Fantastic video! Thank you. I was very curious about using gypsum alabaster (which you sell) as an extender pigment for making a glazing medium. 1) Is it any more transparent than say chalk or barite in oil...or about the same? 2) Does alabaster have any unique properties that set it apart from the other extenders you mentioned here? Thank you! PS Fun fact: the name "alabaster" comes from ancient Egyptian a-labaste, which refers to alabaster vessels of the Egyptian goddess Bast. She was represented as a lioness and frequently depicted atop these vessels which themselves were often called alabastra. Pigment geeks, unite!
Alabaster, which is a form of gypsum (calcium sulfate hydrate), has very similar opacity as chalk or barite. However, it has different working properties in oil paint.
Waw thanks you so much! I have a question, I am looking to make a very good quality gouache at home, to be able to control the whole process, and use precious mineral pigments, in your opinion, which filler is the best to make a technical quality gouache or extra fine? I'm looking to have the velvety finish and opacity of gouache, while retaining a great vibrancy of the colors of pure pigments, but also having a certain smoothness which allows me to work on fine lines, what do you recommend? Thank you in advance for your answer
Check out the Blog on the Natural Pigments website: www.naturalpigments.com/artist-materials/making-gouache-step-by-step-guide and www.naturalpigments.com/artist-materials/gouache-paint-recipe
Question about wollastonite: Since it is needle shaped and variable in particle size, could it be added when hand mulling synthetic pigments (such as Prussian blue or Azo) in order to help break up those stubborn aggregates? My thinking is that the variable sharp particles could agitate the aggregates, effectively "stabbing" them like tiny pick axes haha (Fyi: not worried about increased transparency from adding extenders, I just don't want pigment to go to waste).
Fine pigments such as Prussian blue require mechanical grinding to effectively disperse them in oil paint. Adding extender pigments will not make this any easier.
This videos are pure gold, thank you so much
Thanks!
Fantastic video! Thank you. I was very curious about using gypsum alabaster (which you sell) as an extender pigment for making a glazing medium.
1) Is it any more transparent than say chalk or barite in oil...or about the same?
2) Does alabaster have any unique properties that set it apart from the other extenders you mentioned here? Thank you!
PS Fun fact: the name "alabaster" comes from ancient Egyptian a-labaste, which refers to alabaster vessels of the Egyptian goddess Bast. She was represented as a lioness and frequently depicted atop these vessels which themselves were often called alabastra. Pigment geeks, unite!
Alabaster, which is a form of gypsum (calcium sulfate hydrate), has very similar opacity as chalk or barite. However, it has different working properties in oil paint.
Waw thanks you so much! I have a question, I am looking to make a very good quality gouache at home, to be able to control the whole process, and use precious mineral pigments, in your opinion, which filler is the best to make a technical quality gouache or extra fine? I'm looking to have the velvety finish and opacity of gouache, while retaining a great vibrancy of the colors of pure pigments, but also having a certain smoothness which allows me to work on fine lines, what do you recommend? Thank you in advance for your answer
Check out the Blog on the Natural Pigments website: www.naturalpigments.com/artist-materials/making-gouache-step-by-step-guide and www.naturalpigments.com/artist-materials/gouache-paint-recipe
Question about wollastonite:
Since it is needle shaped and variable in particle size, could it be added when hand mulling synthetic pigments (such as Prussian blue or Azo) in order to help break up those stubborn aggregates?
My thinking is that the variable sharp particles could agitate the aggregates, effectively "stabbing" them like tiny pick axes haha
(Fyi: not worried about increased transparency from adding extenders, I just don't want pigment to go to waste).
Fine pigments such as Prussian blue require mechanical grinding to effectively disperse them in oil paint. Adding extender pigments will not make this any easier.
Is chalk similar to marble dust (calcium carbonate) as an extender?
The are very similar; the difference is the particle structure of each mineral.