Thanks for the reply. I usually store my pigments dry, but it seems many companies that supply these pigments are starting to ship them in paste form, and I just wondered why they do that? And yes, I keep a colour, or recipe jounal as well as tile composites.

I didn't know Naples yellow was a "heavy metal" type pigment. What is ut made out of? Naples yellow is the one of the colours I use most in obtaining flesh tones,......

Thanks
Carter Averbeck
www.trompeArt.com

As you know it is the dust which is the most hazardous part of the pigment, so maybe once again maybe artists need protecting against themselves- helpless babies . I read somewhere that professional artists make up less than 8 percent of the art supply/art materials market. The pasted pigments might therefore be a part of consumer protection? If you read any of Michael Wilcox's books, you will see he does not have a high opinion of artist supply companies. Maybe its so they can mix in more fillers (water is a filler when you think about it!)

Yes I thought that Naples yellow was some kind of sulphite in the clay,....but yes, I have heard of the Urine soaked clay pigment theory and know that it is indeed true. But hey! whatever makes for great art!!!! Puts a new meaning to the fairly recent Shock Art show in New York where Guiliani wanted to shut down the show because of the vile "Feces art", as well as other works. Who knows,...we could start a business making our own "yellow" clay just by buying a six pack of beer and going into our own backyards!!! lol. Sort of "a la Warhol pee painting scenario"

Yes, water could be considered a filler, but I doubt that art supply comapnies would use it as such. Simply because it would cost more to ship considering the weight, and also, water doesn't neccessarily make the colourant go farther. I could be wrong on that reason though. Low grade fillers such as chalk, unstrained linseed oil, and other stuff are used as fillers simply because they take the place of companies having to add more (read exspensive), colour pigment. So those cheap paints you buy at the art store are mostly filler with just enough colourant to give the right hue. The exspensive paints are filled with more pigment.

Oh well. I'm glad I have my storage of dry stuff, and a good company to get pigments from. I'll keep on storing them the way I have always done.

This is a cool forum isn't it?

Talk to you later,
ciao
Carter
www.TrompeArt.com

""Many yellow pigments with good hiding power have recently discontinued because of their toxicity; Chrome yellow contains lead, as does Naples yellow, and many artists are now avoiding cadmium yellow. A new pigment, Bristol yellow, which is based on non-toxic bismuth, is both metal-based and covering, as well as being very brilliant and lightfast, making it not only a good substitute for the discontinued pigments, but also an excellent new color for artists. A customer of ours writes from Germany:
"The Bristol yellow type of pigments are not yet available in tubes. The powder is very soft and can be easily turned into any kind of paint for which a careful mixing with a palette knife or disperion in a mortar and pestle is sufficient. Only when filling the paint into tubes would one recommend mulling the pigment with a glass muller. Because of its high specific weight, one should let the mixture stand a little, add some more pigment if oil separates out, and possibly add some wax paste (no. 79250 wax paste oil medium) to prevent further separation in the tube. Bristol yellow is a normal drying pigment, which can be used in all oils without drier, preferably in walnut or linseed oil.
Bristol yellow is also very suited for tempera technique. After varnishing, there is practically no visual difference to cadmium yellow. Mixed with an acrylic dispersion, one can easily produce acrylic paint that outperforms most commercial products. Despite of its hiding power, the particular brilliance of Bristol yellow makes the hues also very effective in watercolor technique, for which they are dispersed with a gum arabic solution in a mortar and pestle. Bristol yellow is always used on bottom layers in watercolor painting. Bristol yellow is a good example for the emrgence of new and superior materials, that also exhibit a maximum of ecological safety."

43101 Bristol yellow light 100 g / 27.90
43111 Bristol yellow medium 100 g / 27.90
43131 Bristol yellow reddish 100 g / 27.90
79250 Wax paste oil medium 180 ml / 6.80 ""

Who knows if this pigment is any good for fresco. We are the only ones who care, and will be the ones who have to test it. And ten years from now, the old pigments might be unavailable - all because somebody thinks artists eat paint, and have to be protected.

You do not need to remix the whole lot. Use the spoon to scoop enough for the day of painting and pot it in the separate container, leave the rest as it is (in the jar under the layer of water).

Add water as necessary and stir, you can regrind the pigment before adding water if you wish.

If water or pigment is imperfect it may go stale after a while. This is why traditionally for important (commissioned) frescoes pigments where ground fresh for each day. However you need a full size workshop with one ore two assistants to do it (there is no time for the painter to do it on his/her own)

For instudio, small frescoes and experiments, storing pigments as described in this topic is the way to go.
Just make sure that water is distilled, pigments are fresh and pure and came from the reliable sources.

ilia
ilia

learn fresco at http://FrescoSchool.org

fresco painting video tutorials: http://www.FrescoSchool.com

also visit

Fresco School Video Channel
http://youtube.com/FrescoSchool

Contemporary Fresco Gazette
http://trueFresco.Org
commission fresco or mural http://iLAdesigns.com

I was taught to take just a scoop of lime paste and set it in a full bucket of water. The water will turn milky white at first but the lime will quickly settle to the bottom. In not more than a day, the surface of the water will develope a hazy crystal film... like ice on a pond in winter... this means that the calcium in the lime paste has spread throughout the water in the bucket.... now here's the payoff....

Take a small jar, break the crystal surface of the water and scoop up the calcium water... it will look like ordinary water (you can take some of the crystal for good measure, but it's not essential).
Scoop your dry pigment into your jar of calcium water and let it sit for 24 hours. This is a great way to help permeate your pigments with calcium, so that when they hit the wet lime plaster, they are all the more ready to bind. Every little bit helps in fresco.

When you paint, scoop the paint out of the bottom of the jar in paste form and go to it! This is great for a project under way, otherwise store pigments dry for the long term.

Nathan