In response to the idea of saving the sketch....I think that you can get a
permanent light underdrawing that will not lift or mix into your glazes by
sketching in metallpointe or silverpointe on a gessoed panel or canvas....I
believe that is how the earliest northern oil painters worked (making a
grisaille
drawing and then glazing over it with oil paints...if you want a darker
drawing,  try drawing ink.....you can also isolate your original drawing in
almost any medium using a layer of retouch varnish.....technicians out there
correct me if I am wrong about any of these ideas...I am always concerned about
preserving the spontaneity of the initial sketch and have big frustrations when
my underdrawings are washed away with the solvents in my medium.
I've been hoping that the metallpointe would help but I haven't tried it yet
myself.......Elissa

"Joan H. Lee" wrote:

> In a message dated 9/29/01 11:16:04 AM, [log in to unmask] writes:
>
> << Has anyone ever used rabbit skin glue on linen? I want to be able to use
> linework and glaze over it with
> some type of paint that will let the lines still show though, and still be
> full color. >>
>
> Rabbit skin glue is a common size for linen but it must be reinforced  with
> something such as gesso or it has little stability and the picture will
> likely scale. It takes some experimentation to get the right formula so make
> several samples. Request materials sheets or brochures from suppliers, such
> as Daniel Smith.
>
>  The usual layers on a painting are: linen, GLUE, first ground coating,
> second ground coating, followed by the painting, and finally the varnish and
> sometimes wax. (Wax repels dirt but it does yellow with time.)
> For color pigments avoid the opaque colors and experiment with the colors
> that give a light glazing effect. Some yellows, sienna, and ultramarines come
> to mind. Best to make color charts, using the colors in thin glazes to study
> the effects. Different manufacturers' colors give different results. Consult
> The Artist's Handbook by Ralph Mayer for extensive information about
> materials and techniques. He offers an exhaustive study of pigments and their
> behavior.  Joan H. Lee