Making your own oil paints

[miked]

Hi,

I've been having fun learning to make my own paints lately (including water solubles!). So far, it's going quite well. I was hoping I might tap into some of the collective knowledge around here on the subject. I've got quite a few questions on binders and other additives that go into that paint.

My biggest question relates to the additives. Of course, I don't want to add anything to the straight linseed oil/pigment mix unless it improves things (no compromises). The only thing I've got right now is calcium carbonate (chalk). I understand that adding maybe 2% binder helps keep the oil and pigment from separating without impairing the quality of the paint? But I have no idea what the effects of adding things really is, and I can't help but think that chalk is not the best thing to use (if anything).

I see all these additives (other than the calcium carbonate) like alumina hydrate, aluminum stearate, barytes, blanc fixe and wax. I have no information on any of them.

Other than keeping the pigment and oil together, I'm also interested in small modifications of a paint's working properties (called rheology, I think). For example, although still quite nice, my ultramarine blue tends to be a little sticky and stringy. My cadmium yellow medium, on the other hand, is just right. But I'm totally in the dark about how to slightly adjust the paint's feel other than adding/removing oil. I would think each pigment would need to be treated slightly differently?

I'm also wondering about what binder to use for my whites. I understand that a linseed oil laden titanium white might yellow too much? And I would hate for my blues to turn green. I've got safflower oil (a semi-drying oil?), but I don't want to make the paint dry too slowly, and I don't want to risk a brittle paint film, or other potential defects.

Of course, any and all advice on making the best paint possible are appreciated. Thanks to all (including for advice I've gotten from archived messages - great resource!). Later,

Mike.

[guillot]

Wow, great questions!! At one time I was going to make my own oils and I never got around to it. I'm replying to push this back to the top and hopefully someone will answer these questions for you :)

Tina

[G.L. Hoff]

Making paint is a great way to understand the properties of pigments and vehicles. Some pigments go stringy like ultramarine (alizarin, for example) and lead white when ground in oil; others become smooth and buttery, like cadmiums.

What's really fascinating to me is the trend in modern painting to have all paint be the same consistency and to have a lack of grittiness. It's a faulty paradigm, in my view. Some kinds of pigments become dull if ground too fine. Some paint handles better when stiff than when soft.

There is so much one can learn from making paint. Great fun.

[DanielO]

I use a blend of equal parts linseed and poppy oils, along with about 2% beeswax, when I grind colors. The poppy oil gives the paint a really nice consistency, and the wax guards against separation.

[miked]

Tina, thanks for bumping the thread. I must say making your own paint is quite enlightening. And at least I know what's in my paints... :)

Gary, good points. I'm learning a lot about the way the pigments react to the oil. Interesting thoughts about trying to get all the colors to the same consistency. I'm sure that will become more clear as I try out more pigments. I'm not sure what the advantage would be to leaving, for example, the ultramarine as it is though. Mind you, if that's as bad as it gets, it's not a huge problem.

I was wondering if there's a problem with keeping the paints around for long periods of time? Many people seem to make their own for each session, but it seems to me that would leave little time to actually paint. I was going to make a large batch and bottle or tube it. Is that a problem?

DanielO, I've head that beeswax is one of the best to prevent separation before. Seems to me it would make the paint a little more matt though? What kind of wax would I use and how would I get it into the paint evenly?

I looked around a little for the drying properties of poppy oil. It seems that it yellows less, but dries very slowly and to a somewhat brittle film, compared to linseed oil. I wonder if your linseed/poppyseed oil mix would help temper the bad properties of each - for example, might it reduce yellowing while still drying (faster) to a more flexible film than poppyseed oil alone?

Thanks for the responses so far! Every bit helps.

Mike.

[DanielO]

Originally posted by miked

I was wondering if there's a problem with keeping the paints around for long periods of time? Many people seem to make their own for each session, but it seems to me that would leave little time to actually paint. I was going to make a large batch and bottle or tube it. Is that a problem?

DanielO, I've head that beeswax is one of the best to prevent separation before. Seems to me it would make the paint a little more matt though? What kind of wax would I use and how would I get it into the paint evenly?

I looked around a little for the drying properties of poppy oil. It seems that it yellows less, but dries very slowly and to a somewhat brittle film, compared to linseed oil. I wonder if your linseed/poppyseed oil mix would help temper the bad properties of each - for example, might it reduce yellowing while still drying (faster) to a more flexible film than poppyseed oil alone?

Mike.

Well, I make larger batches and tube them. No problems.

As far as beeswax causing a matte effect goes, in such small quantities it doesn't seem to make a difference. If you work with beeswax medium, then sure, it causes a matte finish. But just a 2 or 3 percent addition to the vehicle doesn't seem to do it.

Yes, poppy oil supposedly makes a brittle film, and tempering that effect is part of the reason to work with a blend.

Hope this helps. Peace to you.

[miked]

Indeed, that did help quite a bit. Thanks. Your approach seems to be pretty much what I'm settling on right now.

I got some cold wax medium and a large bar of beeswax today, as well as poppy oil. I even found a few empty tubes at a pharmacy (there's a tip, you can often buy empty tubes at a medical supply store). I'll order more from Kama pigments, along with some other stuff.

I was wondering about the wax. I understand the cold wax medium will work fine, but I wonder how to process the beeswax so I can add it the paint. All I know is it melts at around 63 degrees celcius, and that I will ruin it if I heat it much past that. I also know it will bleach in the sun. Not sure if I would need OMS or something to get it workable for the paint?

Also, this may sound silly, but how do I seal the end of the paint tube? I'm thinking I should fold it over twice and then glue it, but I don't know what kind of glue would work. I'm sure this is simple, but I can't find any instructions anywhere.

At this point, I'm trying to decide how to use the oils in each pigment. I wonder if safflower oil is as good as walnut oil for whites? I can mix linseed and a semi-drying oil in various proportions to reduce yellowing and adjust the drying time. I'm thinking 50% linseed/50% semi-drying oil for whites, and perhaps only 10% or 20% semi-drying oil in blues. I suppose a lot of experimenting is in order here.

I've found a ton of information in the excellent "The Artist's Handbook - The complete, practical guide to the tools, techniques and materials of painting, drawing and printmaking." I recommend this book without reservations for understanding art materials.

Here's a bit of info on additives to paints I found:

Three of the main additives used as extenders are also white pigments that happen to be transparent in oils. Adding extenders can help adjust the amount of oil in a paint, change it's working properties, dilute pigments (the phthalos could use it, trust me), and also increase the transparency of a paint.

Aluminum Hydrate is Pigment White 24 and needs around 70% oil content by volume to become a workable paste. It is said to give good flow characteristics to a paint. Watch that high oil content though...

Blanc Fixe (aka Barium Sulfate) is Pigment White 21 and needs from around 12%-20% oil by volume. Apparently, it's commonly used as an extender in strong organic pigments. Sounds to me like a good candidate for adding to phthalo paints (wow, that's one highly staining pigment family!).

China Clay (aka Kaolin) is Pigment White 19 and takes 26%-30% oil by volume. Apparently used in oils to control consistency.

Another interesting additive is Aluminum Stearate, which seems to help keep the oil from separating in small amounts of up to 2%. I might try that later to keep the oil bound with the pigment.

Later,

Mike.

[DanielO]

To make wax medium: combine equal parts wax and turpentine in a double boiler. When the wax melts, pour the mixture in to a jar. Let cool.

To close tubes: bend the bottom over a time or two and crimp it with an old pair of canvas pliers. Don't use your good canvas pliers for this, and if you don't have a spare set, just buy some really crud grade ones to use for this purpose.

[Einion]

Originally posted by G.L. Hoff
What's really fascinating to me is the trend in modern painting to have all paint be the same consistency and to have a lack of grittiness.
That's a good point. Although I don't personally care for grittiness at all I can see that one might like it. The grinding issues aren't really that relevant today though. True Ultramarine for instance has to be fairly course but its synthetic equivalent doesn't (thank God!)

Mike, I agree with Gary that you'll learn a lot of valuable information about paint doing this. You might well find you'll never go back to manufactured paint, with the possible exception of something like Old Holland or Michael Harding.

I hope you're not going to try to make your own acrylics, it's a real nightmare! Watercolours and oils are really quite easy so hope you have fun.

Originally posted by miked
My biggest question relates to the additives. Of course, I don't want to add anything to the straight linseed oil/pigment mix unless it improves things (no compromises). The only thing I've got right now is calcium carbonate (chalk). I understand that adding maybe 2% binder helps keep the oil and pigment from separating without impairing the quality of the paint? But I have no idea what the effects of adding things really is, and I can't help but think that chalk is not the best thing to use (if anything).
In addition to what you can find on the web I'd suggest looking at some of the good artists' handbooks, Gottsegen has many useful tips on making your own paints. Mayer does also if I recall.

Precipitated chalk and other kinds of calcium carbonate (marble dust) is usually added to lower tinting strength and intensity (because it acts like a weak white) and increase body so I'd use it only if you want to do this. It also increases opacity. This was used to make versions of certain colours in the past, Prussian Blue for example.

Originally posted by miked
I see all these additives (other than the calcium carbonate) like alumina hydrate, aluminum stearate, barytes, blanc fixe and wax. I have no information on any of them.
Alumina hydrate is essentially invisible in an oil binder so is generally used to lower the strength of pigments that would easily overpower other colours that are weaker. If you could get an unadulterated phthalocyanine blue for example it has 30 times the tinting power of Ultramarine (!) so you can see why this might be desirable. Most pigments of this type (phthalo blues, greens and Dioxazine Purple for example) have already been slightly 'let down' by the manufacturer as far as I'm aware. It can additionally be used to make bodied paint that is much more transparent for a glazing approach, a classic example of the ability to tailor one's own product to suit individual preferences.

Aluminium stearate is one of the primary stabilisers used in commercial paint production. Wax, either refined white beeswax or microcrystaline wax, can also be used as a stabiliser (for oils paints only of course) instead of it and additionally is noted for helping to make the paint 'buttery' and prevent stringyness with tricky colours. I'd probably go with wax myself for oils. With either you usually add something like 2-3% to increase stability in the tube but if you think you might use your paint up fairly quickly you can do without them. I have heard anecdotal information of hand-mulled paint using known difficult colours (cobalt blue for example) remaining pliable in the tube for years so as a stabiliser alone either might not be necessary if you are very careful in your technique.

Blanc fixe is essentially another very weak white and is used as an extender.

Other than adding more oil to lower viscosity I would try not to use less oil than guides or manufacturers recommend. Unless you habitually add oil or medium during the painting process you run the risk of making overly lean paint which is poorly bound, doesn't bond well and can look 'gaunt' very easily.

For your whites I would definitely consider some options although a top-notch linseed oil should do very well. Bear in mind that this should be about the colour of sunflower oil, corn oil at most, for this use. I've seen cold-pressed oils from Kremer that were about the same colour as Raw Sienna (!) which I wouldn't use for anything but earths and blacks (and even then would be a little worried about).

Poppy is reputed to yellow less but other sources state unequivocally that is yellows more, is brittle and prone to sagging. So I would go with a good linseed or walnut oil myself since the poppy is unlikely to be better in any way. Incidentally, the bias for cold-pressed linseed over alkali-processed isn't really as important according to some sources. Don't forget about washing oil as an option. You might also like to consider a heat-bodied or otherwise modified oil.

Hope it helps,
Einion

[miked]

Thanks for the info, Einion. Interesting that aluminum hydrate is the most transparent of these fillers. I think the way certain extenders increase the transparency can be very useful in certain situations. I was thinking of trying to make an extender-only "transparent paint" that could just be mixed in with other colors. It might be useful.

I agree, I doubt I'll ever use commercial paints again, except for maybe certain select colors from the best companies. Not only are the colors amazingly strong and vibrant, but it's easy and so incredibly cheap. I can get 1 pound of any earth/black/white pigment for about 10 bucks US! That's enough paint for anybody.

I actually have a bottle of raw linseed oil and water in the freezer right now. I started washing my own linseed oil last week, and I suppose I have about 9 weeks until it's done. Pretty easy to make, but takes a long while. I just wish I knew how to make water soluble linseed oil (what surfactant, etc).

Thanks,

Mike.

[Einion]

Hi Mike, paints like H2Oils and Artisan aren't strictly water-soluble, they're water-miscible. I think they do this by chemically changing the structure of the oil, not with the addition of surfactants to the mix.

Einion

[miked]

Originally posted by Einion
Hi Mike, paints like H2Oils and Artisan aren't strictly water-soluble, they're water-miscible. I think they do this by chemically changing the structure of the oil, not with the addition of surfactants to the mix.


Good point, since it's an emulsion I suppose soluble isn't quite correct. According to W&N, they modify their linseed oil. I would love to have some idea how they change it. I read that Holbein uses a surfactant, though. So I figured both methods were used.

The surfactant I understand somewhat, although I have no idea which of the many choices would be the best and not have unintended negative side-effects. I can only make a few guesses as to how they might modify the linseed oil. I would love to solve that mystery.

Later,

Mike.