PAINT RECIPES
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Transcript of PAINT RECIPES
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7/30/2019 PAINT RECIPES
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1 GELATIN SOLUTION
PRESENTATION This gelatin solution is used as a clear and transparent protective layer thatdissolves easily and prepares quickly. It can also be used on paper to prepare itfo r oil painting or oil stick .
Imported gelatin , sold as thin 3 x 9 sheets packages, are a great quality productthat can be stored easily. You can also us e powdered gelatin which is cheaper andworks just as well for this recipe.
P ROPORTIONS :
Gelatin(Sheets or powder)
6
Water 16 oz(470ml)
PROCEDURE :
Soak the sheets in water for 15 minutes, or until they start swelling. gently heatusing a double boiler until completely dissolved.
HOW TO USE IT ? On an untreated massonite panel , paper sheet or any other surface that you whishto use, brush the gelatin solution on both sizes, and let dry overnight. If you arepreparing a panel, also include the side when brushing the gelatin solution.
For a second coat, reheat de solution and add 2 tablespoons o f chalk for a nice,
smooth surface. Apply with a flat brush and let dry.
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2 RABBIT SKIN GLUE
PRESENTATION Animal skin glue produces a very strong glue solution that can be used for sizingand stretching canvas or as a quick drying paint (distemper) when mixed with drypigments .
P ROPORTIONS :
Rabbit skin glue 1
Water 10
PROCEDURE :
Animal skin glue (rabbit, cow, parchment) is usually sold in sheets or powder.
Soak the glue in water for 30 minutes (bigger chunks of glue require a whole nightsoaking before dissolving). Heat in a double boiler while stirring until completelydissolved.
HOW TO USE IT ? Keep the solution warm enough to maintain the homogenous solution, but do nocook directly over fire or boil this solution as it would become unusable. Brush thesolution on a stretched canvas, or a massonite panel that was previously brushedwith alcohol. Let the size dry completely before applying the gesso.
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3 TRADITIONAL CHALK GESSO FOR PANELS
PRESENTATION To obtain a perfect white soft and brilliant surface, no formula is better than thetraditional rabbit skin glue and chalk gesso. It is ideal for egg tempera a ndmeticulous renderings in oils .
P ROPORTIONS :
Titanium white or zinc(dry pigments)
1
Calcium carbonate(3 um fine grade)
1
PROCEDURE :
Mix all dry pigments together in an enamelled saucepan, then slowing incorporatethe warm glue solution while stirring to eliminate bubbles and aggregates. Filterthe gesso through a cheesecloth , and let sit for 30 minutes before using.
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7/30/2019 PAINT RECIPES
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Rabbit skin glue(recipe #2)
1
Water -> (Add to obtain the desiredconsistency)
OPTIONNAL : Brush the panel with alcohol and let dry.
HOW TO USE IT ? Apply the warm gesso in a single direction without retouching the surface .Apply the next coats in opposite direction (alternating). You can put as many as 5very thin coats to obtain a perfectly even and smooth surface. To avoid cracking,
we recommend that you wait at least 24 hours between coats and 2 days beforethe final sanding (with # 220 sand paper or finer).
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4 GUM ARABIC SOLUTION : WATERCOLOR / GOUACHE
PRESENTATION Water-soluble gums are a major ingredient in the fabrication of paint. They areeasy to use, non-toxic and quick drying. Gum Arabic is most commonly used.
P ROPORTIONS :
Gum Arabic in powderform
1
Water 1-2white vinegar(to preserve the solution)
PROCEDURE :
In a double-boiler, gently heat the water and add the Gum Arabic while stirring.Natural gum in powder form takes less time to dissolve than gum sold in chunks.Once the solution cools down, cover and let sit until the solution becomes clear.Filter through a cheesecloth into a clean container . Keep refrigerated to preventrotting. You can substitute 25% of the water with white vinegar to helppreservation but you need to add it after the solution has cooled. Never heatdirectly or the solution will burn.
Good idea: recycle a glass jar preferably with a metal top. That way, you will beable to use that container to prepare and store your solution.
HOW TO USE IT ? Add a few drops of Aqua-Dispersions into the solution to instantlyobtain watercolor . You can also mix dry pigments with the gum-watersolution until you get a thick paste. To make the watercolor transparent, dilute
the thick paste watercolor with water.
To prepare gouache , you can use a bigger proportion of dry pigments with thegum water solution or add china clay , talc o rcalcium carbonate to opacify thepaint.
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5 SIMPLE PAINTING MEDIUM: STAND OIL, DAMMAR AND
TURPENTINE
PRESENTATION This recipe produces the basic medium for oil painting , which is as easy to makeas to use.
We use Stand oil in this medium because it produces a tougher, more flexiblepaint film than raw linseed oil and has less a tendency to yellow overtime. Concentrated dammar varnish will bring lustre and transparency to themedium. The first layers of paint should contain more turpentine than oil, andgradually as the work progresses, the recipe of the medium should substitutepart of the turpentine by stand oil and dammar , to follow the rule commonlyknown as fat over lean .
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7/30/2019 PAINT RECIPES
3/6
P ROPORTIONS :
Stand Oil (polymerised linseed oil)
1
Concentrated dammarvanish
1
Turpentine 1
PROCEDURE :
Mix all ingredients at room temperature in a clean glass jar and stir until themedium is smooth and homogenous.
HOW TO USE IT ? Mix the desired amount of medium on the palette directly with you rOil paints whilepainting or even as a varnish applied to unify the paint layer. Adding turpentinewill allow you to modify the viscosity of the medium. The drying time of thismedium -approximately 3 days in thin coats- can be reduced by addin g cobaltzirconium dryer (use with caution).
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6 BEESWAX PASTE
PRESENTATION To thicken the normal consistency of oil paint , beeswax paste does the trick.
P ROPORTIONS :
beeswax ( natural o r bleached )
1
Turpentine 1-2
PROCEDURE :
First, melt the beeswax in a double-boiler. Remove from heat and addthe turpentine slowly while stirring. If the wax solidifies when you add theturpentine, heat it lightly while mixing. A good trick to avoid this problem is tokeep the turpentine slightly warmer than room temperature. Remove from heat and stir approximately 10 minutes and pour into a clean glasscontainer . The wax mixture will eventually cool down to solidify as a paste. Donot overheat the turpentine at anytime nor expose it to a direct flame.
HOW TO USE IT ? This medium is very versatile and can be used for: cold encaustic painting , tomodify the consistency of oil paint , to make emulsion paints or even as a matte
final picture varnish .
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7 PAINTING MEDIUM: WAX, RESIN AND OIL
PRESENTATION This medium to mixes perfectly with oil paint to achieve a buttery consistency andhelps will help drying time, especially in the case of impastos .
P ROPORTIONS :
beeswax ( natural o r bleached )
4
concentrated dammarvanish
1
Stand Oil ( polymerised linseed oil )
1
Turpentine 12
PROCEDURE :
First, melt the wax alone using a double boiler. Remove from heat andgradually add the dammar varnish stand oil and turpentine while stirring. If thewax solidifies when you add the turpentine, carefully heat the medium lightlywhile mixing until you obtain a liquid consistency. NOTE: Keeping allingredients lightly warmer that room temperature will generally allowyou to avoid the problem of solidification. Once everything is mixed, removefrom heat and stir for a minimum of 10 minutes. While cooling this medium willthicken slightly to a "doughy" consistency. Do not overheat turpentine orexpose it to a direct flame as it may catch fire. For the cold encaustic technique, the turpentine can be reduced to 4 parts (1/3 of the original recipe) or totally omitted to obtain a solid medium (in this case you
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7/30/2019 PAINT RECIPES
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might need to use heat to paint with this medium).
HOW TO USE IT ? Mix this medium on the palette directly with Oil paints as a medium for the finalcoats of a painting you can also use it as a varnish. If you do, you may onlyvarnish over the latter with a varnish containing wax . For encaustic , mixeither oil paints in tubes or dry pigments and work on rigid panels . This mediumcongeals almost immediately and dries in about one hour.
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8 GLAZING MEDIUM: STAND OIL AND DAMMAR VARNISH
PRESENTATION This glazing medium is a more oily variation of the simple painting medium . Givenits higher oil content, it is recommended to add a few drops of cobalt/zirconiumdryer to facilitate drying.
P ROPORTIONS :
Concentrated dammarvarnish 2
Stand Oil (polymerised linseed oil)
2
Turpentine 1
PROCEDURE :
In a clean glass bottle, combine ingredients at room temperature. Stir sufficientlyto ensure all ingredients are thoroughly mixed. Sun thicken linseed oil canreplace stand oil (though more expensive). The amount o f turpentine can varyaccording to how thick you want your glazing medium to be.
HOW TO USE IT ? This glazing medium can also be used as a varnish in order to unify the lustre of apainting without having to wait several months to apply a final varnish .
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9 GLAZING MEDIUM: VENICE TURPENTINE AND OIL
PRESENTATION Balsam and notably Venice turpentine have unique lustre as well as honey-likeconsistencies. They have been used in the past to isolate incompatible pigments(such as lead white and Vermillion ) . Today, these pigments don't havecompatibility issues but we are still using natural balsams for their undeniablevisual qualities.
P ROPORTIONS :
Concentrated dammarvarnish
4
Stand Oil (polymerised linseed oil)
2
Venice turpentine 1Turpentine -
PROCEDURE :
Combine all ingredients at room temperature in a clean glass container byagitating vigorously for 5-10 minutes. Adjust the viscosity of the mediumwith gum turpentine . This oil painting glazing medium is very thick , rapidlybecomes sticky, preventing the formation of wings, but takes several days to drycompletely.You can replace the stand oil with sun thickened linseed oil to accelerate thedrying time somewhat, you can also use a drying agent: cobalt/zirconium dryer .
HOW TO USE IT ? Mix this medium on the palette directly with oil color in tubes or Dry pigments . Toapply this medium with a rag or fingers, use the undiluted version,without turpentine . The diluted solution is generally preferred when painting or tobe used a retouch varnish .
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7/30/2019 PAINT RECIPES
5/6
10 GLAZING MEDIUMS: CANADIAN BALSAM AND OIL
PRESENTATION Canadian balsam increases the gloss of oil paints and slows down drying time,allowing for a slow and meticulous technique.
P ROPORTIONS :
Canadian balsam 1
Stand Oil (polymerised linseed oil)
1
Turpentine -
PROCEDURE :
Combine ingredients in a glass container, and adjust the viscosity with gumturpentine . This glazing medium produces a strong paint film with incomparablelustre while barely yellowing in time. In addition, its pleasant aroma of fir tree fillsthe room!
You can replace the stand oil with sun thickened linseed oil to accelerate thedrying time somewhat, you can also use a drying agent: cobalt/zirconium dryer .
HOW TO USE IT ? Mix this medium on the palette directly with oil color in tubes or Dry pigments . Toapply this medium with a rag or fingers, use the undiluted version,without turpentine . The diluted solution is generally preferred when painting or tobe used a retouch varnish .
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11 CONCENTRATED DAMMAR VARNISH (GLOSS VARNISH)PRESENTATION Almost universally used, Dammar resin which is sold in pale yellow pieces has
several uses: as an ingredient inside other painting mediums , as a glazingmedium or as a final varnish .
P ROPORTIONS :
Dammar resin incrystals
1
Turpentine 1
PROCEDURE :
Place the pieces of resin and the turpentine in a well closed bottle. Stir and turnevery day until the resin is dissolved, which could take several days. Exposing the
bottle to the sun accelerates the process. This solution has a thick consistency of honey. If som e pieces of the dammar resin contain dirt or other impurities, pourthe solution through a cheesecloth or decant in a clean bottle.
HOW TO USE IT ? For use as a final varnish over an oil painting , dilute the solution with an equalquantity of turpentine. For varnishing egg tempera , dilute with 4 times the amountof gum turpentine . The basic consistency of the concentrated dammar varnish isideal for emulsification or allied with other ingredients to make glazing o rpaintingmediums . This solution of Dammar approximately dries in an hour.
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12 DAMMAR AND BEESWAX (MATTE VARNISH)
PRESENTATION Beeswax combines well with the dammar resin to create a matte finish that resistsweathering. It can also easily be removed for cleaning or restoration (if the oilpaint underneath has been allowed to dry properly for at least 12months).
P ROPORTIONS :
Concentrated dammar 4
PROCEDURE :
First, melt the beeswax and add the remaining ingredients. To make sureeverything is properly mixed, you might have to lightly heat the mixture over an
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7/30/2019 PAINT RECIPES
6/6
varnish
beeswax ( natural o r bleached )
1
Turpentine 2
electric hotplate or double-boiler until the wax melts into the solution. In a glassbottle or jar, slowly pour the hot solution to prevent the shattering of the glasscontainer.
HOW TO USE IT ? This paste has many uses and can be directly applied with a rag to varnish any
kind of painting. To use this recipe as a medium, mix directly on the palettewith tube paint or dry pigments .
To use as a final picture varnish , we recommend you thin this recipe by addingmore gum turpentine , making it more liquid and easier for brushing.
Print this recipe
KNOW MORE Related pages :
Online store: Natural resins' page Online store: Waxes' page Online store: Siccative oils' page
Information : How to make paint ? Information : What is paint ?
Copyright 2000-2010 Kama PigmentsAll rights reserved
contact | cred
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