Thank you very much for sharing your own technique ! Indeed the process in this video is not the only one which works well. Sometimes with very loose canvas (thin threads and big speces between them) one can also soread the glue once gelified The jelly is "broken" by thorough stirring and then spread onto the canvas. If it is well done, it can size efficiently the canvas.

Thank you very much!!

Egg yolk is a natural animal product. It doesn't stand a long storage in tubes. It is more efficient as a post-addition ingredient. Grind and store your oil paint in tube, then when you take it from the tube add your egg yolk just before using the paint.

Sorry I don't understand : with sulfur and mercury, you cannot obtain any white product. Only black, brownish or red.

لدي سينابار او زنجر كيف استفد منه

@@loloqween2130 I don't understand what is زنجر Can you translate it in french, english or spanish? To use your cinnabar, you have to crush it in little pieces. Sort the best ones which color is beautiful red. Then mix with water and crush again in a mortar until it becomes a rough red mud. Finally mull this mud with a muller on a stone or glass slab. When your pigments is ok, you can see its color being brighter on the slab. The texture becomes finer. The sound changes, from hard crushing sound to soft like a breathe.

@@thierrymoutard-martin12 Hello, I have large quantities of cinnabar, how can I benefit from it?

@@loloqween2130 is it pure deep red or mixed with Brown/black/grey stone ?

Thank you for information i didn't know that. I thought zinc white addition was only for their lead white paint tubes but not for the qo called pure pigment.

@@thierrymoutard-martin12 I'm sorry, you are correct; for some reason I completely forgot that you were talking about hand mulled paint and not tube paint

Once mixed with oil, the pigment is bound in paste. You don't risk breathing it. There are not toxic fumes. So you needn't more ventilation than for any other pigment. When dealing with dry powder, before making the base paste with oil, things are different. the pigment can fly like dust. Then it is dangerous. Avoid any air flow which can make fly the fine colour.i Wear good protection. Always wear gloves when working with PW1.

@@verydrunkcat I had similar results. Decided RSG is only way to go. The GAC was second best but created more a stiff rather than tight surface with weird texture. The PVA was awful. On the RSG, I had to experiment a little. Very flimsy linen, i.e. cheap, had issues with loosening up and uneven as the RSG super tightens it, probably unraveling going on. Had to discard a roll. Better linen worked perfectly. Then proceeded to make a ton of very large canvases and they all came out great so far with either alkyd oil grounds, titanium, and lead. If there is a way to use PVA, its not thru the stuff by Gamblin. I asked the manufacturer what they use on their pre primed linen, and they claimed was PVA. Probably different formula.

What primer do you prefer ?

@@thierrymoutard-martin12 you can use gesso or oil base gamvar ground gesso ,if you do oil painting .

@@khaledfazl6850 do you know what components this gamvar gesso is made of ? Traditional gessos also contain rabbit skin glue (with a calcium filler like chalk or gypsum). I find these real gessos too brittle to be applied on canvas. Ok for panel priming only. Ils the gamvar gesso made from acrylic resin as binder ?

@@thierrymoutard-martin12 if you have any questions regarding painting particularly ,about oil painting check " Walcott Fine Art" on youtube .

@Arturo López Indeed, restorers tell us that a canvas glued onto a panel is a very long life material. When preparing such panels, which glue do you prefer ? Natural hide glue, or resin like PVAC, acrylic etc. ?

It is linseed oil from an old stock. I bought it in 2000 in a parisian shop which doesnt exist anymore : Cléton, rue Saint Sabin. Since then it has been stored in transparent bottles. A big plastic one at the beginning. Then smaller ones. Always without air, like almost oils I use.

@@thierrymoutard-martin12 was it quite thick and sticky? Or was it thin and runny ?? I was thinking if I sun thicken the walnut oil it could make it a bit more ropey and stringy

@@zachrowe7241 this linseed oil is more viscous than usual refined CP linseed oil for painters, but it os not thick like stand oil or oleum crassum.. Even when they seem to have the same apparent viscosity, linseed gives slightly longer pastes than walnut oil. I don't know why.

@@thierrymoutard-martin12 how long did you grind for? And just regular muller and slab?

Only a little part of Baltic amber can be dissolved. The final product is not a good varnish. Very fragile and brittle. Old treatises'amber is actually copal resin, which is better.

@@thierrymoutard-martin12 Thank you for the answer.

It gives you an adjustable rheology without adding any oil-resin medium. This paste can be really thixotropic unlike modern oil paints which are pseudoplastic pastes with a clear yield stress but have not the real time dependant thixotropic rheological behavior. It makes really easier the wet in wet working for draperies and carnations.

Yes, there is no sound. I am a specialist only in the field of painting. Sorry for the poor quality of my videos!

@@thierrymoutard-martin12 amazing video very useful. Plz make more. Thx

@@JH-ct9fj what technique would you like to be explained in another vid ?

With PVAC or acryl products, the canvas behaves differently. The main issue is not glue passing through the fabric. It can happen here or there, but if you spread the glue with a Saber like on my video, and if your canvas is not too loose (In every case it is better to buy threads than holes when you buy a canvas!) the surface will be covered buy a good layer. It will be very tight when still damp. But after drying, you will discover your canvas to become loose and wavy. The jellying / drying process of the rabbit skin glue let the canvas as tightened after drying as it was when wet. With the PVAC glue, it is not the case : if you want your canvas to be as tightened as with RSG, after drying you must remove it from your temporary working stretcher and nail it again on your final strecher.

Do you know why he did that?

@@UncleJunior52 did you finally tried the top coat with Gamblin primer? Can you tell us your opinion on the result?

Je vous remercie de m'avoir prévenu. D'autres internautes m'ont signalé cette difficulté. J'en tiendrai compte pour la prochaine vidéo.

Je vous remercie de m'avoir prévenu. Auriez-vous préféré un texte plus visible, quitte à ce qu'on soit distrait de l'image ? Ou bien un commentaire en voix off ?

Yes, I mull these from pure dry pigments. First I make a pigment + oil paste with a a pestle and mortar, then I finely grind the paint with a glass muller on a glass slab.

thierry moutard-martin do you not put it through a sieve? When I’ve made mine it comes out with some particles that don’t break down further.. So it leaves tiny bumps when the paint is spread thin Do you have any tips or suggestions?

@@erxfav3197 if you make your own pigment from lead, I suggest more refining in a ball mill or on the slab with the same muller than for the final grinding in Oil. If you buy a lead white from a reputable manufacturer like Natural Pigments or Kremer, these lumps may originate in an uncompleted grinding. It happens if you want to mull too much paste at a time : on the sides of your muller there is some excess paste which is not worked under the tool. In this part of your paste, big lumps can remain unbroken, hence the defect you have noticed.

It is a simple modern palette knife like ones you can buy in every art store. I only use this knife to show paint consistency in the video. To create this paint from oil and pigment, you need a mortar, pestle and a grinding muller on a heavy slab.

very beautiful paint, do you make any other colors?

walt walt Yes I grind other pigments. I published a handbook about ultramarine grinding: www.lulu.com/shop/thierry-moutard-martin/outremer-broyage-et-formulation/paperback/product-22002226.html You can also find some copies on amazon: www.amazon.com/Outremer-broyage-formulation-Thierry-Moutard-Martin/dp/1471654877 As soon as I have a little time, I will translate it in English!