Fresco Shop                              Fresco School My Account  Cart Contents  Checkout  
  TrueFresco.com » Catalog » Pigments & Grinding » The grinding of pigments… My Account  |  Affiliates  |  Cart Contents  |  Checkout   
by CATEGORY
 Fresco Materials & Supplies  (20)


 FRESCO VIDEOS (8)


 Fresco Lime Putty & Plasters (13)


 Fresco Tools & Equipment (18)


 Fresco Clay Lath, Boards, Panels (2)


 Fresco Books


 All Products
   Fresco School
by APPLICATION
What's New? more
Fresco Painting Plaster - INTONACO 20kg
Fresco Painting Plaster - INTONACO 20kg
$147.00
Quick Find
 
Advanced Search
Articles
New Articles (0)
All Articles (4)
Cartoon & Transfer (2)
General Fresco (1)
Pigments & Grinding (1)
Articles by Author
iLia Anossov
Mitchell Nussbaum
Sylvia Hunt
Search Articles
 
Search Article Text
Affiliate Program
Affiliate Information
Affiliate Program FAQ
Affiliate Log In
The grinding of pigments… by Sylvia Hunt

Products related to this article:
Large Glass Muller
Large Glass Muller
Fresco Pigment Set
Fresco Pigment Set

To the sounds of classical music, I sat down last Sunday, and I poured out my dry pigment of Verdaccio into a little pile, onto my glass top table, making sure as Wolf said, that everything was kept very clean and pure.  I made a small well in the center of the pigment, and poured a small amount of distilled water into this center.  There were no chemicals.  Just the essence of the pure earth pigment, the water, and me.  And so I began.

I started with Verdaccio, because to me, it is the ‘mother’ of all the paints and most importantly will be what I use for my underpainting.  Verdaccio is a dark green, brown earth substance. I am mixing a limited amount of pigments for my palette; ochres, sienna, umber, red, terre verde, ultramarine, and bianco san giovani.   In fresco, not many colors are needed, as the colors are kept simple, and beauty grows out of the underpainting and the different layers of paint which form depth.

I have a 2-inch grinder, that I am using. There are different sizes,  but I liked the smaller size as it fits my hand better and gives me better control.  As mentioned, once the water is poured into the center of pigment, I start to grind in a circular motion, and start to get a nice rhythm going along with the music, adding a little water as needed.  After the initial grinding, I take a scraper and scrap the pigment back into a pile again, and begin the process once again and again.  I noticed that different pigments react differently to the water and under a muller.  Ultramarine and reds tend to dry up more quickly than others.  My yellows and greens took me longer to grind before I came to a nice consistency.  On the whole, I grinded some pigments for a half hour, others for over an hour.  The test to a nice consistency, is that the grinder, when given a small push, should glide smoothly by itself over the pigment. When I was done, I spooned the pigment into a small jar, trying not to touch the sides of the glass.  I filled the jar with distilled water and covered tightly with a lid, and in this state they can sit for a long time. The pigment grinding will not need to be done very often, as the amount that I grinded today, will last me quite some time.   A little amount of pigment will go a long way on a fresco.   On the day of actual painting, I will grind some lime or bianco san giovani and use to mix into my pigment. 

There is something about taking part in making these pigments come to life, and see them transition into a smooth, beautiful glow, that I enjoyed very much, and a connection is made between the artist and the colors.  Sad that this step is bypassed in most other art mediums, as you simply walk into your local art store, and pick up your paint in tubes. Nor, will I be able to request a canvas already primed with plaster from my local art store, right Ian?  Instead, I am developing the chemistry knowledge of the mixtures to spread my own.  

That is one of the things I love about fresco painting.  It demands that the artist has knowledge of all the parts that make up its being, and it demands an intimate participation from the artist with each step, from beginning-to-end of a beautiful fresco.                   

 

                                                                    Sylvia Hunt, fresco artist                                                                                

For more information, please visit this articles web page.
This article was published on Sunday 10 October, 2004.
Current Reviews: 0
Write Review
Tell a friend
Tell a friend about this article:  
Products related to this article:
Large Glass Muller
Large Glass Muller
Fresco Pigment Set
Fresco Pigment Set
Shopping Cart more
0 items
Bestsellers
01.Fresco Lime Putty (calce Florentine) 10 Kg
02.Fresco Pigment Set
03.Buon Fresco Foundations: FRESCO PLASTER
04.Pouncing Tool Kit
05.Fresco Lime Putty (calce Florentine) 20 Kg
06.Traditional Fresco Brush Set
07.Large Glass Muller
08.Fresco Clay Lath - Standard Roll
09.Fresco Lime Putty (calce Florentine) 5 Kg
10.Buon Fresco Foundations: Volumes 1, 2, 3 Bundle (Essentials)
Reviews more
Fresco Pigment Set
Hello Mitch, I've been meaning to write to let you know tha ..
5 of 5 Stars!
Languages
English
Currencies
Information
About us
Shipping & Returns
Privacy Notice
Conditions of Use
Contact Us
Gift Voucher FAQ

  iLAdesigns.com  

Copyright © 2003 osCommerce
Powered by osCommerce