I do realize this is breaking all the rules of egg tempera (painting on an acrylic flexible ground, and rolling it up to boot), but I thought it's worth the experiment and reaching out to experts because I love painting with egg tempera and want to avoid acrylic if at all possible. I should also mention, these murals are only interior.
#Luscious jackson c9 moves you install
If I paint a large canvas with egg tempera, roll it up, and install it within a month or two, will the paint crack, be damaged, and/or delaminate? What is the window that egg tempera becomes brittle? Of course, if the mural is removed decades down the road, that would be a different story. I know egg tempera does get brittle with age, but I'm not familiar to what extent, since I've only ever painted on gessoed wood panels. Is egg tempera an option for marouflage? In my initial tests, it seems to adhere to the canvas well (Caravaggio #504, acrylic-primed 100% polyester) and remains flexible, initially at least. I greatly prefer egg tempera to acrylic in almost every respect.
I have experience with marouflage (painting on canvas, then adhering to the wall) murals with acrylic. Fingers crossed that it is easily remedied.
I do hope you'll have good news for me and that this won't cause any adhesion problems down the road. Thanks in advance for your help and advice. It is a very large canvas, so for both monetary and time reasons, starting over isn't an option. I definitely hope that you won't think it is necessary. This particular painting is part of a larger project for which I have a deadline. It looks like the whitish shapes settled into texture made by the hand-applied acrylic dispersion primer "gesso", because the paint layers themselves are fairly smooth and applied mechanically thin. (Incidentally, this surface texture is only visible by zooming in on the photo - it isn't apparent to the naked eye or touch - and it seems like if the turps bit into the paint layer enough to create the texture, that it would either have revealed the underpainting or the white primer.) I've attached a photograph for your reference. I'm also wondering if varnishing later will take care of it? I also follow the fat-over-lean rules, and never adulterate my paint more than 20%. I had started this work with a solvent-based alkyd oil medium, then switched to the walnut alkyd oil medium, though the affected area is comprised of just a couple of layers with the original medium. I do plan to overpaint, though I had been planning to just add highlights and shadows to this region rather than overpaint the entire area - though if that's what I need to now do, I will. I use a high-quality paint with a walnut oil binder, so there shouldn't be any impurities in the paint itself. It kind of looks like a patterned version of sinking in. I wondered if something migrated up, or if I disturbed the binder too much, etc when I cleaned the surface with the turps? It got a little better (and when the surface was wet with OMS it looked fine), but once the OMS dried, the rings were still there.
As soon as the solvents dried, I saw a faint white residue that was comprised of many whitish "rings." I had used a freshly-laundered rag that had previously been used for oil painting, so I came back in with another treatment of OMS and a new clean rag, thinking that perhaps a thin veneer of oil that made it through the laundering process had been deposited by the rag. In a case of "what's done is done", since I'd had good luck in the past with cleaning spots/stains off of an in-progress painting with artist's recified turpentine then cleaning off any potential residue with OMS, that was the approach I took earlier this week on one area of this painting. I began a large oil on linen several years ago, and picked it back up again when I received grant funds to complete the project.
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