lead white rheology

Scholar studies about hand mulled lead white artists’ oil paints suggest that their rheological behaviors are due mostly to their binder. But lead white pigment individual characteristics must also be taken in account. Here, two different lead pigments are tested with the same oil. On the left, NaturalPigment “dutch” stack process pigment, on the right Sennelier modern pure lead white.
Both paints were made by first working linseed oil and pigment in a mortar with pestle, and then by grinding with a muller.
NaturalPigment gives a whiter paint. Sennelier pigment is of a warmer undertone, slightly pinkish. The NP paint is shiny, whereas the Sennelier’s is matte. Sennelier paint is a very short paste which holds every single sharp brushmark, like some stiff modern commercial tube paints. NP paint is a little longer, close to old masters actual paint consistency as seen on white impasto parts on museums’ paintings. Both paints are pleasant under the brush or knife, but if you want to emulate old master’s brush strokes, the NP paint is clearly better.
NP white paint was surface-dry in about twenty hours. Sennelier pigment is much less siccative : the paint dries in one week, which is surprisingly long for lead white. (All ancient treatises insist on the siccativity of this pigment.)
sites.google.com/site/moutard...

[@ATINKERER]

That was a great demonstration! Thank you .

[@Jellyf0x]

Thank you for sharing.

[@DizzyCsango]

-If I remember correctly, Sennelier's lead white has zinc oxide added to it, which will reduce the stringiness-

[@thierrymoutard-martin12]

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.

[@DizzyCsango]

@@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

[@mikegurney9278]

Thanks for the info interesting,.

[@netsaosa4973]

ty

[@nickfanzo]

Pure lead white is the most beautiful oil color.

[@ashikaahso7276]

during and after I make the lead white paint with a muller, how long I should ventilate approximately to ensure safety? 1hr should be enough?

[@thierrymoutard-martin12]

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.

[@zachrowe7241]

What type of linseed oil did you use ? I tried cold pressed but it didn’t have as much stringyness as yours !

[@thierrymoutard-martin12]

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.

[@zachrowe7241]

@@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

[@thierrymoutard-martin12]

@@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.

[@erxfav3197]

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

[@rochellelisa7959]

Was it meant to be silent? I couldn't hear any sound

[@thierrymoutard-martin12]

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

[@JH-ct9fj]

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

[@thierrymoutard-martin12]

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

[@Person-ov5hv]

both of these are hand mulled by you from pigment?

[@thierrymoutard-martin12]

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.

[@erxfav3197]

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?

[@thierrymoutard-martin12]

@@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.

[@waltwalt3282]

what kind of palette knife?

[@thierrymoutard-martin12]

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.

[@waltwalt3282]

very beautiful paint, do you make any other colors?

[@thierrymoutard-martin12]

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!

[@thierrymoutard-martin12]

Pour en savoir plus : sites.google.com/site/moutardmartin/Home/cours-et-formations/broyage-des-couleurs