Uses of Poppy oil, Walnut oil, and Lavender Retouch Varnish
What are the effects and uses of Poppy oil, Walnut oil, and Lavender Retouch Varnish for artist painting with oil painting and egg tempera painting?
Below is a concise, studio‑tested rundown of how each material behaves, why artists reach for it, and the main “do’s & don’ts” when you combine them with oil colors or traditional egg tempera panels.
1. Poppy Oil
(Often labeled “poppy seed oil,” a slow‑drying, very pale drying oil)
| Aspect | Oil‑painting use | Egg‑tempera use | Key take‑aways |
|---|---|---|---|
| Dry‑time | Slow – 5‑10 days touch‑dry vs. 1‑3 days for linseed. Good for wet‑in‑wet blending or glazing. | Not used as a binder; but a few artists wipe a whisper‑thin layer onto a fully cured tempera panel before glazing with oil (“tempera‑grassa” technique). | Build thin; avoid in thick impasto where wrinkling and yellowing risk grows. |
| Color shift / yellowing | Palest of the drying oils; yellows less than linseed or walnut. | N/A | Excellent for final lights, cool tints, whites. |
| Film strength / durability | Slightly weaker, more brittle than linseed. | N/A | Keep lean (little additional medium) in first layers; reserve for upper‑most passages. |
| Handling feel | Longer, silkier stroke; less tack. | – | Mix with a touch of solvent for smooth, enamel‑like glazes. |
| Clean‑up / health | Comparable to other vegetable drying oils; non‑toxic but can spontaneously combust on rags. | – | Dispose of rags in water‑filled metal can. |
When to pick it
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Ultra‑pale highlights, delicate pastel passages, or icy glazes where linseed’s amber cast would muddy the hue.
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Extended open time for subtle blends (portrait flesh, sky gradations).
2. Walnut Oil
(Traditional Renaissance binder; medium‑slow dryer with balanced properties)
| Aspect | Oil‑painting use | Egg‑tempera use | Key take‑aways |
|---|---|---|---|
| Dry‑time | Moderate – generally 3‑5 days touch‑dry. | Historical egg‑oil emulsions (“tempera grassa”): 1 part fresh egg yolk : 1 part walnut oil yields a flexible, satin film. | Good all‑rounder; slower than linseed, faster than poppy. |
| Color shift / yellowing | Noticeably paler than linseed, slightly darker than poppy. | Very stable in emulsions, minimal yellowing. | Safe for light tints, but still strong enough for under‑layers. |
| Film strength / durability | Close to linseed; tougher than poppy. | With egg, forms a resilient, slightly flexible film ideal for panel work. | Reliable for alla prima or layered methods. |
| Handling feel | Smooth, less “drag” than linseed, but more body than poppy. | Egg‑oil mix gives buttery, quick‑setting strokes that sand easily after curing. | Great everyday brush feel; minimal brushstroke retention if desired. |
| Clean‑up / health | Food‑grade versions available; same spontaneous‑combustion caution. | – | Pleasant nutty odor; hypo‑allergenic relative to linseed. |
When to pick it
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You want a compromise: slower and paler than linseed but tougher than poppy.
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Making historical egg‑tempera‑grassa layers that transition smoothly to straight oil glazes.
3. Lavender Retouch Varnish
(Usually spike‑lavender solvent + dammar resin in ~20 % solution; marketed by Natural Pigments, Chelsea Classic, etc.)
| Aspect | Oil‑painting use | Egg‑tempera use | Key take‑aways |
|---|---|---|---|
| Purpose | (a) Temporary “in‑progress” varnish that re‑saturates sunken/dry areas; (b) fast‑flash solvent‑rich medium for lean glazing or couching. | Rarely used as a finish; but a light couch (wipe‑on, wipe‑off) can improve oil‑over‑tempera adhesion and value‑matching when you resume work. | Think of it more like a gentle dammar retouch + aromatic solvent than a final varnish. |
| Dry‑time | Surface flashes in minutes; dammar hardens overnight. | Same. | Can resume painting within the hour. |
| Color / gloss | Restores saturation; slight gloss that mimics final varnish look. | Same. | Good preview of final colors; avoid building thick coats (blooming risk). |
| Film strength / removability | Re‑soluble in mild solvents (Turpentine, spike); safe to remove before final varnish. | Same. | Must be over‑varnished or removed after 6–12 months. |
| Handling feel | As a couch: makes surface slick, helps fine detail and wet‑in‑wet merges. | Helps unify absorbent tempera matte spots before oil glazes. | Use sparingly; excess resin in early layers can crack later. |
| Health / odor | Spike‑lavender is less toxic than gum‑turps; still use ventilation. | – | Florid scent; good alt for turpentine allergy. |
When to pick it
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Reviving matte, “sunken‑in” passages mid‑project.
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Light couch to prevent dry‑patch drag in next oil layer.
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Low‑tox studio where turpentine is banned.
Practical Workflow Tips
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Layering order (fat‑over‑lean)
- Tempera panel → tempera‑only layers → optional very lean egg‑oil emulsion (walnut) → fully dry → couch with lavender retouch → oil glazes (walnut or poppy‑rich) → final dammar or synthetic varnish after 6‑12 months.
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Mixing mediums
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Simple glaze: 2 parts poppy (or walnut) : 1 part spike‑lavender retouch = ultra‑smooth, slow‑dry glaze that keeps color brilliant.
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Alla prima modifier: Walnut oil + a drop of spike‑lavender speeds flow without over‑thinning with mineral spirits.
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Avoid common pitfalls
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Don’t bulk‑replace linseed with poppy in thick under‑paintings—risk of wrinkling.
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Keep dammar‑containing retouch layers thin; too much early resin can cause future cracking.
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For egg‑tempera panels, ensure complete carbonization (brittle snap when flexed) before any oil or varnish layer—usually 3–5 days in warm, dry air.
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Clean‑up
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Walnut oil can double as a brush‑washing step before soap and water—helps condition bristles.
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Rags: store in a sealed, water‑filled metal container to eliminate fire risk from oxidizing oils.
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Bottom line
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Poppy oil = coolest whites and long open time; upper‑layer specialist.
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Walnut oil = balanced workhorse; ideal for tempera‑grassa and everyday glazing.
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Lavender retouch varnish = quick, aromatic solution for re‑saturating or “couching” between sessions—great in solvent‑sensitive studios.
Use each deliberately, keep films thin and “fat‑over‑lean,” and these classic ingredients will add finesse (not headaches) to both oil‑painting and mixed egg‑tempera approaches.