How and with what to dilute oil paints? Basics of painting with oil paints.
Natural paint is 10 times cheaper! A very sensible article with personal practical experience!
When last time have you painted your house? :)
This year I had to feel the price of paint. And at the same time I felt how the system... “protects” us from unnecessary knowledge and feeds on it.
I decided to paint a house that is already 6 years old, as well as a workshop and a guest house. Until they turn gray. And how it began: jar after jar, this wasn’t enough, this didn’t fit. As a result, paint is the second largest expense this season - 20 thousand rubles.
I think this is unreasonable. It’s like when a woman buys a dress, if she sews beautifully herself, but is too lazy to find a suitable pattern.
It’s one thing to buy seedlings, seeds, mycorrhizae for 20,000 rubles - this is an investment for centuries! Or dig a pond forever. Or buy 20,000 boards and roofing to add a veranda - it will definitely last for 20 years.
What about paint? Firstly, nothing in life changes significantly. Secondly, the paint only lasts for 5-7 years, then it spoils the mood with its appearance.
I decided that it was unwise to invest money in insignificant things. Moreover, you can make the paint yourself. Better quality, in any quantity and very cheap!
I first learned about homemade paint from friends in Kovcheg - they painted their house this way. Several years have passed and I have matured. The following is information from them.
Hello, Vadim!
Here is the Finnish composition that we used and the recipe for its preparation. I don’t remember where I copied it from.
Finnish paint recipe
REMEMBER how Tom Sawyer struggled when Aunt Polly made him paint the fence? It turned out that we all spend so much effort on painting wooden structures in vain.
Practical residents of Finland have found that oil paint does not contribute to the durability of wooden houses. Studies have shown that moisture accumulates under the paint, creating an optimal environment for the development of microorganisms that destroy wood.
It’s better to use our Finnish composition, they say. Indeed, such houses, picket fences, stand for decades without being destroyed. I propose to promote more widely in Russia the Finnish composition for painting houses, buildings, and fences. This will save billions and better preserve the housing stock and outbuildings. The Finnish composition, frankly speaking, is a godsend for village residents and gardeners.
Finnish composition for painting:
rye or wheat flour - 720 g
iron sulfate - 1560 g
table salt - 360 g
dry lime pigment - 1560 g
water - 9 l
The highlight, as they say, lies in strict adherence to the technology of preparing the Finnish composition. First, prepare the paste. Take flour and gradually add cold water in order to bring the flour to the consistency of thick sour cream. The remainder of 6 liters of water is added while hot. Now the paste is filtered and put on fire.
Stirring constantly, add salt, then iron sulfate, dry lime pigment. Now pour in the rest of the water (hot) to obtain a working paint composition.
Apply to the surface with a brush in two passes. Solution consumption - 300 g per square meter. If the house or picket fence was previously painted with oil paint, it should be completely cleaned off. No primer required. A picket fence treated with a Finnish compound can last up to 20 years without repair.
It is known that houses painted with oil paint have poor air flow. The composition is free of this drawback. It would be advisable to start producing kits of Finnish composition with instructions attached. Everyone will benefit.
Our experience:
We read this recipe, got inspired and decided to try it. Iron sulfate is no longer sold in stores (or you have to look hard for it), but it was at the Bird Market in Moscow. Surely it is on some bases.
I believe that any person, having a telephone directory and a telephone number, can easily cope with the search for vitriol even in a small town (especially if, in response to the answer: “We don’t sell vitriol here,” ask: “Perhaps you know where it is sold?”). As a rule, people willingly share this information).
The “lime pigment” was a bigger mystery for us. It took a little longer to find him. First, it was necessary to understand what it was in order to be able to explain to the sellers (they all, as one, ask again: “Lime?” - “No” - “Chalk?” - “No - pigment. Lime.” - “What This?")
As the name suggests, a pigment is an additive that sets the color of a mixture. Apparently, pigment used to be a common commodity. Most often it is finely ground colored clay. This is perhaps the best and most environmentally friendly option. For example, I would avoid pigments based on chromium oxides (green) and so on. Moreover, they are noticeably more expensive than ground clays.
As a result, we found some base in the Moscow region selling pigments. Done joint purchase, collecting orders for the settlement.
When we had all the ingredients, we prepared the paint according to the specified recipe. We wrapped the bucket in a blanket and painted the house with the hot mixture, using regular brushes and cut plastic cans as temporary containers.
Notes
1. If there are wooden elements on the house that you want to leave their natural wooden color, then do not touch them with paint: iron sulfate immediately darkens the wood. You can't see it under the paint, but if you wash it off, there will be wood there gray(same as uncovered old boards).
2. The heads of galvanized nails will lose their zinc layer (iron is reduced from vitriol, oxidizing zinc. So you don’t have to buy galvanized nails, but just simple iron ones, they are cheaper).
3. You need sunny weather during painting and a couple of days after it.
4. When it rains, a wet wall becomes slightly smudged. We reassure ourselves that the walls of the house were not built to be rubbed against in the rain :) (there is a composition with the addition of drying oil: they write that it does not smear).
5. It's been 7 years (as of 2014), the paint is holding up. In the places most intensively watered by rain, a transparency effect appeared and the color was slightly lost. But you can see the texture of the wood and it still creates a pleasant look. In any case, it is not at all sloppy (in dry weather the wall looks more beautiful than in wet weather).
6. Painting a two-story house measuring 6x6 m in two layers cost 260 rubles (two hundred and sixty rubles, and most of prices - pigment).
Summary. Overall, the result is good. The house looks satisfactory. Summer 2014 I want to repaint it with linseed oil.
A few words about drying oil. Natural drying oil is, most often, natural linseed oil. It is also called technical linseed oil.
Linseed oil has one effect that is why it is used to coat wood: when heated and applied to wood, it is absorbed and dries to form a durable protective layer. Drying occurs because flaxseed oil contains unsaturated fatty acids (omega-3 and others). Not all oils dry out over time; some form a non-drying film that is sticky to the touch.
All “ordinary” drying oils sold in stores contain a mixture of vegetable and synthetic oils. By themselves, they dry worse than heated linseed oil (or do not dry at all). To make it convenient for painters (so as not to heat it up and then wait for it to dry), manufacturers add special substances (driers) to the oil mixture to speed up the drying process of the oil.
Unfortunately, the most common and simplest (cheapest) additive is lead compounds. Therefore, drying oil is not recommended for indoor use.
Technical flaxseed oil may not be so easy to get, but almost every supermarket has regular edible flaxseed oil, which costs about 100 rubles per half liter (there are also more expensive ones, but why?). Maybe you’ll be lucky enough to buy something that’s expired, if you ask a merchandiser.
Floor covering
There is also an interesting experience in covering a floor with linseed oil and wax.
Heated linseed oil in a saucepan, put a piece of natural beeswax there (for 0.5 liters of oil - a piece the size of half a little finger). The oil temperature was determined by dipping a match into the oil. If it starts to squeak, then it's time to paint. It is better to use a brush with natural bristles; a plastic one will melt. If the oil is overheated, it is better to wait until it cools down, because otherwise the natural brush will become curled up.
The oil is applied to the surface not as when painting, but rubbed in in small quantities: you dip the brush a little and then rub it with force over as large a surface as possible. Naturally, the boards should not only be dry and planed, but also sanded; this reduces oil consumption and makes the surface more pleasant to the touch, almost glossy.
Oil rubbing job is good exercise stress:). But the better you rub it, the better the coating will be. Don't forget about the oil temperature. If it has cooled down, you need to heat it up again (hot oil penetrates deeper into the wood).
So I covered half the floor on the second floor with one coat. Three years later, the coating not only did not wear off, but became even smoother and matte-glossy (an intermediate option between gloss and a simple matte board). The color of the wood has not changed at all.
Since I only covered half the floor (I didn’t have time then, and then there was no time), the difference between the covered and uncovered floor is now visible. The coated one looks just as good as it did 3 years ago, probably even better due to the extra polishing done by the feet. The uncovered floor took on a slightly grayish, faded tint (compared to the coated one) and dried out more.
There is something to compare this with: with the bare floor on the veranda and the floor on the first floor covered with “yacht varnish”. An uncovered floor will look a little grey, and the varnish will crack, scratch, and wear off over time (partly due to the softness of the spruce), and the cracks, scratches, and wear will darken. And this happens already after 2-3 years of operation.
Summary:
If I had known in advance, I would have immediately covered the entire floor with heated linseed oil and wax (however, there is no experience yet of observing the coating in places of the most intense abrasive wear, on the veranda, in the hallway). But for now, this is the best and most durable option, and very inexpensive.
“Yacht varnishes” are apparently more suitable for hard wood. But still it cracks, gets dirty, gets wiped off. After 3 years the appearance is already sloppy.
In those places of the house where people rarely set foot, you can simply leave the wooden floor. It does fade a little over time, but that's not a problem.
Greetings, dear readers!
In this article we will talk about the basics of working with oil paints. Of course it is the most popular technology in the world. The Greatest Masters paintings have been studied, improved and created with oil paints for centuries.
By the way, do you know when the first oil paints appeared? Most likely you thought about the 14-15th century and... you were wrong. Many people think so. But just recently, scientists did... Open this news too!
Detailing the painting with a thin liner
It is quite logical if you want to start your creativity with oil paints. And if you have never done this before, but really want to start, you should first find out what a beginning artist should have on hand and how to start painting with oil paints.
How to create your own artist kit?
- We buy the necessary paints
My main advice for beginning artists: buy quality paints immediately, don't try to save money! Cheap paints won't do much good, but they'll cause a lot of headaches. When you constantly practice, you will be able to evaluate the quality of your work, which will directly depend on the quality of the paints.
Absolutely you don't have to buy a big set, since there are always colors left that are never used. To start painting with oil paints, just use a few separate tubes. To develop a skill, a novice artist is recommended to have the following palette:
In general, the paint palette consists of 3 main (primary), from which all other colors (secondary and tertiary) are obtained by mixing. And when you learn to mix them, you will understand how and from what it is obtained. Everything around us consists only of red, blue and yellow... Amazing, isn't it?
- Choosing brushes
Second important advice for newbie artists: Be careful when buying brushes! Inspect them to ensure that the connection (clamp) between the pile and the handle is as tight as possible. Believe me, it’s not very pleasant when the lint comes out of the brush and you have to constantly remove it from the damp canvas!
From experience I will say that good brushes will last you many years, if they are of high quality and you handled them correctly.
For beginners painting with oil paints, I recommend starting with flat and semicircular flat brushes. It is enough to purchase 3-5 sizes.
High-quality brushes often become favorites
Over time, you can add retouching, fan and line brushes to the collection. In another article-tip you can find out in more detail what brushes come in size, shape and
- Selecting thinners and solvents
To dilute (liquefy) oil paint to the desired consistency, you need special liquid substances: mainly turpentine or refined linseed oil. Also, many artists use "Tees"- auxiliary means for diluting paint. On the market of foreign manufacturers there are various mediums, which I also use.
Important things for every artist
Not recommended for dilution use solvents in pure form(white spirit, turpentine) because they break the structure of oil paint and “steal” its shine. But you will still need solvent to clean brushes and other tools, as well as paint-stained hands.
- Buying a palette
It is impossible to imagine an artist working on a painting without a palette in his hands! This useful thing performs several functions: paints are placed on it, paints are mixed on it, oil cans (special containers) with oil paint thinners are attached to it.
Therefore, in order to paint with oil paints correctly and create many shades, I recommend acquiring a suitable palette. Wooden or plastic, large or small, square or round... The choice is yours.
- Preparing the canvas
As a basis for oil painting, canvas is most often used.Fortunately, contemporary artist can buy ready-made primed canvas on a stretcher.
Almost every art store has canvases for sale. different sizes and from different materials: natural (linen, cotton) and synthetics. I advise natural materials, they are more dense and do not sag much over time.
If you want to prepare the canvas yourself, then to do this you need to prepare a stretcher and stretch the fabric very tightly over it. Then you need to prime the fabric to create a canvas. Canvas sagging is common, so After priming, you need to retighten the canvas a little tighter. Read more about how to make a canvas with your own hands
We prepare the canvas ourselves
Note: most best foundation for canvas – linen. It can be fine-grained, medium-grained and coarse-grained. The stroke on the surface depends on the grain of the canvas. About choosing a canvas
- We purchase an easel
Of course, you can learn to paint with oil paints without an easel by attaching the canvas to any surface. But still, an easel is much more convenient: it is installed at the desired angle at eye level and gives best review paintings.
With an easel it is convenient not only to write, but also to find flaws in the work, and correct them immediately. An easel is a reliable stand for your future painting! They come in different heights and convenience, as well as tabletop mini easels for small canvas sizes.
- We stock up on auxiliary accessories
Have you already thought about where your brushes will go? Where will you wash them? How will you wipe paint off your hands and other utensils? Be sure to stock up on jars in which you will wash your brushes, paper napkins, old newspapers and a few cotton rags.
These important little things should always be at your fingertips, so that you can work calmly and focus your attention on the picture and not on the materials. All this will be indispensable for you in your work to clean your brush or palette knife, or, for example, to remove excess paint from the canvas and wipe your dirty hands.
- Other Important Materials and Accessories
An indispensable tool for working with oil - palette knife! With its help, it is convenient to remove excess paint from the canvas and transfer it to the palette. It also leaves amazingly voluminous strokes! In principle, one palette knife is enough.
But if you decide to learn how to paint well with oil paints and devote a lot of time to this activity, it is better to purchase several of these tools different forms and sizes.
Sketchbook – a special box for transporting paints and painting supplies. You will really need it if you decide to go out and paint in oils in nature or plein air, as it is also called (from the French Plain air - outdoors, in the fresh air)
Oilers- small containers with a clip with which they are attached to the palette. There are two types: simple and double. 
Another important element - protective varnish. Finished painting usually varnished 6-8 months after completion of the work. The varnish protects the painting from ultraviolet radiation, moisture and darkening.... Well, there are a number of other reasons why you should varnish a painting. In addition, varnish makes the colors richer and brighter, adding intensity to the paint layer. How to varnish a painting
Howstart painting correctly with oil paints when the artist's kit is assembled?
So, you have collected everything you need and secured the primed canvas. What to do next? Start writing!
I know that Many novice artists have a fear of a white canvas, something can go wrong and everything will be ruined. Don't be afraid, because the main thing is to just start! Here's how to stop being afraid and start painting.
You can start with a simple plot that comes to mind... For example, a mosaic pattern with selected bright colors, which consists of different figures, shapes and symbols. Well, like the ancient Egyptians, remember? Or you can take a finished image and try to copy it onto canvas...
Start drawing - feel the power of color!
Exist . The most common of them are - multilayer painting and Alla Prima. Most of the most famous paintings are painted in them, although there are many other techniques.
We will talk about them in general and the rules of writing in more detail in another article, but now you need to start to just get a feel for the paints, brush and canvas.
By the way, did you know that creative people have Read, maybe you are a creator by nature, you just didn’t know it!
Here are some more tips:
- Set up a drawing corner in your apartment. There must be enough light to work during the day without additional lighting. Exactly in the best place natural light set up an easel. If there is not enough natural light, use additional lighting to provide good light on the easel.
- Try to apply oil paints smooth, achieve uniformity on the canvas. If you really want to apply a second coat, take your time; Sometimes you need to give time for the first layer to dry.
- Mix colors! Experiment with shades. Remember that white makes any color lighter, and black makes any color darker, with their help it is easy to achieve the desired shade of shadows and highlights. But don’t get too carried away with black and white, since titanium white, for example, makes some colors cloudy, and black is generally rarely used in classical painting. Although each manufacturer has several black shades on sale. An alternative to black can be dark indigo... it is softer and more delicate in appearance.
“Painting is the most accessible and convenient of the arts” - Johann Goethe, German poet, philosopher and thinker
These little tricks are enough to get you started painting with oil paints. If you like the Art Process and want to delve deeper into it, for more modern level, I will be happy to share my experience with youAdditional Video Tips:
Friends, to the articlenot lost among many other articles on the Internet,save it to your bookmarks.This way you can return to reading at any time.
Ask your questions below in the comments, I usually answer all questions quickly
Any oil paint is a mixture of drying oil with pigments, i.e., with coloring substances. How to prepare them yourself will be discussed further, but now let’s deal with the base of oil paint - drying oil.
Of course, drying oil (like some pigments) can be bought in the store. But for a young chemist such a solution would be too uninteresting. If we are going to carry out experiments, then we need to prepare the drying oil ourselves. However, first we need to understand what it is.
Natural drying oil is prepared using vegetable oils. There are many such oils; some of them are able to dry in air (flaxseed, hempseed). Others dry only partially and are therefore called semi-dry (for example, sunflower oil). And some oils do not dry out at all - olive oil from olives, castor oil from castor beans.
But what does the word “dry out” mean when applied to oils? There is no solvent in them, and there seems to be nothing to dry. The way it is. Drying out is a well-established term, but not entirely accurate. In fact, oils polymerize, their molecules bond with each other, forming a solid, insoluble and infusible polymer. But for this you need a substance that would stitch together relatively small oil molecules. These substances are o-oxygen from the air. This is why the film of oil paint applied to a product dries quickly. And the oil remaining in the jar thickens only from the surface: only it comes into contact with the air.
But even drying oils themselves react with oxygen very slowly, and we would have to wait a very long time for the paint to stop staining. However, this reaction can be significantly accelerated by adding a little catalyst to the oil. Those catalysts that accelerate the drying of the oil film are called driers. Ordinary drying oil is a mixture of oil (in Lately- increasingly synthetic) with a drier.
So, to prepare drying oil, you need to mix the drying oil with a drier. You can also buy it in the store, but wouldn’t it be better to prepare the desiccant yourself and test its effect experimentally?
Many driers are salts of organic acids. You can prepare such a fairly well-known salt - melted resinate; Resinates are salts of the acids that make up rosin.
In a porcelain bowl (or if you don’t have one, then in a metal one) heat about 50 g of rosin. The temperature should be approximately 220-250°C. Rosin will melt at this temperature. Add 5 g of quicklime CaO into this melt in small portions while stirring (with caution, without touching with your hands). The result of the reaction is calcium resinate.
If instead of lime you take 15 g of litharge (lead oxide PbO), ground into a paste with linseed oil, and add it in small portions, then another siccative is formed - lead resinate. Lite can be obtained from lead powder mixed with sodium or potassium nitrate (these are common fertilizers). When the mixture is heated, lead oxide PbO is formed yellow color, so the progress of the reaction can be judged by the color change. When it becomes intense enough, stop heating, cool the mixture and treat it with water. The soluble reaction products will go into solution, and when shaken, the light litharge will separate from the heavy lead that has not reacted - it will settle to the bottom. Thus, it is necessary to drain the turbid, opaque liquid from the sediment, filter and dry - the litharge is ready.
The mixture of rosin with CaO or PbO must be heated until a homogeneous mass is obtained. Place drops of it on clean glass from time to time, and as soon as the drop appears transparent, you can stop heating.
Another very common drier is manganese oxide MnO2. You can get it easily. Prepare two solutions - sodium sulfite Na 2 SO 3 and potassium permanganate KMnO 4 (potassium permanganate). When you mix these solutions, a black powder will precipitate. This is the desired oxide. Filter it and dry it in air without heating.
Whatever drier you prepare, further steps will be the same. Add the drier to linseed or hemp oil heated to 150-200°C - both dry out. The experiment works better if the oil is refined. For 100 parts of oil, take 3-5 parts of drier and stir the mixture until it is completely dissolved. You have prepared drying oil. Let it cool and check the effect of the drier.
Apply a thin layer of drying oil to glass or metal, next to it apply the same film of pure oil, without a catalyst. You will easily discover how much the drier speeds up the drying of the oil. If you have prepared several driers, compare their activity.
To get oil paint, drying oil must be mixed with pigment, ready-made or homemade. Keep in mind that the pigment must be thoroughly dried, ground and sifted through the finest sieve you can find, or through cheesecloth folded in half.
Add drying oil drop by drop to such a fine powder, stirring and rubbing it each time until you get a thick, homogeneous mass reminiscent of porridge. Rub it thoroughly again and dilute it with the same drying oil so that it takes on the thickness of regular paint. Your paint may end up being transparent, which is not always desirable. To avoid transparency (as experts say, to make the paint opaque), add some white pigment to the oil. It will not affect the final color of the paint, but will deprive it of its transparency.
Even if you do everything carefully, the resulting oil paint will still probably be a little worse than from the store. But - with your own hands.
O. Holguin. "Experiments without explosions"
M., "Chemistry", 1986
Painting oil paints consist of finely ground coloring matter and a binder - oil. The dye gives paints color, and the binder binds the particles of the dye into a single whole and holds them on the surface; thanks to it, the paints, when dry, form strong and durable colorful films.
The quality of oil painting paints depends both on the purity of the coloring matter and the degree of its grinding, and on the quality of the binder - the oil.
The purity of color, the invariability of its tone when the paint layer dries and hardens, the strength, durability, transparency and brilliance of a layer of artistic oil paint are directly dependent on the quality of the paint binder - oil.
It is not always possible to purchase the necessary oil paint that fully meets all the painter’s requirements for it in terms of both color and drying of the resulting layer and its preservation of transparency, glossiness, shine, and most importantly, the complete immutability of the original color shade. But the artist, having dry dyes, especially natural ones from local deposits, can make the paint he needs himself.
Oil paints are prepared by mixing finely ground dry coloring matter with refined oil and then grinding the mixture with a chime on a stone board or on a paint grinder until the entire mass becomes completely homogeneous and all particles of the coloring matter are moistened equal amount oils
However, before washing individual dyes with oil, it is necessary to carry out some preparatory operations.
Natural earth and natural mineral colorants are first dried and then ground. Grinding of very hard substances should be done in a stone or copper mortar. Many dyes (ochers, earths), as well as mineral dyes of hard rocks crushed in a mortar (cinnabar, lapis lazuli, etc.) should be poured into a vessel with clean water, shake and carefully pour into another vessel. The substance thus agitated must be allowed to settle. In this case, its smallest particles will settle to the bottom. After this, they are dried in air by pouring the exhausted dye in a thin layer onto a board tray with sides. The remaining large particles are crushed again by grinding in a mixture with water on a stone slab. Artificial coloring substances are usually finely ground enough and there is no need to grind them further. You just need to check whether they are contaminated with foreign impurities. And if this is the case, it is necessary to either sift them through a fine sieve or soak them.
The stone slab and chime, which has the shape of a narrow cone, are made from hard rocks: granite or porphyry. Soft stones, such as marble and limestone, are unsuitable here, since when paint is rubbed on them, the surfaces are erased and the resulting stone dust mixes with the paint and contaminates it.
The plate and base of the chime must have a completely flat and smooth surface, ensuring good grip of the paint mass when grinding it.
Grinding the paint mass on a plate begins with pouring dry coloring matter onto its surface, previously cleaned of various contaminants and impurities. A little oil is added to it and mixed with a spatula until a thick, homogeneous mass is formed, which is then ground with a chime. Little by little the rest of the oil is added to this mixture. Grinding should be done by making uniform circular movements with the chime. From time to time, the spreading paint mass is collected with a spatula on the slabs and ground again.
When erasing paints, you must keep in mind that each coloring substance requires a certain amount of oil. It must be measured in advance and then gradually introduced into the paste while grinding it. Below is a table of the ratio of the weight parts of oil, coloring matter and bleached beeswax.
Some dyes, such as specks and Prussian blue, do not mix well with oil, so a certain amount of alumina is added to them, mixed thoroughly with it, or even better if the dye is deposited on the alumina and only then mixed with oil.
The ratio of oil particles, coloring matter and bleached beeswax in painting oil paints:| Coloring matter | Amount of bleached beeswax in parts (per 100 parts by weight of coloring matter) | |
| White lead | 8—14 | 0,5 |
| Zinc white | 20—30 | 2 |
| Light ocher | 45—60 | 2 |
| Dark ocher | 62—150 | 1,5—2,5 |
| Natural sienna | 150—214 | 1,5—2,5 |
| Cadmium lemon | 30—32 | 5—6 |
| Cadmium yellow | 30—40 | 5—6 |
| Mars yellow | 50—60 | 2—3 |
| red earth | 40—50 | 3—4 |
| English red | 35—48 | 3—4 |
| Mars is red | 40—42 | 2,5—3 |
| Cinnabar | 20—25 | 2 |
| Cadmium red | 75—80 | 2,5 |
| Kaput-mortuum | 40—55 | 5—7 |
| Kraplak | 65—68 | 0,5—0,8 |
| Ultramarine | 32—52 | 7 |
| Cerulean | 24—35 | 5—6 |
| Cobalt blue | 65—76 | 5—6 |
| Cobalt blue-green | 38—40 | 5—6 |
| Cobalt green blue | 23—24 | 5—6 |
| Prussian blue | 65—80 | — |
| Green land | 80—100 | 1,5 |
| Volkonskoite green | 97—116 | — |
| Glauconite green | 85—95 | 2 |
| Emerald green | 80—100 | 1—2,5 |
| Chromium oxide | 20—31 | 6—8 |
| Cobalt green | 13—18 | 6—8 |
| brown earth | 27—46 | 6—8 |
| Mars is brown | 45—59 | 2—3 |
| Burnt sienna | 45—55 | 4—5 |
| Burnt sienna | 160—180 | 2,5 |
| Natural umber | 50—100 | 2,5 |
| Burnt umber | 90—95 | 2,5 |
| Cobalt purple | 100—120 | 6 |
| Shungite | 50—72 | 2,5—3 |
| Burnt bone | 90—98 | 1 |
Certain dyes, for example ultramarine, cannot be wiped off well with oil alone, since the resulting paste sticks, stretches in threads, and does not adhere well to the ground. When erasing this kind of paint, you need to add a small amount of wax or wax solution to the oil, preparing it by dissolving natural beeswax in turpentine and then mixing it with heated oil. The wax must first be bleached. To do this, it is finely planed and exposed, without covering it, for two to three weeks in the sun. Bleached wax is dissolved in hot turpentine until it is completely dissolved in it, and in the form of a hot solution is introduced into the paint paste while grinding it. For 100 parts by weight of oil you need to take 27 parts of turpentine and 7 parts of bleached wax.
In cases where the artist, for one reason or another, is not able to make paints himself, and the quality of the finished factory paints does not satisfy him, he can replace the factory oil in the finished oil paints with his own refined oil. This is done as follows: open the lower end of the tube and squeeze out all the colorful paste from it onto a piece of cardboard; Allow the paste to de-oil for 6-10 hours, and then remove it from the cardboard with a spatula, carefully grind it on a palette or glass with refined oil and place it back into the tube. In this case, it is necessary to carefully ensure that the paints being ground have the appropriate consistency. The fact is that not all dyes require the same amount of oil: some of them need more, while others need less.
P. P. Konchalovsky, grinding his paints with refined oil, was guided by the following norm of the ratio of dry coloring matter and refined oil:
| Coloring matter | Amount of oil in parts (per 100 parts by weight of coloring matter) |
| White lead | 8 |
| Zinc white | 16 |
| Light ocher | 32 |
| Natural sienna | 100 |
| Burnt sienna | 43 |
| Cadmium yellow | 32 |
| Cinnabar | 15 |
| The earth is red | 40 |
| Cadmium red | 80 |
| Kraplak red | 70 |
| Ultramarine | 32 |
| Cobalt blue | 55 |
| Cerulean | 26 |
| Volkonskoit | 85 |
| Emerald green | 60 |
| Chromium oxide | 16 |
| Cobalt green | 15 |
| Natural umber | 60 |
| Burnt umber | 50 |
| Feodosia brown | 35 |
| Mars is brown | 42 |
| Cobalt purple | 200 |
| Burnt bone | 90 |
When grinding paints on refined oil, you need to use only sunflower oil for light-colored paints, which does not turn yellow when dry, and for dark-colored paints - linseed oil, which dries a little yellow. It is also necessary to remember that you can grind paints only with refined oils of a fairly liquid consistency, and not with heavily thickened ones.
Homemade oil paint is created by mixing linseed oil and pigment until the desired consistency is achieved. They mix fairly easily, but require a lot of time and only a few ingredients. The production of oil paint is a very complex process, and there are various methods and mechanisms to achieve the ideal consistency and color range. Oil paints from manufacturers are stored for a long time due to the presence of stabilizers and preservatives.
Some artists who want "clean" oil paint and complete control over the making process prefer to create it themselves.
Why do artists make their own oil paint?
- Making oil paints will save money. It's much cheaper to make your own than to buy from a store.
- This gives you more control over the quality of your oil paints. With practice, you can create the exact colors needed for painting. If you want bright and vibrant colors, simply add more pigment. Additionally, you can create your own paint recipe using other ingredients such as wax, linseed oil and other ingredients.
- You will be closer to your colors. Processing the material at all stages of the creation process will bring you closer to it.
Oil paint pigments
Some pigments contain dangerous toxic substances. To avoid inhalation, you should wear a respirator, safety glasses to protect your eyes, and rubber gloves. Mix them in a well-ventilated area and very slowly to reduce the atomization of substances into the air.Composition of oil paint for painting
- Binders- Flaxseed oil is the best binder to start with. Once you are familiar with the process, you can experiment with other substances such as vegetable oil or your own solution.
- Sanded plate- a sheet of glass, but some use a marble slab.
- Pigments- they can be purchased in small quantities or in bulk at art stores. Prepare the pigment, but do not open it until you begin making it and close it securely when you are finished.
- Knife- use a metal or plastic knife.
- Glass muller- for rubbing a small amount of paint.
- Empty paint tubes- Available in some art stores. If you can't buy them at your local store, you can find them online.
Time and data recording
Different pigments require different quantities time for complete mixing. When mixing ingredients, start a timer and record the amount of time taken. This way, when creating oil paint in the future, you can rely on the recorded time.How to make oil paint
- Place the pigment on a sanded board and pour in a small amount of linseed oil.
- Use a knife to slowly stir the pigment into the linseed oil. Be very careful not to release particles into the air.
- Once fully mixed, you may need to add more pigment or linseed oil to improve consistency.
- Move the entire mixture to one side of the glass and place a tablespoon of the resulting mixture in the center. Use the muller to rub the paint in a circular motion without pressing too hard. When you're done with this portion, move it to the side and move on to the next portion.
- Move all the paint to the center. If you need to add more pigment or linseed oil, you may have to repeat the entire process again. When you reach a soft, buttery consistency, transfer the paint into the empty paint tubes using a knife.
- Roll up the bell of the tube and, using pliers, tightly clamp the seam.
- Then use a marker to sign the color and date of manufacture.
Congratulations! You've just made your own DIY oil paint! It may have taken a little longer, but with experience you will be able to make oil paint much faster.
