Type16 wrote:In case its of interest..................
There was an ochre paint manufacturer at Parys Mountain on Anglesey in Victorian times.
The relevance of this is that the ochre pits are still open to public access.............if you get my drift.
by the late middle ages vermilion was cheap as it was created artificially using mercury and sulphur
Brother Ranulf wrote:Gregory 23b said:by the late middle ages vermilion was cheap as it was created artificially using mercury and sulphur
At an event I appeared as s a monk at Rochester cathedral priory and I was explaining this process to a group of visitors when one elderly chap visibly paled - turns out he was a chemistry expert and he was staggered that anyone would even dream of heating sulphur and mercury together until they vaporised (and someone had to then condense the vapour on a cold surface ). This is a seriously efficient means of killing yourself, just like doing anything at all with white lead (or other forms of lead). Medieval pigments should be treated with extreme caution and in general the modern substitutes are a much safer option.
guthrie wrote:The matter of paint colours is simple enough, the question is how much did they paint with it and how did they make it stick to canvas, how much did they paint boxes for instance so we could hide our cheap pine boxes with authentic colours of paint, etc.
Colin Middleton wrote:Eeek! What a terrifying amount of information to try and process!guthrie wrote:The matter of paint colours is simple enough, the question is how much did they paint with it and how did they make it stick to canvas, how much did they paint boxes for instance so we could hide our cheap pine boxes with authentic colours of paint, etc.
This is pretty much what I was aiming at. I don't want to be doing authentic painting a shows or really have an interest in the area. However, when I do paint things, I want to feel that they are within a stone's throw of being correct. I know too many re-enactors who will paint their whole armour or a large box in ultramarine or worse bright purples without thinking what it would mean to a viewer at the time.
I'll have to chew this lot over at the weekend.
Matt, does this cover the relevant parts?
Mark Griffin wrote: At some point i must use that bit of orpiment i have.....
gregory23b wrote:All of that information is readily available, history, the materials and techniques are very well recorded and reviewed and then emulated. The bottom line is it depends on what you want to paint, each substrate has its own particular method and materials, not all work for all things. I have a convenient list of colours for a basic but very usable pallete, see the authentic and cheap thread in general history. The big deal with many people using say too much ultramarine is that the synth version is now a very cheap product and then you have the disconnect between using a tiny amount of the blue in a manuscript and scaling it up on a tent in real life.
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