A lively and strange excerpt from Bright Earth by Philip Ball, gives us a recipe for Spanish Gold using pure magical thinking. From the writings of Theophilus: "There is also a gold named Spanish gold, which is compounded from red copper, basilisk powder, human blood, and vinegar. The heathen, whose skill in this art is … [Read more...] about Red Haired Men and Other Curiosities on Pigments
Historical Pigments
Seeing Red
The color tests here are a perfect way to portray the differences between the modern pigments and the historic. On the left is the historic vermilion, pure above and mixed with white below. On the right is the modern pigment, cadmium red, pure on the top and mixed with white below. The intensity of the two colors is immediately apparent. The … [Read more...] about Seeing Red
Viridian vs. Verona
Often in this blog documentation, I have talked about color saturation. This is very important to anyone using color in any way, no matter the medium. The saturation of a color, paint, or dye, is the intensity of the pigment, meaning how weak or powerful it is. Often, I have mentioned a color having a weak tinting strength, especially the earth … [Read more...] about Viridian vs. Verona
The Blues
Many of the history books I have read over the past months often give multiple names for one pigment. This is something that has happened over and over again for the historic pigment called SMALT. Ralph Mayer states in his book, The Artist's Handbook of Materials and Techniques, it is a kind of cobalt blue glass. As many as 3000 years ago, the … [Read more...] about The Blues
Art Studio-CSI
Countless times over the past months of Lessons from the Low Countries research, I have made splendid discoveries. And, yesterday's was no less so. While reading the Still Lifes: Techniques and Style book where the pronk discovery developed, I found a delightful reference to a relationship between an artist's wealth and pigment use. Pictured … [Read more...] about Art Studio-CSI
One More Elimination
The experimentation with historic pigments continues to bring unexpected periods of learning and discovery. It is surprising, again and again, how few colors are necessary. During the painting of #8 and #9, the green pigment on my palette was narrowed down to one, vagone because of its good drying qualities. If you will remember the previous color … [Read more...] about One More Elimination