View Single Post
  #3  
Old 16-10-17, 04:21 AM
arbrador arbrador is offline
Member
 
Join Date: Aug 2003
Location: USA
Posts: 57
Default

Hi Koo~

Thanks for your, as usual, in depth and in detailed explanation. It really helps to get the terms and science right.

Beyond petit lac, I have been using both "pulling" and "pouring techniques", both watercolor techniques. But I do them in egg tempera on gesso. I literally let the dilute paint drip off the edges as it will. I believe it does lift the gesso but then the gesso settles back down.

I have seen some fine cracking, though, in certain areas so I would not recommend this technique although, as in a previous recent post about cracking, I'm not sure that these very fine cracks (ie cracquelure) will affect the life of the painting. It seems to happen in areas where the paint tended to pool rather than run off the edges.

Anyway back to the topic of granulation, If I pour dilute paint but am careful not to let it pool, I do get quite a bit of granulation with certain pigments. It does create a lively effect that I'm experimenting with.

I agree though, with Koo's explanation, that the phenomenon happens when there is lots of water and pigments that tend to granulate.

One comment that I may beg to disagree with is about grinding with a muller. When I used to make green paint from malachite jewelry, I first smashed it in my brass mortar and pestle as fine as I could. I would then grind it directly into egg yolk on a slab of glass that i had ground carborundum grit into to rough it up.

I could literally feel the gritty pigment particles smooth out under my muller so I do think this was more than dispersion but maybe I am missing something here. BTW, for those out there who have not tried it, making malachite pigment from thrift store malachite jewelry is quite easy and exciting although I now use artificial malachite pigment which looks pretty much the same.

~Lora
Reply With Quote