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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.


Why oil glazes bead when applied to underlayers and how to (1) abrade a surface so it will hold a glaze or (2) prevent the conditions for beading.
ARTIST'S MAGAZINE Jun 1989 (v.6#6) pg. 86

Water-soluble oil paints for artists, their benefits and problems.
ARTIST'S MAGAZINE Jul 1989 (v.6#7) pg. 35

Tip: How to make oil paint crackle to simulated aged effects.
ARTIST'S MAGAZINE Jul 1989 (v.6#7) pg. 35

Four options other than varnish for making oil paint matte.
ARTIST'S MAGAZINE Aug 1989 (v.6#8) pg. 84

How to paint in oil without solvents. Seven techniques for manipulating oil paints.
ARTIST'S MAGAZINE Oct 1989 (v.6#10) pg. 71

Glazes without glare. How to add wax to oil paints to get deep colors without a distracting shine.
ARTIST'S MAGAZINE Sep 1990 (v.7#9) pg. 56

Use of casein as an underpainting medium for oils is discussed.
ARTIST'S MAGAZINE Oct 1990 (v.7#10) pg. 118

How to work with oil sticks.
ARTIST'S MAGAZINE Feb 1991 (v.8#2) pg. 61

Tips on how to use acrylic medium to prime paper for oil painting.
ARTIST'S MAGAZINE Mar 1991 (v.8#3) pg. 30

Comments on the differences between acrylic and oil paints.
ARTIST'S MAGAZINE Mar 1991 (v.8#3) pg. 31

Discovering the oil medium of the masters. Recipes for (1) basic oil and resin medium and (2) basic oil, resin and balsam medium. Also compares four commercially prepared mediums and describes six lead mediums attributed to Old Masters.
ARTIST'S MAGAZINE Sep 1992 (v.9#9) pg. 84

A method for painting with oils that avoids the hazards of solvents.
ARTIST'S MAGAZINE Feb 1993 (v.10#2) pg. 4
Correction ARTIST'S MAGAZINE May 1993 (v.10#5) pg. 11

Advice on an organized approach to color mixing oil paints and ways to mix large batches and preserve them.
ARTIST'S MAGAZINE May 1993 (v.10#5) pg. 76

Keep your colors clean. How to arrange and mix oil colors for clear, bright paintings.
ARTIST'S MAGAZINE Jun 1993 (v.10#6) pg. 48

Using oil painting mediums with balsam. Includes a recipe for an oil-resin-balsam medium.
ARTIST'S MAGAZINE Aug 1993 (v.10#8) pg. 70

How to prevent oil paints from yellowing.
ARTIST'S MAGAZINE Sep 1993 (v.10#9) pg. 85

Recipes for two additive mediums for oil paints. (1) Basic oil and resin medium ("fat-over-lean") with great thinning properties for even flow and coverage. (2) Oil, resin and balsam medium which is ideal for glazing, precise modeling and broad blending.
ARTIST'S MAGAZINE May 1994 (v.11#5) pg. 11A

Advice on salvaging separated oil primer.
ARTIST'S MAGAZINE Oct 1995 (v.12#10) pg. 36

Advice on mixing oil glazes to minimize drying problems.
ARTIST'S MAGAZINE Feb 1996 (v.13#2) pg. 76

Getting acquainted with alkyd paints that allows the use of standard oil-painting techniques, but offer a much shorter drying time.
ARTIST'S MAGAZINE Jun 1996 (v.13#6) pg. 48

Tips on salvaging solidified tubed oil and watercolor paints.
ARTIST'S MAGAZINE Sep 1996 (v.13#9) pg. 38

Tips on which white oil paints are best for underpainting and overpainting.
ARTIST'S MAGAZINE Nov 1996 (v.13#11) pg. 36

A healthier way to paint in oils. Alternatives to turpentine and mineral spirits for cleaning brushes and for thinning paint and washes.
ARTIST'S MAGAZINE Mar 1997 (v.14#3) pg. 28
Added Info ARTIST'S MAGAZINE Jun 1997 (v.14#6) pg. 4
Added Info ARTIST'S MAGAZINE Jul 1997 (v.14#7) pg. 4

Advice on using walnut oil as a medium in oil painting.
ARTIST'S MAGAZINE Aug 1997 (v.14#8) pg. 76

Advice on using the Max Grumbacher line of water-soluble oil paints.
ARTIST'S MAGAZINE Nov 1997 (v.14#11) pg. 87

An explanation of Maroger medium, its uses and shortcomings.
ARTIST'S MAGAZINE Jan 1998 (v.15#1) pg. 80
Added Info ARTIST'S MAGAZINE Apr 1998 (v.15#4) pg. 8

Advice on selecting a ground (acrylic gesso or lead oil primer) for painting in oils.
ARTIST'S MAGAZINE Feb 1998 (v.15#2) pg. 75

Advice compares thinning tube oil colors with refined linseed oil vs. using odorless mineral spirits.
ARTIST'S MAGAZINE Feb 1998 (v.15#2) pg. 75

Advice on the best binder for artist's oil paints.
ARTIST'S MAGAZINE Apr 1998 (v.15#4) pg. 76

Advice on using Turpenoid Natural as a substitute for turpentine or mineral spirits when painting with oils.
ARTIST'S MAGAZINE Aug 1998 (v.15#8) pg. 68

The pros and cons of putting in-progress oil paintings and pallet in a freezer to keep them moist between painting sessions.
ARTIST'S MAGAZINE Jan 1999 (v.16#1) pg. 78

How to use water-mixable oils.
ARTIST'S MAGAZINE Feb 1999 (v.16#2) pg. 30

Advice on use of boiled linseed oil as an oil medium when mixed with turpentine or paint thinner.
ARTIST'S MAGAZINE Apr 1999 (v.16#4) pg. 41

Alizarin crimson. Its qualities and advice on its uses.
ARTIST'S MAGAZINE Nov 1999 (v.16#11) pg. 75

Choosing the right paint. A primer on the differences among the many brands of oil and acrylic paints.
DECORATIVE ARTIST'S WORKBOOK Mar-Apr 1993 (v.20#2) pg. 62

Differences, advantages and disadvantages of oils vs. acrylics.
DECORATIVE ARTIST'S WORKBOOK Sep-Oct 1993 (v.20#5) pg. 13

How to accelerate the drying time of oil paints.
DECORATIVE ARTIST'S WORKBOOK May-Jun 1996 (v.23#3) pg. 14

An explanation of the differences between Japan drier and cobalt drier.
DECORATIVE ARTIST'S WORKBOOK May-Jun 1998 (v.25#3) pg. 8

Tip on how to keep alkyd paints from drying out on the palette.
TOLE WORLD #102 Jan-Feb 1990 (v.14#1) pg. 23

Tips on a choice of thinners for artist's oil paints.
TOLE WORLD #107 Nov-Dec 1990 (v.14#6) pg. 61

Tips on using cobalt drier with oils to accelerate the drying time.
TOLE WORLD #110 May-Jun 1991 (v.15#3) pg. 32

Advice on thinning oil paints.
TOLE WORLD #114 Jan-Feb 1992 (v.16#1) pg. 51

Advice on how much drier to add to oil paints.
TOLE WORLD #114 Jan-Feb 1992 (v.16#1) pg. 51

Tip on mixing small quantities of oil paint by using a circle drawn on non-absorbent cardboard that is divided into segments proportional to the desired percentage of each color being mixed.
WOODCARVING #49 Jul-Aug 1999 pg. 56