Paint peeling, canvas cracking and color fading of aged artworks symbolize the passage of time and human activity. However, as PIGMENT TOKYO is a place that offers high-quality painting materials, we want to prevent such an aging process from happening as much as possible.
The Mona Lisa, a masterpiece by Leonardo da Vinci, has fine spider-web cracks on its back, this phenomenon is called craquelure in art terminology. The craquelure appears gradually as painting ages over time and is difficult to make intentionally, therefore, it has an important role in validating the authenticity of paintings.
Although cracks can occur for a variety of reasons related to substrates, types of gesso, mediums and storage environment, one of the common reasons is the difference in drying speed between the surface paint and the undercoat.
Some would say, this is also a way to appreciate the beauty that occurs over time which is unique to oil paintings.
It is not easy to reproduce the art created over time, but there is a medium that can easily give an aged look to the surface of a painting.
It is called "Cracking Medium" from DERIVAN.
This product is only available in-store, so if you would like to purchase it online, feel free to contact us through the inquiry form.
This product allows artists to create cracks on the painting surfaces with water-based paints.
However, one thing to keep in mind is this medium is not for mixing with paint like modeling paste or gel medium. Please refer to the following steps when you work with it.
1. Paint Underlayer
Firstly, we need to paint the bases. Since the color underneath will show through the cracks, using different colors makes the cracks more visible. In this article, I applied gesso on the wood panel and painted MATSUDA Acrylic Pearl Color Pearl Silver over it.
Black gesso is painted underneath to increase the metallic effect of the paint.
2. Paint Cracking Medium
Apply just enough of Cracking Medium to the painting surface without mixing any paint.
Paintbrushes made of nylon are recommended because the bristle is sturdier than the animal hair which makes them easier to spread the medium.
Remember not to apply multiple coats of this medium, as it is made to have a high viscosity so it is supposed to be applied at a fair thickness and will flatten out as it dries.
If multiple coats are applied, it may not produce the correct cracking effect, also please allow it to be dried completely before moving to the next process.
Moreover, it is possible to use an airbrush for a large area. In that case, do not add more than 25% of water because this may cause the airbrush to clog. Furthermore, when spraying with an airbrush, there is a potential risk of affecting human bodies, so please always wear a mask and ventilate the room so as not to inhale the fumes.
It is recommended to pour the Cracking Medium onto a plate before use. Nylon brushes are available on our online store, click the link below for more information.
PIGMENT TOKYO “Shiranami Brush”
3. Apply Paint
Once the medium is dry, apply paint on top within 12 hours. It is best to apply the paint with one stroke in one direction without applying multiple layers to achieve a clean finish.
If you reapply the paint, the Cracking Medium will be separated from the painted surface and prevent it from cracking.
For this article, I made six samples with the same base coat but different colors and applications.
The image on the left is gold on a silver base. It has a smooth and serene look that reminds me of Japanese packaging paper. On the right side is a mixture of Cracking Medium and acrylic paint. As you can see, simply mixing the two does not change the surface.
Be sure to apply the medium by itself and let it dry completely before applying the paint you want to create the cracking effect.
【Art Materilas Used】
Substrate: Wooden panel
Medium: DERIVAN Cracking Medium
Left: Matsuda Acrylic Pearl Color Pearl Silver, Pearl Color Gold
Right: Matsuda Acrylic Paint Ultramarine
The following is a sample of yellow on top of silver on the left, and the right sample is applied red on top of the yellow.
Layering colors that have different brightness and saturation such as the combination of yellow and red makes the cracking texture more visible.
【Art Materilas Used】
Substrate: Wooden panel
Medium: DERIVAN Cracking Medium
Left: Matsuda Acrylic Paint Cadmium Yellow
Right: Matsuda Acrylic Paint Cadmium Yellow, Cadmium Red
Finally, below is a sample of what happens when Cracking Medium is applied on top of the mixture of paint and Cracking Medium, and then apply another layer of the Cracking Medium. The paint on the layer of ultramarine that was half-dried began to shrink, creating a reticulated and wrinkled texture. On the other hand, the cracking that appeared on top of it has an indescribable look.
However, this is not a suggested way to use this product by the manufacturer. If you wish to use this method, please test it for durability before applying it to your art pieces.
【Art Materilas Used】
Substrate: Wooden panel
Medium: DERIVAN Cracking Medium
Color Material: Matsuda Acrylic Ultramarine, Cadmium Red Purple
4. Finish
Cracks sometimes occur along the brush strokes. In this case, I applied a thin coat and moved the brush in one direction, but it was possible to create a curved pattern of cracks with different stroke movements.
Moreover, thicker coats can create larger cracks.
Varnish is not required, but it can be used for a more glossy finish.
There are many more ways to apply this Cracking Medium not limited to painting, such as using a sponge or roller when applying the medium to create irregular thickness and cracks, creating a wood-grain-like texture or creating antique-style picture frames.
Cracking is more likely to occur when painted with pigments that contain a lot of extenders, so it may be interesting to experiment with different types of paints like Suihi pigments or cracking the gesso itself.
Translated by Atsumi Okano, Nelson Hor Ee Herng
PIGMENT TOKYO Art Materials Experts
Art Materials Expert at PIGMENT TOKYO
Akira Oya
Born in 1989 in Tokyo. Master of Fine Art and Design at Nihon University College of Art.
He also continues his career as a visual artist.
Born in 1989 in Tokyo. Master of Fine Art and Design at Nihon University College of Art.
He also continues his career as a visual artist.