Wayback Machine

[6] Michael Friel (2010). Still Life Painting Atelier: An Introduction to Oil Painting. Random House Digital, Inc. p. 58. ISBN 9780823034086. Retrieved 2014-04-09 – via Books.google.com.

[7] Altoon Sultan (1999). Luminous Brush: Painting with Egg Tempera. p. 33. ISBN 9780823028887. Retrieved 2014-04-09 – via Books.google.com.

[8] Gottsegen, Mark David (2006). Painter's Handbook: Revised and Expanded (Revised, Expanded ed.). New York: Watson-Guptill. p. 60. ISBN 978-0-8230-3496-3.

[9] "What Does That Do: Gesso Carving Chisels". Chicago: The Conservation Center. November 29, 2017. Retrieved May 23, 2020. {{cite magazine}}: Cite magazine requires |magazine= (help)

[10] Thompson, Daniel V. (2012). The Materials and Techniques of Medieval Painting. Dover Publications. p. 219. ISBN 9780486142036.

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

@@ Line 1: / Line 1: @@
 {{Short description|Paint base layer}}
 {{For|the Italian geology term ''gesso''| gypsum}}
+[[file:St. Michael & All Angels Church, Lyndhurst -Gesso Panel.JPG|thumb|A restored gesso panel representing [[Martin of Tours|St. Martin of Tours]]. From St. Michael and All Angels Church, Lyndhurst, Hampshire]]
-'''Gesso''' ({{IPA-it|ˈdʒɛsso}}; "[[chalk]]", from the {{lang-la|[[gypsum]]}}, from {{lang-el|γύψος}}) is a white [[paint]] mixture consisting of a [[Binder (material)|binder]] mixed with [[chalk]], [[gypsum]], [[pigment]], or any combination of these.<ref>{{cite book|author=Daniel Varney Thompson|url=https://books.google.com/books?id=I1DFuGQeG10C&pg=PA32|title=The materials and techniques of medieval painting|date = January 1956|page=32|isbn = 9780486203270|access-date=2014-04-09|via=Books.google.com}}</ref> It is used in painting as a preparation for any number of substrates such as wood panels, [[canvas]] and sculpture as a base for paint and other materials that are applied over it.
-[[File:Gesso acrylic brush.jpg|thumb|Acrylic gesso]]
-[[File:St. Michael & All Angels Church, Lyndhurst -Gesso Panel.JPG|thumb|A restored gesso panel representing [[Martin of Tours|St. Martin of Tours]]. From St. Michael and All Angels Church, Lyndhurst, Hampshire.]]
+'''Gesso''' ({{IPA-it|ˈdʒɛsso}}; "[[chalk]]", from the {{lang-la|[[gypsum]]}}, from {{lang-el|γύψος}}), also known "glue gesso" or "Italian gesso",<ref>[https://books.google.com/books?id=o23u0SuRLxsC&pg=PA321 ''The Painter's Handbook: A Complete Reference'' by Mark David Gottsegen. p. 321] {{webarchive |url=https://web.archive.org/web/20150603155459/https://books.google.com/books?id=o23u0SuRLxsC&pg=PA321 |date=June 3, 2015 }}</ref> is a white [[paint]] mixture consisting of a [[Binder (material)|binder]] mixed with [[chalk]], [[gypsum]], [[pigment]], or any combination of these.<ref>{{cite book|author=Daniel Varney Thompson|url=https://books.google.com/books?id=I1DFuGQeG10C&pg=PA32|title=The materials and techniques of medieval painting|date = January 1956|page=32|isbn = 9780486203270|access-date=2014-04-09|via=Books.google.com}}</ref> It is used in painting as a preparation for any number of substrates such as wood panels, [[canvas]] and sculpture as a base for paint and other materials that are applied over it.
-==Description==
-"''Gesso''", also known "glue gesso" or "Italian gesso",<ref>[https://books.google.com/books?id=o23u0SuRLxsC&pg=PA321 ''The Painter's Handbook: A Complete Reference'' by Mark David Gottsegen. p. 321] {{webarchive |url=https://web.archive.org/web/20150603155459/https://books.google.com/books?id=o23u0SuRLxsC&pg=PA321 |date=June 3, 2015 }}</ref> is a traditional mix of an animal glue binder (usually [[rabbit-skin glue]]), chalk, and white pigment, used to coat rigid surfaces such as wooden [[panel painting|painting panels]] or [[masonite]] as a permanent absorbent [[Primer (paint)|primer]] substrate for [[painting]]. The colour of gesso is usually white or off-white. Its absorbency makes it work with all painting media, including water-based media, different types of [[tempera]] and [[oil paint]]. It is also used as a base on three-dimensional surfaces for the application of paint or [[gold leaf]].<ref>{{cite book|url=https://books.google.com/books?id=OHa9dxrh5g0C&pg=PA148 |title=Lettering & Calligraphy Workbook |year=2006 |publisher= Diagram Group| page= 148 |isbn=9781402741012 |via=Books.google.com |access-date=2014-04-09}}</ref>
+== Composition ==
+Gesso is a traditional mix of an animal glue binder (usually [[rabbit-skin glue]]), chalk, and white pigment, used to coat rigid surfaces such as wooden [[panel painting|painting panels]] or [[masonite]] as a permanent absorbent [[Primer (paint)|primer]] substrate for [[painting]]. The colour of gesso is usually white or off-white. Its absorbency makes it work with all painting media, including water-based media, different types of [[tempera]] and [[oil paint]]. It is also used as a base on three-dimensional surfaces for the application of paint or [[gold leaf]].<ref>{{cite book|url=https://books.google.com/books?id=OHa9dxrh5g0C&pg=PA148 |title=Lettering & Calligraphy Workbook |year=2006 |publisher= Diagram Group| page= 148 |isbn=9781402741012 |via=Books.google.com |access-date=2014-04-09}}</ref>
 Mixing and applying it is a craft in itself, as it is usually applied in ten or more extremely thin layers. The hide glue mixture used to make the traditional gesso is rather brittle and susceptible to cracking, thus making it suitable for rigid surfaces only.
-==Variations==
+== Variations ==
-===Half-chalk ground===
+=== Half-chalk ground ===
 For priming flexible [[canvas]], an [[emulsion]] of gesso and [[linseed oil]], also called "half-chalk ground", is used.<ref>[https://web.archive.org/web/20160624135136/https://books.google.com/books?id=o23u0SuRLxsC&pg=PA64 ''The Painter's Handbook: A Complete Reference'' by Mark David Gottsegen, p. 64]</ref>
-===Acrylic gesso===
+=== Acrylic gesso ===
+[[file:Gesso acrylic brush.jpg|thumb|Acrylic gesso]]
 Acrylic gesso is a mixture of white pigment and some kind of filler (chalk, silica, etc.) and [[acrylic resin]] dispersed in water. It produces a soft, flexible non-absorbent surface that is technically not ''gesso'' (although it is commonly called that by its manufacturers).<ref>[https://books.google.com/books?id=o23u0SuRLxsC&pg=PA321 ''The Painter's Handbook: A Complete Reference'', by Mark David Gottsegen. p. 321] {{webarchive |url=https://web.archive.org/web/20150603155459/https://books.google.com/books?id=o23u0SuRLxsC&pg=PA321 |date=June 3, 2015 }}</ref><ref>{{cite book|url=https://books.google.com/books?id=eQkf05ZPoysC&pg=PA56 |author=Michael Friel |title=Still Life Painting Atelier: An Introduction to Oil Painting|publisher= Random House Digital, Inc| page =58 |via=Books.google.com |date=2010 |isbn=9780823034086 |access-date=2014-04-09}}</ref> It can contain calcium carbonate (CaCO<sub>3</sub>) to increase the absorbency of the primer coat as well as [[titanium dioxide]] or "titanium white" as a whitening agent. It is sold premixed for both [[sizing]] and priming panels and flexible [[canvas]] for [[painting]]. Art supply manufacturers market canvases pre-primed with acrylic gesso.
@@ Line 21: / Line 26: @@
 Acrylic gesso's non-absorbent acrylic polymer base makes it incompatible with media that require an absorbent substrate, such as egg tempera.<ref>{{cite book|url=https://books.google.com/books?id=CU56YgWzIM8C&pg=PA33 |author=Altoon Sultan|title= Luminous Brush: Painting with Egg Tempera|year=1999| page =33 |isbn=9780823028887|via=Books.google.com |access-date=2014-04-09}}</ref> ''The Painter's Handbook'' notes a problem with using oil paints over an acrylic gesso ground instead of a traditional [[oil ground]], citing a mismatch in flexibility that over time could cause the oil paint to delaminate.<ref>{{Cite book| edition = Revised, Expanded| publisher = Watson-Guptill| isbn = 978-0-8230-3496-3| last = Gottsegen| first = Mark David| title = Painter's Handbook: Revised and Expanded| location = New York| date = 2006| page=60}}</ref>
-== Use in sculpture ==
+== Uses ==
-Gesso is used by [[sculpture|sculptors]] to prepare the shape of a final sculpture (fused bronze) or directly as a material for sculpting.
+Gesso is used by [[sculpture|sculptors]] to prepare the shape of a final sculpture (fused bronze) or directly as a material for sculpting. Gesso can also be used as a layer between sculpted wood and gold leaf.<ref>{{cite magazine |author=<!--Staff writer(s); no by-line.--> |title=What Does That Do: Gesso Carving Chisels  |url=http://www.theconservationcenter.com/articles/2017/11/27/what-does-that-do-gesso-carving-hooks |location=Chicago |publisher=The Conservation Center |date=November 29, 2017 |access-date=May 23, 2020 }}</ref> In this case, a layer of refined and coloured clay called 'bole' is used to cover the gesso before applying the gold.<ref>{{cite book | last = Thompson | first = Daniel V. | title = The Materials and Techniques of Medieval Painting | publisher = Dover Publications | year = 2012 | page=219 | isbn = 9780486142036 |url=https://www.google.com/books/edition/The_Materials_and_Techniques_of_Medieval/MU68AQAAQBAJ?hl=en&gbpv=1&dq=gold+leaf+gesso&pg=PA219&printsec=frontcover}}</ref> Bole is usually red in colour.
-Gesso can also be used as a layer between sculpted wood and gold leaf.<ref>{{cite magazine |author=<!--Staff writer(s); no by-line.--> |title=What Does That Do: Gesso Carving Chisels
- |url=http://www.theconservationcenter.com/articles/2017/11/27/what-does-that-do-gesso-carving-hooks |location=Chicago |publisher=The Conservation Center |date=November 29, 2017 |access-date=May 23, 2020 }}</ref> In this case, a layer of refined and coloured clay called 'bole' is used to cover the gesso before applying the gold.<ref>{{cite book | last = Thompson | first = Daniel V. | title = The Materials and Techniques of Medieval Painting | publisher = Dover Publications | year = 2012 | page=219 | isbn = 9780486142036 |url=https://www.google.com/books/edition/The_Materials_and_Techniques_of_Medieval/MU68AQAAQBAJ?hl=en&gbpv=1&dq=gold+leaf+gesso&pg=PA219&printsec=frontcover}}</ref> Bole is usually red in colour.
 == See also ==
 * [[Primer (paint)]]
-==References and sources==
+== Notes ==
-; References
-{{Reflist}}
+{{refs}}
-; Sources
+== References ==
+{{refbegin}}
 * [http://www.jtresser.com/GILDERTIPS.html "The Technique of Raised Gilding"] by Jerry Tresser, 1992.
+{{refend}}
+== Further reading ==
-==Further reading==
 * {{cite journal|author=Crane, Walter|author-link=Walter Crane|title=Gesso Work|journal=The Studio|volume=1|issue=2|date=May 1893|pages=45–49|url=https://babel.hathitrust.org/cgi/pt?id=pst.000068818081;view=1up;seq=57}}
 == External links ==
-* {{Commons category-inline|Gesso}}
+* {{commonscat-inline}}
 [[Category:Gilding]]