© Michael Price Inc.
Studio equipment with pestels,
mortars, glass and granite mullers and
sieves. The large pestel and mortar is
cast iron bought in a market in Seoul,
granite bought in China town, New
York. This is used mainly for cinnabar
which is crushed very easily.

Rocks and crystals include azurite, lapis
lazuli, malachite, vivianite, cinnabar,
orpiment, realgar, purpurite, quartz,
calcite, yellow ochres, haematite, red
bolus, red jasper, stibnite and pyrolusite.

Briefly, the levigation process for azurite
is as follows:
1. Mix the coarsely ground pigment in a
bowl with a casein solution. Pour off the
initial blue-grey liquid into a second
bowl. Add water to the first bowl, stir
and decant again. Eventually a powerful
blue appears. Each time water is added,
some more impurity - yellow to brown -
will appear on the surface. Through a
gentle swilling action, the impurity is
poured off into a separate bowl.  The
whole process is repeated with the
second bowl.

2. After this initial levigation, dry the
pigment. Grind this coarse pigment
preferably on a sand-blasted glass plate
with a glass muller. Repeat the
levigation process to further remove
impurities. In each successive bowl, the
solution becomes more diluted and the
pigment finer. I require about 8 working
hours to produce 10 grades of purest
azurite from a deep blue to a pale sky
blue from 100 grams of crushed rock.

Levigation techniques are taught in detail
at my New York
Test Panel (Chroma Panel)
Chroma Panel No. 1
Natural and mineral pigments layered in either tempera and/or oil on linen
glued to a wooden panel. 54 x 60 cm.   
This Chroma Panel shows a small
selection of mineral pigments as well as
historical manufactured blue -
Egyptian blue. Binding mediums are
mainly casein and some egg tempera.
Pigments include azurite, malchite,
cinnabar, haematite, realgar, orpiment
and yellow ochre.
Preparation of root madder with equipment
Madder roots before crushing and fermting with different colours of root madders
Fermenting some Tibetan madder roots
A variety of root madder as pigment
This Chroma Panel show natural and
mineral pigments without the addition of
white in a variety of arrangements.
Binding mediums include casein,
fir-balsam resins and oil in different
layers.The aim is to show that any
arrangement will produce a colour space
that is harmonious.
Equipment, Levigation Techniques, Tests and Chroma Panels
Page 4
The images on this page are examples from the two volume book:
"Renaissance Mysteries, Vol. I: Natural Colour and Volume II: Proportion and Composition".

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