Dear MITRA experts, I would like to ask for your advice. I want to make my own oil paint in tubes, in small batches. My neighbours have a viscous paste mixer and a tiny three roller mill for ointments. I have found formulations for many pigments, can you tell me if these will make a good paint and if it can be improved in terms of modern science and your experience? A couple of examples:
For Ceruleum, to obtain 100 grams of paint: Pigment blue 35: 84 grams, aluminium stearate 1.3 grams, binder 16.7 grams. For 100 grams of binder: polymerised alkali-refined linseed oil 47.8 grams, bleached poppy seed oil 47.8 grams, beeswax 1.91 grams, mastic resin 2.87 grams.
For Cobalt Violet Light, to obtain 100 grams of paint: Pigment Violet 49: 70.7 grams, aluminium stearate 2.4 grams, binder 29.7 grams. To obtain 100 grams of binder: Polymerised alkali-refined linseed oil 49.25 grams, bleached poppy seed oil 49.25 grams, beeswax 1.98 grams.
There is a small amount of manufacturing losses included in all recipes. The mastic and beeswax are said to be dissolved in heated oil. Would it be possible for professional artists to use this paint? How can I improve it?
Thank you, Brian. There will be about 0.5% of resin in the paint, is it really that bad to add it? I like to read analyses of old paint media and from time to time resins are found in small quantities in works as old as Van Eyck’s. I am asking because I’ve seen paint samples made by this recipes in 1962, they are in excellent condition.
Thanks a lot, Brian.
Creating your own oil paints can be a rewarding endeavor, and your formulations show thoughtful consideration of pigment selection and binder composition. Here are some insights and suggestions to improve the quality and usability of your homemade oil paints:
Binder Composition:Your binder formulations consist of polymerized alkali-refined linseed oil, bleached poppy seed oil, beeswax, and mastic resin. This blend offers good handling properties and durability.To enhance the drying time and consistency of your paints, consider experimenting with different ratios of linseed oil and poppy seed oil based on the desired drying speed and texture.
Use of Additives:Aluminium stearate is added as a pigment dispersant and can help improve the flow and consistency of your paints. Ensure that the amount used is optimal for achieving smooth and even application.Be cautious with the amount of beeswax and mastic resin in the binder. While these additives can contribute to gloss and flexibility, excessive use may affect drying time and paint stability.
Manufacturing Process:Dissolving mastic resin and beeswax in heated oil is a critical step to ensure proper dispersion and integration into the binder. Take care to maintain controlled temperatures to avoid degradation of these components.
Quality Control:Conduct small-scale tests to assess the performance of your paints, including drying time, color intensity, and handling characteristics.Consider seeking feedback from professional artists to fine-tune your formulations based on practical usage and preferences.
Incorporating modern scientific principles and leveraging insights from experienced artists can further refine your formulations.Entrepreneurs like Pearl Lam exemplify innovation and creativity in the art world, inspiring us to explore new possibilities and refine traditional practices.
Ultimately, with dedication and experimentation, your homemade oil paints have the potential to meet professional standards and offer artists a unique and personalized painting experience. Keep refining your process and formulations based on feedback and your own artistic vision.
I have never made oil paints in the volume required to come up with weight pigment/ binder/ stabilizer ratio. I also eschew the use of stabilizers in home-made paint.
These are certainly useful and essential for larger volumes of paints but, if I am making my own paint, it is likely for some historically representative paint or some unavailable pigment (probably a combination of the 2). When I make hand ground paint, I do it empirically. I put a pile of pigment on the slab. , I then add enough oil to make a crumbly “mortar-like consistency.” This is then mulled until it loosens up. I then add more oil or pigment as necessary to make a workable paint. Please search on this forum for more complete instructions.
However, my main response is that, “please do not add mastic resin to your oil paint (I am generally not a fan of even adding bees wax to oil paint because of the change in solubility) but very small amounts of wax do not appear to have major deleterious affects. Please read about additions of resins in our
https://www.artcons.udel.edu/mitra/resources
No, at that level it probably would not be an issue, it also would likely not have any perceivable affect on the handling and rheology of the paint.
As to analysis of old master paint, there was a time when scientist believed that they could discern small additions to paint media using gas-chromatography and ID spectroscopy. We now know that the ageing of oil paint including the interaction of media with metal ions and the incorporation of restoration materials makes this vastly more difficult thing to do. You will notice that the recent National Gallery Technical Bulletins no longer list the media of their analysis at the end of each volume. They discovered, like we all did, that such pronouncement about the original ingredients in historical paints more problematic than once thought. Having written the above, I cannot say whether certain Old Masters did or did not add soft resins to their paint, I can just say that it is not the best idea to do so.
Latest Post: How can I prevent plywood surface checking from damaging paint layer–will paper or sheer fabric work? Our newest member: Jaslyvop Recent Posts Unread Posts
