Lamp Black

[Dimitris C. Milionis]

has any one made home made [in the egg studio!]

Lamp Black (carbon) with a bluish tint

please advise for method, material used from personnal experince !

[Dimitris C. Milionis]

Lamp Black (carbon) with a bluish tint



any tint would be fine, :oops:

dont tell me nobody makes this in the studio :?:

[DLH]

Dimitris,

I haven’t tried lampblack, but spinel black (PBk 26) is a beautiful cool (bluish) black that mixes instantly with tempera.

Doug

[Dimitris C. Milionis]

PBK 26-77494, contains copper/manganese, a true black which does not reflect any color, fresco color

http://www.sinopia.com/index.asp?PageAction=VIEWPROD&ProdID=858

_________________________________________

Doug thanks for the info,
didnt know of the pigment, never seen it, are you buying this from www.sinopia.com ?

just found a "closed topic" :oops:

should this be closed :?:

http://www.eggtempera.com/forum/viewtopic.php?p=643&sid=4b37d285a5c2bbf87a676758d0eeae5c

[DLH]

I hadn’t seen that thread, but I agree with what was said.

I get it from Kremer out of New York. However Sinopia gets theirs from Kremer.

http://www.kremer-pigmente.de

[PhilS]

Dimitris and Doug,
Spinel black sounds interesting. I'll give it a try. I started out using ivory black, but on a trip to France a couple of years ago I bought some mineral black (which I'm told is Mars black) and I've been happy with it. Very opaque, but at the same time seems to glaze well in shadow areas(?).
Going WAY back, I used to make my own blacks by mixing ultramarine blue with burnt umber. More ultramarine makes cooler black, more umber makes warmer black.
Phil

[Dimitris C. Milionis]

Phil ever tried


:arrow: burnt sienna with ultramarine blue

:arrow: quinacridone violet with viridian

So do we need Carbon, Ivory, Lamp, Mars or Spinel black 8-)

[JeffG]

So do we need Carbon, Ivory, Lamp, Mars or Spinel black 8-)

I'd say Ivory and Mars are necessary. I havent tried the others.

[jeff]

Having read this I decided to make some lamp black. It is burning out in the back yard at the moment. I amm following Cennini's recipe of a burning lamp of raw linseed oil under an inverted baking tray. So far so good.

jeff

[Dimitris C. Milionis]

can you tell us how much oil you are burning in what time period and the amount of the final product?

also take a picture!

[jeff]

I'm sorry I didn't get to this before I dismantled the arrangement, otherwise I would have a pic for you. I used a small metal container about 1cm deep in oil. I took a wick from a kerosene lamp (the oil wouldn't burn in that) and laid it proped on a stick, but mainly horizontal in the oil with just 0.5 cm above. That I set alight. the container was about 10x8cm in size so it wasn't a lot of oil. I then placed a flat baking tray about 2-3cm above the wick and shielded it all around to keep the wind off. It would burn for about 3-4hrs unattended before I needed to scrape off the stalagmite of soot and readjust the wick. I got 2 scrapings over about 8 hrs and that seemed enough - about 2-3 egg cups worth. It used up 1/2 the oil. I like the black a lot. It is more transparent than the mars black so appears darker I think. It makes a nice blue grey with white too.

jeffB

[JanMoore]

This is an interesting topic. Many of my paintings have black backgrounds but I have never used black pigment. My usual recipe is to mix Burnt Umber and Ultramarine Blue. With this combination, you can adjust the "black" to be either bluish or brownish according to the amounts mixed.

Consider color theory -- black is a combination of all the primary colors. Burnt Umber is red and green (yellow & blue), to which you are adding more blue. This works with any combination of pigments that results in red-yellow-blue. Also consider what you are using as an underpaint to adjust the intensity of the black.

[Dennis H]

Jan,
I never used black pigments when I painted in oils. But, since I started working in egg tempera, I've found black pigments of all stripes to be useful additions to my palette -- not so much for darkening the value of another color, but instead when used for the black pigments' own color properties. I love to play up the transition from warm transparencies in dark passages to the cooler opaque hues when mixed with white. I guess I probably have 4 or 5 subtly different black pigments that I like to paint with.
I don't know, black just seems to be more handsome in egg tempera than in oil, acrylic, or watercolor.
Dennis

[RobM]

I have to agree with Dennis, ET seems to be the only medium where you can use black pigment to enhance the tones. I don't find that it deadens the other colours unlike other mediums where you can plainly see that black has been used. In the main for my 'other blacks' I use ultramarine and indian red.
Gone a bit off Dimitris's topic but all adds to the fun of forums. :grin:
Rob

[jeff]

I've only really discovered the uses of blacks in ET so I'm very interested in this and would like to read more about where and how to use the different types of black. As an aside lamp black was used in Egyptian (encaustic) mummy portraits often to produce the blues.

[JanMoore]

Dennis, et al:

Perhaps it also depends on the source of the pigments. Is there a particular "brand" that eveyone thinks has the best black pigments? I've found such a variation in the quality of pigments among the various brands in the other colors I use.

[jeff]

The question for me is Has Dimitris made the lamp black yet?
jeff