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  #21  
Old 10-11-11, 04:40 AM
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Salamander Salamander is offline
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"Db, what are the percentages of egg, oil and damar in your mix? Are you using the whole egg, or just the yolk? "
Pardon the intrusion, When I have made this similar emulsion, I have used 1 part yolk, 1/2 part turpentine (genuine), 1/2 part damar, 1 part water. NO white. I have to say that I have never used the white at all. I think I may start experimenting with it. especially with the idea it may speed the drying of oils, (as in paints).
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  #22  
Old 10-11-11, 04:41 AM
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Salamander Salamander is offline
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Koo, what is your favorite emulsion?
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  #23  
Old 10-11-11, 03:09 PM
dbclemons dbclemons is offline
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Quote:
Originally Posted by Koo Schadler View Post
...Db, what are the percentages of egg, oil and damar in your mix? Are you using the whole egg, or just the yolk? I'm thinking that I'll next try just the yolk, as in the Rob Howard video Mona posted, plus some damar...
I learned my mix from Robert Massey's "Formula for Painters" book. The amount of oil and damar I use is about 3 parts yolk, 1 part oil (stand usually,) 1 part varnish, 1.5 parts water (one part is about 1 teaspoon.) When I make it, I mix the oil and varnish together first, then drip that slowly into the yolk while stirring. Water is stirred in last. If I'm making an egg medium without varnish, my ratio is 1:1:1, yolk:oil:water.

I've never used egg white (whole egg) in my mixtures. I have used copal varnish in the past instead of damar but didn't notice any difference. I've also used poppy or safflower oil, but not as an underpainting medium. The emulsion needs to be stirred up before using.

I've substituted methylcellulose for the egg content and it seems to work better with a varnish added than with just oil alone. I have seen MC grow mold, but never when mixed with oil, even without a preservative. Casein also works well mixed with oil in the same ratio as yolk, especially as underpainting.

You can buy dehydrated egg white powder which is pure albumen. It was used as a binder in early printmaking, by the way.

By the way, Massey mentions a mixture that uses the whole egg (Medium #20:) 1 whole egg, 1 teaspoon raw linseed oil, 4 drops vinegar. He mentions that it works for those who have trouble separating the yolk, and that it makes a less oily medium than one that use no whites.
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  #24  
Old 11-11-11, 01:56 AM
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Thanks, I will read up on it again, I have that book I think.
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  #25  
Old 17-11-11, 11:50 PM
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Koo Schadler Koo Schadler is offline
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My favorite emulsion, Salamander, is the new one I just tried today. Basically what you and db were suggesting. I used 1 part egg yolk - no white - 1 part damar, and 1 part linseed. Basically I made mayonnaise, with the same wonderful texture as mayonnaise. I didn't thin it with water but instead mixed it directly with my pigment pastes, and then added water only as need. It made wonderful, creamy paint. It seemed to go on a bit easier than the yolk + white mixture I'd been using previously, but it was still capable of very crisp detail and still dried relatively quickly (within a minute or two). It also worked well when I tried some blending with my fingertips. I finished my small Memling study using it. I start my big Memling copy next week, and will continue with the yolk/damar/oil (no white) mix, since it is my favorite emulsion so far. Emulsions are still very new to me and for original work I will stick with pure egg tempera, which I know and love best - but its fun trying something new. Thanks for the helpful input from you all as I experimented.

Koo
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  #26  
Old 18-11-11, 05:38 AM
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Thanks, Koo, I will give yours a try soon
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  #27  
Old 21-11-11, 09:44 PM
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I'd like to try this formula next too! Thanks everyone!

Mona
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  #28  
Old 22-11-11, 02:42 AM
TatianaKM TatianaKM is offline
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Default Hi to all!

Just like I say "Hi to all!" I'm a member of this forum from 2008, but I read, I do not post. Let me say briefly about myself... I'm Russian, my name is Tatiana, I always loved art, painted a lot as a kid, was introduced to tempera paint as a kid, had a lot of books, now do most of my reading online... yes, forgot to mention - last 12 years in USA and last 2 years I paint... a lot. I always was fascinated with tempera paints. I think one of my personal advantages now days - I'm by-lingual and can read both - English and Russian articles... what I do. I tried combination paintings before. It is tricky, but not impossible. I think it is somewhat easier at my case, because I had degree in chemistry at some point of my life...

Last few years we know each other with Mona Diane, so it is all her fault, she asked me to post this and I do.

This is my latest experiment in tempera. I wanted try to go trough whole process of painting in mische technic and I did. Subject was still life. I went trough bunch of all possible errors with it, but I was very stubborn and I guess it was an only reason why I got this work finished.
Of course at very last moment when I decided it IS finished, I almost killed it with bottle of solvent, what I knocked down on my table... I still don't know how my board survived. So here it is, if somebody is interested.

Painting is done on Ampersand Claybord (I didn't have anything better at the moment and just wanted to check out, if I can actually make this thing work). Mostly factory-made tempera (Sennelier). I had to do my own mix only for the most stubborn places when I realized - I overdid it with oil medium for the first glaze. Charvin oils (love those) and Charvin factory-medium with cobalt-drier. perhaps i wouldn't use drier, if I would have more time, but I only gave myself two month to finish it, otherwise I think it would take forever... here is a link to my post on Wet Canvas.
I just finished one of my floral works on mixed technique too and right now working on #2... But those two are different from this WIP. Just an oil over tempera, nothing too complicated.

http://www.wetcanvas.com/forums/show...hreadid=956369
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