上圖是民國86年在一位浪漫又無知的窮學生油畫課堂中，直接使用市面上的棉製畫布及牛頓COTMAN級的群青顏料作的Color Chart，並將之存放於不見光的地下室，至今超過十多年才意外發現它的存在，結果...........真慘喔!，可以說完全沒有與畫布結合，一片一片的剝落，非常硬，表面長滿黴菌，宜蘭濕氣果真厲害，雖然知道表面黴菌絕大部分是濕氣造成，但顏料沒跟畫布結合，卻讓我吃驚，深刻了解畫布本身與顏料間結合的重要性，看來這部分得再多研究。
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- 5月 11 週三 201122:37
喔~~~好恐怖!
請問這張顏料是厚塗嗎
是的，當時完全不認識油畫顏料這玩意兒!就給它厚厚的抹上去，還有許多顏色，我再整理出來，請大家過目。
曾經看過一個收藏畫展 有一位台灣前輩畫家的畫作上 有類似顏料剝皮的現象 另一端還黏在畫布上 他也是採用厚塗法... 我想大師級人物用的畫材應該都不會太差 所以很可能是因為厚塗的原因喔 !! 提供您參考~
雖然不知是哪位大師的作品，早期台灣物資缺乏與資訊落後的關係，許多前輩大師的作品與材料，大多都比現代材料還糟，我這色彩脫落的原因很複雜，顏料厚塗或許有些許影響，但最主要是先天不良，畫布未作處理，顏料的品質，後天又失調，存放地點極差，現在我有信心不會再發生此剝落現象!
您竟然還留下...厲害!
捨不得呀，那段青澀的大學生活。
我想請問應選擇哪種畫布呢?我是個繪畫初哥,現在都是用巿面連框的畫布。雖然不是名作,但都想自己的作品能夠保存久一點呢!
能選擇全麻布當然最好，較能因應濕氣變化，不過價格也高了許多，買整卷的全麻布回來自己繃，可以省很多喔，還有就是打底要確實，對畫面呈現及未來修復有關鍵性的幫助。
那個凶手是誰? 是那一個隱居宜蘭 現在油畫界無人不知無人不曉的高手嗎? 哈
至今只有除溼大俠與防潮人能抵抗之.....
Sorry, I'll write in French: Le pigment bleu outremer (French ultramarine) ne convient absolument pas à la peinture à l'huile car il est détruit avec le temps par l'acidité de l'huile. Cela n'a rien à voire avec l'humidité du lieu.
Welcome~~ [à l'huile car il est détruit avec le temps par l'acidité de l'huile],you mean the Oleic acid will destroy Franch Ultramarine.How about other Ultramarine? This French Ultramarine is WN cotman oil color,it's not pure,I have made another color chart by artist's oil color(including WN artist's French Ultramarine) three years ago.They look good until today.I'll keeping watching them and I hope they won't cracking someday.
Sorry my English is not very good. About the color French Ultramarine (Bleu Outremer in french), the important thing is the pigment. The oldest one is made with Lapis Lazulis and is the best, it will never fade or crack BUT! this natural pigment is very expensive! About 1827 a french chimist found the formula to made an artificial pigment (PB29) identical to the Lapis Lazulis color at a much lower price. But PB29 is very sensitive to acidity which destroy it. As maybe you know, the acidity of linen oil once painted is growing with time, it's a matter of 10, 20, 50 years or more. The acidity can even destroy the canvas if it's not properly prepared. So it 's wise to never use oil color with pure PB29, never alone, only very small part mixed with other blue, PB15 (Phtalocyanine Blue) or PB35 (Cerulean Blue) for exemple. With other non acid media: water color, gouache, acrylic... PB29 does'nt have this problem. So it better to avoid oil color with pure PB29 whatever the name or brand, it should be used very cautiously if you want your painting to last 50, 100 years or more. PS: I'am not Chinese but I can read but not write Chinese (it's an other story!)
OK,I'll use Chinese for you. 我卻實在書中看到關於脂肪酸會損害artificial ultramarine。更重要的是油乾性變黃的色澤會大大影響藍色系顏料，果真是沒有完美的產品。
I just found it here: "Ultramarine pigments have a restricted acid resistance which limits the variety of applications of this pigment class. Specially modified qualities with improved acid resistance can be offered as interesting alternatives." http://www.habich.com/en/inorganic-pigments/ultramarine-pigments.html Between Natural Ultramarine (very expensive) and the Artifcial Utramarine ther's no doudt by their price. But it can be confusing among Artificial Ultramarine of different qualities: you hardly know what you are buying.
那讓我們祈禱Lapis Lazuli來個超級大降價，這大概只能在夢裡才能實現吧＠＠ 土撥鼠那罐Lapis Lazuli根本捨不得用，一直放在防潮箱，偶而看看她，就覺得滿足，土撥鼠怪怪地！