Handmade Paint Unveiled: The Real Difference

In this video, I will be unveiling the real difference between commercial paint and handmade oil paint. We'll be exploring the effects of Aluminum Stearate. We'll also be comparing commercially prepared colors with traditional handmade colors in terms of texture and transparency. Don't miss out on this amazing video.
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[@arun_kumar0]

ohhhh i loveeeee making my own oil paints(atleast couple of them)... 1st its cheap or it cost next to nothing... 2nd it just gives me the satisfaction or if I say it give me that pleasure which I don't get it from commercial paints... that personal touch of painting feels like its worth every single penny... and thank you for promoting the traditional way of making paints 😇... for grinding we can also use a marble/granite mortar's base on a marble slab to grind if glass muller is not available nearby

[@DizzyCsango]

28:36 One shouldn't use weight but volume when determining the pigment to binder ratio because of the difference in pigment density, e.g. lead white is heavier than ultramarine; cobalt blue is heavier than madder etc. Another thing to consider is that different binders will allow for different loads of the same pigment, e.g. walnut oil allows for a higher pigment load than linseed oil.

[@SonesBen]

Just FYI--Williamsburg doesn't use aluminum stearate as a stabilizer--they use beeswax. (They are always happy to talk about how they make paint, if you ask them).

[@gregory6488]

Correct me if i am wrong but I think the recommended amount of aluminium stearate is 2% of the oil quantity. And 1 of its purposes is to prevent the oil and pigment separating in the tube. Isn't that the same as adding a little beeswax?

[@eduardoventura1704]

Buenas tardes profesor, muchas gracias por su video, lo veré en cuanto estén disponibles los subtítulos, pero tengo la certeza de que nos ha vuelto a obsequiar con información de primera. Muy amable por su generosidad al compartir sus clases, que esté bien de salud. 🤗🙌👏👐

[@KoshNaranick]

where did you learn all the technical information on the making of paint you are telling us here? how or where can we learn this?

[@HimmelsscheibeNebra]

Dear Luis, thanks for this beautiful and informative video. Thanks to your channel, I started making my own paints and continue the making of stack lead white pigment. The Kremer earth pigments are beautiful and I did not know that there was such a wide range of earth colors pigments available. There is still a lot of experience to be made, but the first results are already good. Making my own paints feels like being more in touch with "the craft". Thanks and best wishes.

[@franciscosalvacao5853]

Great video Luis. Very didactic indeed. Specially when you explain the differences of different commercial oils versus the homemade ones as you name it. Mixing and malling the pigments and the oils, and also adding the CC was very usefull too. Although the white the making of lead stack proccess is not an option for me, I wonder if it is easy to find some kind of lead pigment in Europe, just to give it a try to prepare a Cremnitz like batch. I will also do some research on this subject.

[@jimqartworks]

this is super awesome, I love the grainy pigments, the cork bottle idea is one of my fave, thanks

[@phillipmurphy842]

Excellent Luis ! thank you.

[@nlopez44]

Wonderful & informative information, thanks for sharing this Luis! 🤍🎨

[@cuentamedenuevo7399]

Thanks a lot for this beautiful session, Maestro Borrero. I watched it live and I'm watching it again. More and more I'm preparing my own colours. What do you think about the old traditional practice of keeping small prepared batches in shells into water? Was it simply the economic alternative to keep the preparations? Or were prepared colours more protected? Thank you again!

[@CustardBustard]

Synthetic flake white isn't basic lead carbonate and has slower drying and lacks thixotropy like the real thing. It stays thicker whether there is stearate added or not. Although in my experience it does separate readily without stearate so it's likely that most flake white still has it. There are a lot of colours that don't require stearate that still have the usual butter consistency but it's a lot of work to find out which they are

[@pedroluishd7520]

Gracias a usted maestro por todo .Mire yo soy cubano allí solo se enseña “arte contemporáneo”.Yo desde siempre creo desde que tuve razón he amado las artes visuales y mi camino y mi búsqueda era aprender lo que usted está enseñando .Crea que he tenido que borrar mucho de mi mente como la prohibición del uso del negro (jjj).Como sea yo vivo aquí en los Estados Unidos ahora y le paso el link de cada capítulo de usted a mis amigos allá en Cuba para que también lo vean allí hay muchachos talentosos pero con poco acceso a la información .Ellos me lo agradecen a mi y a usted sobre todo yo solo paso el link .Y a usted maestro se lo agradezco en mi nombre y en el de ellos

[@KoshNaranick]

where do you buy your pigments?

[@WDeeGee1]

Besides aluminum stearate, other binders are palm oil (Old Holland), Beeswax, fused silica.

[@erxfav3197]

But if madder lake is fugitive, why use it? Aren’t you worried about it losing its color? Or stil de grain as well? @Luis Borrero, Visual Artist

[@nicaraguaart5172]

Luis estamos de acuerdo en que la superioridad de los materiales históricos son mayúsculos a partir de la calidad y preservación de los pigmentos, aunque sería interesante que hables sobre las distintas marcas comerciales que hay según tu experiencia, de cara a desarrollar una pintura con características interesantes magistralmente hablando.

[@mattmedium2388]

Thank you Luis. I can't find Vermilion pigment anywhere. Oil paint companies sell vermilion. But when i read the label it says Pyrrole orange. Or something else. I would like to get the real thing

[@richardnagele5877]

On kremers website they say they’ll only sell vermillion genuine to professionals? How did you get it?

[@christopherfarrell-artist3557]

I had issues using MH paints as I paint in very thin layers. The pigment wouldn't bind to the previous layers and became very unstable over time, it would literally flake off if touched. I was told I needed to add more binder, too late, in my case, as the paintings were already out on show or sold. Old Holland have been great with my process of painting, I also used Golden Acrylics ( not on the same painting of course ) which are amazing. Thank you for this video as it is realy important to understand how paints are made in order to make the most of them.

[@LuisBorreroVisualArtist]

Hello Christopher: Thank you for sharing your experiences. 🙏🏻

[@HNLinh]

I am the same you, and I am nervous how to fix them. I use some brands from MH, Winsor newton,....

[@christopherfarrell-artist3557]

@@Broody58 I can't say.... It was a while back ( 2006 - 2008 ), I think used Shellsol T with linseed oil and I remember trying walnut oil too at the time ( on primed 15oz cotton duck canvas ). It could have been a bad batch, my poor mixing or environmental issues as the studio used to get very cold in the winter and really hot in the summer. I paint on DIbond and copper now as I prefer the rigid super smooth surface - that comes with it's own issues, I use a non-porous fixative spray to create a bonding film to the metal. It works well but doesn't eliminate the potential damage from 3rd party mishandling/poor storage.... :o

[@christopherfarrell-artist3557]

@@Broody58 I can't rule that out as the painting process can take anywhere between a couple of months to a few years, so at some point the paint might have developed / built up a non-porous surface. Lessons learnt I hope...I stress test all paintings now with painters tape to make sure the layers have bonded. :)...Also, enamel is fine in my eyes....

[@dorinases]

I enjoy making paint, I find it very satin and soothing.. but isn’t the factory paint better since it’s being rolled by 3 roll mills for finest particles? But I love making it because I know exactly what is in it :)

[@ltwig476]

You can mull your pigment as fine as you want. The mill is to make it easier for large quantities of paint being produced at once. But the question is, do you really always want smaller particles? That is what I hate about factory produced ultramarine and what got me started making my own. Their ultramarine is too opaque because they are milling all their paint to the same consistency. Most of the time I want super transparent shadows, therefore larger grains of pigment. A shadow is not the same as an object. Rather it is a transparent light source flowing over an object. Titanium drives me cray because it is extremely opaque. It is great for creating extreme highlights and works fantastic with cads for that reason. It is actually a very bright blue. It changes the hue of colors. I'm trying out some Barite white and others for more transparent white.

[@HatsOptional]

Hi Luis! I have a question for you. .. if you were a lone painter in the 17 century, how many pigments would you be willing to prepare prior to painting, on a regular basis? I am just attempting to gain some understanding of the likelihood, given human nature, of roughly the number of pigments that might be the optimal amount. I understand that some painters had servants. I am just trying to apply some woo to it all 🍺

[@JOSEPH-vs2gc]

Considering how they'd have to buy the pigments somewhere anyway, they may as well have bought them in paint form... assuming they sold them in paint form. i dunno. Seems incredibly inefficient to do it all by yourself.

[@palnagok1720]

...in the C17 , they only had a consistent supply of about 16,17 pigments...

[@ulisesbailonduarte5517]

Hola amigo maestro, podrías compartir tus conocimientos en español? Desde México saludos y abrazo, muchas gracias

[@LuisBorreroVisualArtist]

Hola Ulises: Los subtítulos en español del directo estarán publicados a partir de mañana. Desafortunadamente KZbin se tarda un poco en compartirlos. Gracias por tu visita.

[@56m6]

Gracias maestro por la información compartida, muy bien presentado y explicaciones personales muy pertinentes Los subtítulos en español groso modo son buenos aunque en ocasiones sin tener conocimiento del tema , generan propuestas incomprensibles Nuevamente gracias

[@jimqartworks]

Diego Velázquez also uses a lot of calcite in his paints, I have a question about medium, artist Orazio Gentilesch uses varnish (amber) + walnut oils in his paintings, any insights on that? is that methods still in your personal opinion will be advisable? thanks

[@LuisBorreroVisualArtist]

Hello Jim: I am actually not very fond of fancy mediums. I prefer oil and pigment alone. I do believe that learning to modify the oils and pigments is the key to different effects.

[@jimqartworks]

@@LuisBorreroVisualArtist awesome, thanks

[@jimqartworks]

do you have a video on how to tube your paints? like technique that's less messy? some artists use parchment paper piping cone and place the paints there and squeeze it inside the tube, what's your process, thanks

[@LuisBorreroVisualArtist]

Hello Jim: I usually just use a palette knife to fill the paint tube. Not much of a secret. I only tube the base colors. My expensive colors I never tube. I make them in tiny batches before I paint.

[@diegoallcore]

I have tried to eliminate aluminum stereate adding pure new oil in a little batch of Paint and set it in a paper for a couple of minutes, then wash again, you lose a little pigment in the process but the quality is better

[@NJ-zj8by]

Hi, Diego, What do you mean by "washing" the paint again (after letting it sit in pure new oil for a while)? Could you elaborate? I am interested in finding some method of reducing the aluminum stearate in my store-bought paints as well. Thanks in advance!

[@diegoallcore]

​@@NJ-zj8by hi. I initially put the paint out of the tube in paper, then when the oil is soaked in a couple of hours I mix a little more oil and put it again in another place of the paper

[@johnbloom1109]

Why no titanium white? It has a beautiful luminosity with no additives added to it and is not prone to forming metallic soaps over time unlike lead white.

[@LuisBorreroVisualArtist]

Titanium white is a wonderful color. I highly recommend it to students and artists that do not want to work with toxic pigments, but it does yield different effects than Lead white.

[@palnagok1720]

@@LuisBorreroVisualArtist tad Spurgeon makes reference to mixing ti white with calcite to make it more useful and translucent.

[@yoheff988]

Volume is very low

[@orhanuralortac2566]

🙂👍🙏

[@kristykirby5905]

Have you had any luck finding professional quality oils on the island?

[@LuisBorreroVisualArtist]

We have an art store called Ofiarte that carries Williamsburg paint. It’s pretty limited though.

[@diegoallcore]

We got the same problem in Costa Rica. So limited options, I have only found Gamblin and Lukas 1862 but I need more haha

[@Heurigijdbd]

rublev paint has no additives

[@rossmcleod7983]

Rublev is gold, great company, massive respect for their work.

[@Pdx616]

Hard to see the demonstration due to poor lighting and camera angles

[@skrewler]

What brand is the alizirin crimson you showed at the start? and did you seriously just say aluminum stearate caused it to lose it's transparent qualities? frankly, i don't think you know what you're talking about. and I dont understand the point you're making comparing UltraMarine Blue to Lapis Lazuli. as I'm sure you're aware, PB29 needs some sort of additive because even after a couple hours becomes very runny. I've heard that you can repeatedly mull it after it becomes runny and eventually it will become stable, but never tried it. also you act as if every commercial paint tube is just loaded with stearate. it's only added in some pigments that otherwise would become a goopy mess by the time they reach the customer. it's a -good- thing. maybe some companies do go overboard however, the paint brands you showed at the start Utrecht, Gamblin and Williamsburg surely aren't guilty of that.

[@jasonadamik2206]

It's AluminUM Stearate (not STAIR-ate) (said four thousand times in this video).

[@SaudagarWarna]

Luis, enter Islam and success

[@hendribabuvaraprasad5532]

Over taking

[@Comeriokid]

Omg stop wasting time and Let the pros do it. They do a better job period. Painting is hard enough. There are plenty of paint makers doing an excellent job in the traditional methods. Natural Pigments, Robert Doak, Michael Harding and many more!