Do you have a binding preference?
By Silvana Toro
Student Projects, Pigments
& Binders
Introduction
The purpose of my project was to compare three
different binders: Linseed Oil, Egg Tempera, and Gum Arabic. In order to compare these three binders I also used four different
pigments: Cobalt Blue, Crimson Red,
Gamboge, and Chromium Oxide Green. I was able to make my own paint and by the end of my paint making,
color-strip testing, and observing, I was able to paint a work of art with
the pigments and binder of my preference.
I applied the different paints to the same type of paper, which also
helped in taking L a b readings with the colorimeter. In comparing these three binders I learned which binder was easier
to clean up, which mixed with the pigments the best, which binder produced
the nicest colors, and which binder was best to store over time; in the end
resulting in which binder produces the best product.
Background
I began this project not knowing that anyone
else had already completed a similar project.
Travis Johnson and Anna Williams, from Dr. Bordley’s Chemistry and
Art class of 2001, did a similar project called “The Effectiveness of Binders”.
Historical
Information:
-Binders-
Oil and egg tempera are bindings due to chemical
reactions. The modern usage of the
word tempera refers to painting that employs a medium that may be freely diluted
with water, but when it dries it becomes sufficiently insoluble and does not
easily allow over painting with more tempera paint. Tempera paintings are called insoluble, but this does not mean they
are completely waterproof. Tempera
paint is characterized by a brilliant crispness that cannot be duplicated. When tempera paint dries the colors resemble
their original dry state more than deep-toned oil colors do. When compared to oil binders, egg tempera has
certain limitations and disadvantages. Its
range of effects is limited and its inflexibility makes it unsuitable for
painting on canvas. Oil is more convenient,
flexible, and a more available technique when compared to egg tempera or tempera
in general.
Principally, the early type of natural tempera
emulsion was pure egg-yolk. The yolks
of hen’s eggs contain a gummy water solution substance made up of albumen
and lecithin. Albumen is egg oil and lecithin is a lipoid
or fatlike substance that is one of nature’s most efficient stabilizers. Egg yolk is a paint vehicle that contains a
nondrying or semidrying substance mixed with a quick-drying substance, which
allows the paint to dry successfully.
The pure egg-yolk (free from egg white) techniques
come from Italy and were practiced by artists as early as the 14th century. During this time egg tempera painting became
very well established. Egg tempera
was the principal medium used for easel painting in Europe until the development
of oil painting.
Linseed oil was first used for ordinary decorative
and protective coatings from the earliest recorded periods of European history.
It was nothing like the linseed oil we know now.
Purification of linseed oil began around 1400.
Gum arabic or gum acacia is a product of various
trees that grow in tropical Asia, Africa, and Australia.
In comparison to egg tempera and linseed oil, it is a harder, is less
easily dissolved, and produces a watercolor medium. Gum Arabic is used as a binder in watercolors. It is completely soluble in water.
-Pigments-
COBALT BLUE:
It is a compound of cobalt oxide, aluminum oxide, and phosphoric acid. Cobalt blue is bright, clear, and nearly transparent,
somewhat similar to ultramarine, but not as deep or intense. Cobalt blue has a greenish undertone. It was discovered in France in 1802. Artists began using it between 1820-1830.
(Permanent color)
CRIMSON RED:
It is described as ancient or medieval crimson lakes that had animal
and vegetable origins. Crimson red
is a modern replication of crimson lake, somewhat like a red oxide.
GAMBOGE: It
is a native yellow gum from Thailand. Gamboge
is transparent and not a true pigment color. It has been in use from medieval times to the
19th century and later cobalt yellow was preferred for permanent
painting. (Nonpermanent color)
CHROMIUM OXIDE GREEN: (chromium oxide) It is an opaque, cool, pale willow green. Chromium oxide does not have strong tinting
power and is a very heavy powder. It
has been known by artists since 1809 and was introduced commercially in 1862.
(Permanent for all purposes and conditions)
Procedure
-Materials-
*gum Arabic
*4 eggs (only egg
yolk was used)
*linseed oil
*spoon
*mortar and pestle
*cobalt blue (powdered pigment)
*crimson red (powdered pigment)
*chromium oxide green (powdered
pigment)
*gamboges (powdered pigment)
*paper (thick paper)
*water color paper
*mineral spirits
*paint brushes
*paper towels
*water
*colorimeter
*12 small glass storage containers
*2 beakers (100 ml)
-Procedure-
Preparing
Egg Tempera Paint
The materials I used for preparing
egg tempera paint: 4 eggs (egg yolk), water,
mortar and pestle, spoon, 4 small storage containers, 2 beakers, and 4 powdered
pigments (Cobalt blue, Crimson red, Chromium oxide green, and Gamboge).
1.
First, I prepared the egg tempera, which is
primarily egg yolk and water. I took
an egg and cracked it open without breaking the egg yolk or destroying the
shell. The shell can be used to separate
the white from the yolk by pouring the yolk and the white back and forth from
shell to shell. Do this over a beaker;
the beaker is used to catch the unused parts of the egg. When I could no longer separate the yolk from
the white, I carefully poured the yolk bubble and the remaining white into
the palms of my hands. I poured the
yolk back and forth from palm to palm (careful not to break the bubble). I did this until the coating on the yolk was
somewhat dry. Then I carefully pinched
the skin of the yolk and held it over the other beaker. Then I took a sharp object (toothpick) and
punctured the bottom of the skin. The
yolk then poured into the beaker; I also gently squeezed the remaining yolk
from the skin into the beaker with my thumb and pointer finger. Remember, the think yolk skin is not wanted.
The skin is then put into the beaker that is used for unused waste
materials along with the eggshells and the egg white.
I repeated this process four times in order to collect enough yolk.
2. Then, I added 30 ml of water to the 30 ml of
pure egg yolk that was in the beaker. I
mixed the two substances together to form the egg tempera binder.
3. After I made the binder, I put two spoonfuls
of pigment into the mortar. Then I
added the amount of binder I desired while grinding the two substances together
with the pestle, also at times adding water to give the paint moisture. The entire time consistently grinding together
the pigment and binder. I did this for
all four pigments. The resulting paint
texture was determined by what I preferred (thick or runny).
4. Finally, I collected the paint in a small
glass container for storage. (Do Not
Forget To Label Containers!!!)
When
finished preparing the paint, dispose of the left over binder and unused waste
materials properly and clean all materials.
Preparing
Gum Arabic Paint:
The materials I used for preparing
Gum Arabic paint: Gum arabic solution,
mortar and pestle, spoon, water, 4 small storage containers, and 4 powdered
pigments (Cobalt blue, Crimson red, Chromium oxide green, and Gamboge).
1. Since the binder was already prepared, my
main task was to make the paint by combining gum arabic, water, and
pigment. I first poured 2 spoonfuls of
pigment into the mortar. Then I added
about 10 drops of gum arabic solution and an equal amount of water. Also consistently grinding and mixing the pigment
and binder together by using the pestle.
Occasionally adding water. The
resulting paint was again determined by preference (thick or runny). I did this for all four pigments.
2. Then I collected the prepared paint into a
small container for storage, but I did not cover the container immediately
because gum arabic is used as a watercolor paint and is preferred dry or
semidry so it can be combined with water to make a type of wash on paper. (Label, Label, Label!!!)
Clean
materials and dispose of any waste products properly.
Preparing
Linseed Oil Paint:
The materials I used for preparing
Linseed Oil Paint: Linseed Oil, mortar and pestle, spoon, 4 small storage
containers, and 4 powdered pigments (Cobalt blue, Crimson red, Chromium oxide
green, and Gamboge).
1. Again, the linseed oil extract was already
prepared. My only task was to mix the
pigment and the binder. I first put 2
spoonfuls of powdered pigment into the mortar.
Then I added small amounts of oil to the pigment. The amount of oil added all depends on the
texture and consistency that you want your paint to be. While adding the oil continue to use the
pestle to grind the pigment and binder together. I did this same procedure for all four pigments.
2. When the desired texture is reached collect
the paint in a small container for storage.
Again, do not forget to label.
Clean materials
and dispose of any waste products properly.
To clean the materials you need the mineral spirits because water will
not be sufficient enough to clean the mortar, pestle, and spoon.
Extra
Preparations for Final decision:
For the three sets of binders I
took paper and painted eight different color strips. Four being the original color and four being combinations of each
color. I used these sheets to take L a
b (colorimeter) readings.
Egg Tempera 
Gum Arabic 
Linseed Oil 
Observations and Data
-Observations-
Paint Preparation Observations:
|
|
Linseed Oil
|
Egg Tempera
|
Gum Arabic
|
Dark Crimson Red
|
clumpy and grainy, difficult to mix, added
a lot of oil to make a decent oil texture
|
when the egg tempera was added to the pigment
it was clumpy, more water was added to create a more consistent look
|
first when the solution was being added it
was clumpy and somewhat dry, the more the pestle grinded it the more
consistent and smooth in texture it got
|
Gamboge
|
difficult to mix, powder became clumpy, color
created not the same as the pigment it started from, the oil changed
the color
|
smooth texture created, nice color, almost
like pigment, easier to mix
|
mixed well and easy, easy to store, easy
to clean up, bright color, closest to original color of pigment than
with the combination of the other two binders
|
Chromium Oxide
|
mix well together, created a good texture,
not as much oil was added
|
smooth texture, some grain, creating a rough
texture, the more I grinded with the pestle the more consistent the
paint became
|
very clumpy, consistent but the consistency
was clumpy, more difficulty putting it into the container, nice result
in color
|
Cobalt Blue
|
bright color, mix easily, nice texture, like
Chromium Oxide the combination created a good texture
|
Nice texture, strong color, easier to mix
together
|
Bright blue, consistent, easy to mix with
binder, easy to transfer to container
|
Paint Strip Observations:
|
|
Linseed Oil
|
Egg Tempera
|
Gum Arabic
|
Dark Crimson Red
|
very grainy almost dry, does not spread well,
very dark,
|
grainy, dried rather quickly, nice color
representation of original pigment (pure), thick texture, no cracks,
a little powdery to the touch
|
less grain than other two binders combined
with pigment, also most consistent in texture
|
Gamboge
|
bleeds through the paper easily, a little
red mixed in while painting the strip so there are trails of red on
the strip, paint does not spread well across the paper, grainy in areas
|
grainy, dried rather quickly, like oil some
red mixed in with the yellow, streaky, no cracks
|
brightest yellow, somewhat grainy, nice texture
and look when applied with the brush
|
Chromium Oxide
|
bleeds onto the other colors, maybe too much
oil
|
nice texture, some areas have cracks, color
is pure on paper, good representation of original pigment
|
clumps of paint on the painted strip, looks
as if there is a more water mixed with it than with the other colors
|
Cobalt Blue
|
best looking on paper, does not bleed too
much, does not run onto the other color strips, very consistent in texture,
pigment and binder combined well together
|
even texture, no cracks, bright, good representation
of original pigment,
|
Bright, part cracked, a little powdery, smooth
texture and appearance
|
Container Observations:
|
|
Linseed Oil
|
Egg Tempera
|
Gum Arabic
|
Dark Crimson Red
|
thick and grainy, very dark, kind of like
a paste
|
developed a mold on close to the opening
of the bottle, grainy
|
dried inside the container, close representation
of commercial watercolor paint
|
Gamboge
|
thick and grainy, color not bright, does
not represent the original pigment
|
looks more yellow in the bottle than on paper,
developed a mold very quickly in many areas on the paint
|
dried inside the container, yellow very distinctive
|
Chromium Oxide
|
runny, seems like it would have a nice texture
to it
|
nice consistency, no mold, no water layer,
egg smell, not rotten smell (yet)
|
did not dry completely in bottle before use,
clay like appearance, strong representation of original color
|
Cobalt Blue
|
seems to be easy to apply, might be a little
too runny,
|
appears to have a nice consistency, a layer
of a yellow watery substance on the top of the paint
|
very bright, dried completely
|
-Data-
Colorimeter readings
EGG TEMPERA
|
L
|
a
|
b
|
Dark Crimson Red
|
25
|
+37
|
+16
|
Dark Crimson
Red/ Gamboge
|
28
|
+35
|
+13
|
Gamboge
|
58
|
+24
|
+52
|
Gamboge/ Chromium Oxide
|
32
|
-23
|
+9
|
Chromium Oxide
|
35
|
-22
|
-4
|
Chromium Oxide/ Cobalt Blue
|
37
|
-9
|
-25
|
Cobalt Blue
|
39
|
+18
|
-52
|
Cobalt Blue/ Dark Crimson Red
|
30
|
+18
|
-27
|
GUM ARABIC
|
L
|
a
|
b
|
Dark Crimson Red
|
27
|
+39
|
+17
|
Dark Crimson Red/ Gamboge
|
49
|
+50
|
+41
|
Gamboge
|
78
|
+3
|
+72
|
Gamboge/ Chromium Oxide
|
52
|
-37
|
+22
|
Chromium Oxide
|
43
|
-34
|
+1
|
Chromium Oxide/ Cobalt Blue
|
40
|
-15
|
-20
|
Cobalt Blue
|
44
|
+20
|
-56
|
Cobalt Blue/ Dark Crimson Red
|
31
|
+22
|
-24
|
LINSEED OIL
|
L
|
a
|
b
|
Dark Crimson Red
|
22
|
+11
|
+5
|
Dark Crimson Red/ Gamboge
|
24
|
+15
|
+6
|
Gamboge
|
39
|
+22
|
+31
|
Gamboge/ Chromium Oxide
|
30
|
-18
|
+6
|
Chromium Oxide
|
32
|
-17
|
-3
|
Chromium Oxide/ Cobalt Blue
|
28
|
-4
|
-16
|
Cobalt Blue
|
31
|
+15
|
-32
|
Cobalt Blue/ Dark Crimson Red
|
30
|
+5
|
-3
|
Conclusions
In
concluding this project I found that binders make a large difference in the
type of masterpiece you desire. The
resulting colors are different with the use of different binders and the textures
are also very different. Linseed oil
and egg tempera did not combine will with crimson red, and gamboge only worked
well with the gum arabic. In fact,
the four pigments for the most part turned out very well when they were combined
with the gum arabic binder to make paint.
The linseed oil made the colors darker than the original pigment. The oil binder seemed to have the most trouble;
the biggest problem I think was that it was difficult to know how much binder
is enough to make a nice texture. It
does not dry well and it is extremely runny; it would be difficult to create
a satisfactory work of art with the oil paint. I believe that I would have received better results if I would have
applied the oil paints to a canvas and not a paper, but the comparison was
by applying the paints to paper. The
linseed oil required mineral spirits to clean up and the cleaning up process
was very messy. The egg tempera and
gum arabic only required water and soap to clean up. The egg tempera was also a good candidate for the best binder, but
the major problem was the mold that was found inside the containers. The gum arabic was easy to mix with the pigments,
the paint was satisfactory, the texture and color was pleasing, and because
I was so pleased with most of the result of the gum arabic paint product I
created to paintings as my final masterpiece to show how satisfactory gum
arabic is as a binder. The paint strips
and observations helped me to make my final decision. Personal preference also impacted my final
decision. I did two different types
of washes.
Links
Egg Tempera
Information
Paint
Hazards
Acknowledgements
Painting
Materials and Techniques,
By Frederic Taubes, 1964
Dr. John Bordley
Professor Edward
Carlos