European classical painting masters made their own pigments, which made the painters more familiar with the properties of the materials they used. Hand-developed paints have a glamor that factory-made paints often lack. Almost no modern painters make their own oil paints, because the oil paints sold in the market are rich, complete and relatively stable, which can basically meet the needs of painters. Although domestic oil painters are dissatisfied with the performance of domestic colors, they will not make their own paints, preferring to use all imported products, including canvases and tools. Although it is very troublesome to develop oil paints by yourself, it is very beneficial for oil painters to understand the process of developing pigments by European classical Oil Painting masters.
The basic components of oil paints are pigments and binders. Most of the pigment powders used by the ancient masters come from earth and minerals. Another part comes from plants or animals. Binders are made from resins, drying oils and fats, balms and waxes, but linseed oil is usually used directly.
Common tools for grinding oil paints: a thick glass or marble slab, a pestle (peel), a palette knife, and glass bottles or empty tin tubes for storing paint.
Pour the paint powder on a glass plate, if it is a block of paint, first crush it into a fine powder, then slowly add linseed oil, while grinding in a circular motion, and mix it with a palette knife until you get the unique consistency of oil paint . It must be ground carefully to eliminate particles, so that the pigment powder and linseed oil can be fully and perfectly combined.
Different pigment powders require different amounts of oil, just grind the pigment powder into a paste. Penetrating pigments should not be ground too finely, otherwise they will be discolored. When grinding toxic pigments such as lead, it is necessary to prevent the powder from entering the nose. The paint developed with linseed oil can only be applied to the overlay when the underlying paint is completely dry, so it must not be painted with extremely impasto painting, and is most suitable for one-off painting and monochromatic painting. To change the shortcomings of this pure oily pigment, it is necessary to add 10% resin varnish and 2% wax dissolved in turpentine to linseed oil. Wax is added to thicken the paint (wax is not necessary if poppy oil is used). At the same time, it can not only reduce the yellowing of linseed oil, but also prevent the separation of the pigment with large specificity and oil. Some ground pigments may harden after being stored for a few days, and further grinding is required.
As for pigment powder, you can also make it yourself, and you can try out any earth or minerals with beautiful colors that you can see in your life.
