Posts Tagged ‘copper pigments’

Ancient Paint Box

February 2, 2016

I came across this ancient palette of colors through a post on Tumblr by Ancient Peoples. It’s a palette of pigments from the second century b.c.e, in New Kingdom Egypt.


This from the Cleveland Museum of Art. I guess from a quick perusal of their website that this is in their permanent collection. That would make at least two things from Cleveland I really like, along with the Cleveland String Quartet (loved their recordings of the late Beethoven quartets!)

Here’s a description of the pigments:

This paint box still preserves its original cakes of pigment: one cake each of red (red ocher), blue (Egyptian blue), green (a mixture of Egyptian blue, yellow ocher, and orpiment) and two of black (carbon black, from charcoal). It belonged to Amenemope, who was vizier, or prime minister, under Amenhotep II. Amenemope probably used his paint box for recreation.

As I posted on my new tumblr microblog, I question the description of the green in the image as “Egyptian blue, yellow ocher, and orpiment” (not really – I’m sure the folks at the museum know what they’re about). It sure looks like plain old malachite to me.

Anyway, I really like this palette. As some of you know, I’m a fan of earth colors, and a great blue to add to yellow and red ochre is Egyptian blue, which is copper bound up in silica. With the addition of black and white, it would make for a great subdued portrait palette, though the blue would have to be used a bit judiciously due to its cost. And in place of that green I could add in my own copper green.

As a reminder, here’s what Egyptian blue looks like in oil:

Mulling Egyptian Blue

Mulling Egyptian Blue

Nice glazer, that. I think I’ll try out that palette soon.

And: If I ever visit Cleveland, I’ll have to try out that museum!


Hand-mulling Paint, Part II

November 2, 2012

Continued from Hand-mulling Paint, Part I.

If you’re mulling a particular pigment for the first time, you won’t know just how much oil you should add. You can do some research online, something like “raw umber oil absorbtion” – but you don’t really need this information to begin. At first, use less oil than you think you will need. Many pigments (not all) will loosen and become more and more oily as you mull. I try to add just enough oil to pigment so that when I start mixing with a spatula, I’m pretty sure it won’t be enough oil. Then I start mulling. Often it winds up being enough after all. Once you’ve done this, you can keep notes on how much oil to add to each pigment.

You’ll go in a big circular motion with the muller, and pretty soon you’ll have to stop, grab the paint spatula, and scrape the paint together into a pile again. You’ll have to scrape paint off the sides of the muller as well. Make it into a pile and start mulling again. It helps to switch hands every so often. It can take a tiring amount of time with some pigments, and patience is sometimes required. After a while, you’ll know if you need to add more oil (or, sometimes, more pigment).

Below, I’m mulling and then scraping together a homemade copper green pigment into linseed oil:

Mulling Copper Green

Mulling Copper Green

Mulling Copper Green 2

Mulling Copper Green 2

Just how necessary is it to mull pigment? Why can’t you just mix the stuff up on the palette with a spatula and go? Well, sometimes this might work – the homemade candle black I made into an oil paint recently barely required mulling at all, and probably could have been used right after mixing it with oil – but other times, mulling is absolutely required. See the difference between mulling or not mulling Egyptian blue, below:

Mulling Egyptian Blue

Mulling Egyptian Blue

The first swatch is unmulled. It was quite difficult to even brush it out: I had to add extra oil and use one of my stiffer bristle brushes to manage it. The second swatch is after perhaps only two minutes of mulling. Big difference, isn’t it? The third swatch is the mulled Egyptian blue mixed with some zinc white. Nice color, huh?

Some earth pigments are said to display their best colors when only lightly mulled, and that this is one problem with the uniform grind of modern, industrially-produced pigments. I thought that I was seeing this phenomenon when I was grinding up a nice raw sienna from Sinopia Pigments. The more I mulled, the duller the color seemed to get. See the pic below, the difference between those two piles of paint? I thought I was seeing over-grinding in action. However, I was wrong: it was just that the finer clumps of pigment were soaking up more of the oil. When I added more oil back into the paint, its color sprang to life again. So if that happens to you, try the same.

Mulling Raw Sienna

Mulling Raw Sienna

I’ll post one more installment of the Hand-mulling Paint series, and discuss tubing your own mulled paint.