I’ve made up red lead paint as well. Magical stuff really. If it’s the genuine article, will dry in a lil over an hour. Obviously mask up while handling the powdered pigment, but otherwise just as safe as any other paint
You can also buy artist's oil paint in tubes which are quite thick and require thinning with more linseed oil. You add small amounts of oil to keep lumps from forming, stirring as you go. You have to make sure the white is made with linseed oil and not safflower oil or sunflower oil since many companies use those in their whites to prevent yellowing. They are not durable weather proof oils. By the way, you could mix tung oil in instead so that a mixture of tung and linseed oils result. Tung oil is more durable-slightly. Early 19th century paint pigments were yellow ochre, red ochre also called Venetian red, raw umber, burnt umber, raw sienna (sometimes called spruce yellow which is also called dark yellow ochre) burnt sienna, Prussian blue, lamp black, lead white, Turner's yellow (lead oxychloride), lead yellow also called Massicot, Vermillion, red lead called Minium. I have some early 19th century New York State newspapers with these same pigments for sale from 1826 in Rochester, and 1812 in Buffalo. In 1868 the paint colors used at a fancy painted fire engine factory in New York City were: Red Lead ,White Lead, French Yellow (this was ochre), Indian Red (a red iron oxide), Drop Black, Paris Green (probably copper + arsenic), Rose Pink, Chrome Yellow (basic lead chromate), Chrome Green (same but likely mixed with Prussian blue), Prussian Blue, American Vermilion (real vermillion but with cheaper red ochre added), English Vermilion, Chinese Vermilion, Ultramarine Blue, Crimson Lake, and Carmine. You can add cobalt drier into linseed oil paint which is available online or from better art supplies. With this, raw linseed oil can be used since it soaks into the wood deeper due to its thinner viscosity. The National Park Service has an informative article on linseed oil's superiority of waterborne acrylic latex here: www.apti.org/assets/Publications/Bulletin/2021/52.4/52.4%20Gibbs%20and%20Wonson.pdf
Fuckin ace. In 2020 I was lucky enough to be able to paint all the barge boards,. soffits and fascias (and repair replace most of them...) on my house. I stripped the lot back to the wood. Primed with linseed oil then applied two coats of linseed oil paint. A 5L tin was £125.00. However, this cost is insignificant if you consider this: Scaffolding just for painting is five times that and you will be back to strip off any alkyd paints well within 10 years. The majority of the woodwork was original from 1850. How had it survived? Cos it had linseed oil paint on it. It gets wet, it dries out; and will keep doing so... Any alkyd based paint will, without any doubt, let water behind it. It is impervious to water so no opportunity for the wood tk dry out. Knackered wood is the result.
Yeah a lot of our expectations around exterior paints are skewed negative thanks to alkyd paints. Oil based paint, especially when using an oil boiled with a lead containing compound, performs remarkably better. Better coverage, longer life, and as you mentioned linseed oil based paints polymerize into a type of goretex that sheds water readily, but also allows whatever moisture that gets in, to get out
I would really like to see an episode on those long reach wood clamps you have there, looks like you made those, and those are really useful for so many things in the woodshop along with boats. especially where you found the pattern, and the wedge you use on the back.
Hey! I did get a bunch of footage of us making those clamps way back when with the intention of posting a vid about it, but didn't really think there would be any interest. Maybe I can slap something together for a Neophyte Bite
@@ricklapp83 yes! Although it can throw off consistent and make the paint runnier. I’ve also noticed it doesn’t play nice with all pigments. Adding varnish can also have siccative effects
@@ricklapp83 depends. If youre judicious and apply a thin coat and the weather is on your side then maybe 24 hours, but more often several days until it's not tacky. The first coat sets up quickly but all subsequent coats are slower. The primer coats are not too critical for me. Just building up layers. So if they're still soft and get banged up no sweat. The final coats I'll take care to doctor the formula to get best results. I'm really keen to see how well a varnish blend will work on this scale.
Really fascinating to see the paint making process. Thanks for uncovering that mystery.
Really appreciate you watching!
Excellent info. Ill need to manufacture a certain red-orange boat primer that's no longer sold commercially, so this'll come in handy.
I’ve made up red lead paint as well. Magical stuff really. If it’s the genuine article, will dry in a lil over an hour. Obviously mask up while handling the powdered pigment, but otherwise just as safe as any other paint
You can also buy artist's oil paint in tubes which are quite thick and require thinning with more linseed oil. You add small amounts of oil to keep lumps from forming, stirring as you go. You have to make sure the white is made with linseed oil and not safflower oil or sunflower oil since many companies use those in their whites to prevent yellowing. They are not durable weather proof oils. By the way, you could mix tung oil in instead so that a mixture of tung and linseed oils result. Tung oil is more durable-slightly. Early 19th century paint pigments were yellow ochre, red ochre also called Venetian red, raw umber, burnt umber, raw sienna (sometimes called spruce yellow which is also called dark yellow ochre) burnt sienna, Prussian blue, lamp black, lead white, Turner's yellow (lead oxychloride), lead yellow also called Massicot, Vermillion, red lead called Minium. I have some early 19th century New York State newspapers with these same pigments for sale from 1826 in Rochester, and 1812 in Buffalo.
In 1868 the paint colors used at a fancy painted fire engine factory in New York City were:
Red Lead ,White Lead, French Yellow (this was ochre), Indian Red (a red iron oxide), Drop Black, Paris Green (probably copper + arsenic), Rose Pink, Chrome Yellow (basic lead chromate), Chrome Green (same but likely mixed with Prussian blue), Prussian Blue, American Vermilion (real vermillion but with cheaper red ochre added), English Vermilion, Chinese Vermilion, Ultramarine Blue, Crimson Lake, and Carmine.
You can add cobalt drier into linseed oil paint which is available online or from better art supplies. With this, raw linseed oil can be used since it soaks into the wood deeper due to its thinner viscosity. The National Park Service has an informative article on linseed oil's superiority of waterborne acrylic latex here:
www.apti.org/assets/Publications/Bulletin/2021/52.4/52.4%20Gibbs%20and%20Wonson.pdf
Thanks for making paint! That's cool, im gonna try that. Love that lil bucket i see.
Fuckin ace. In 2020 I was lucky enough to be able to paint all the barge boards,. soffits and fascias (and repair replace most of them...) on my house. I stripped the lot back to the wood. Primed with linseed oil then applied two coats of linseed oil paint. A 5L tin was £125.00.
However, this cost is insignificant if you consider this:
Scaffolding just for painting is five times that and you will be back to strip off any alkyd paints well within 10 years.
The majority of the woodwork was original from 1850. How had it survived? Cos it had linseed oil paint on it.
It gets wet, it dries out; and will keep doing so...
Any alkyd based paint will, without any doubt, let water behind it. It is impervious to water so no opportunity for the wood tk dry out. Knackered wood is the result.
Yeah a lot of our expectations around exterior paints are skewed negative thanks to alkyd paints. Oil based paint, especially when using an oil boiled with a lead containing compound, performs remarkably better. Better coverage, longer life, and as you mentioned linseed oil based paints polymerize into a type of goretex that sheds water readily, but also allows whatever moisture that gets in, to get out
@@neophyteboatwrights😎
Гарно!!👍👍👍
Keep chipping away!
I would really like to see an episode on those long reach wood clamps you have there, looks like you made those, and those are really useful for so many things in the woodshop along with boats. especially where you found the pattern, and the wedge you use on the back.
Hey! I did get a bunch of footage of us making those clamps way back when with the intention of posting a vid about it, but didn't really think there would be any interest. Maybe I can slap something together for a Neophyte Bite
that would be really great, I figure if I have a need for them, their is likely others as well, thanks.@@neophyteboatwrights
Long time no see.
Slow and steady wins the race
Who finished the hull and planking ? 12 months on 🤷♂️
Planking process was fully documented in episodes 17-19
Hey Murphy, would some japan drier help with curing?
@@ricklapp83 yes! Although it can throw off consistent and make the paint runnier. I’ve also noticed it doesn’t play nice with all pigments. Adding varnish can also have siccative effects
How long does the paint take to dry?
@@ricklapp83 depends. If youre judicious and apply a thin coat and the weather is on your side then maybe 24 hours, but more often several days until it's not tacky. The first coat sets up quickly but all subsequent coats are slower. The primer coats are not too critical for me. Just building up layers. So if they're still soft and get banged up no sweat. The final coats I'll take care to doctor the formula to get best results. I'm really keen to see how well a varnish blend will work on this scale.