Painting with the Mineral Pigments
Prerequisites for the choice of binding mediums with Natural and Mineral Pigments

•        There is no one universal binding medium that is suitable for all pigment
characteristics and effects.

The binding medium necessary for each natural and mineral pigment will vary according to the following
parameters:

•        The refractive index of the pigment
•        The chemistry of the pigment
•        Pigment particle size
•        The painting ground or previous paint layer
1. Aqueous:  distemper, casein. Egg tempera does
change the colour slightly over the years.

2. Fir balsam resin:  (Strasbourg turpentine fused
with pure spirits of  turpentine). A few eye-drops
of walnut oil are added for a tough paint film.

3. All oils alone should be avoided since this will
lead to discoloration even after the pigment is
prepared. The best was achieved with linseed stand
oil and pure distilled turpentine. Even cold pressed
walnut oil will show discoloration within three to
four years. However, a small addition of any white
pigment when oil is used will prevent noticeable
yellowing.
Azurite as an example
Copyright © Michael Price Inc.
This page published 28.11.2009
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Page 5
The following is a brief presentation of the application of the mineral pigments using appropriate binding
mediums from the two volume book:
"Renaissance Mysteries, Vol. I: Natural Colour and Volume II: Proportion and Composition".
For further information go to:
renaissancemysteries.com