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Antonov's Paintings | Free Art Lessons |Forum | Customers said

Posted by jackson on March 23, 19100 at 02:19:54:

In Reply to: Re: yea posted by Rob Howard on March 22, 19100 at 14:18:08:

: Thanks L. As you say, you're not me...hell, you're not even the same gender and you live a zillion miles away from me.

: Well, I've finally got the Cennini Forum and website up and running, faster than ever. I have some very good news for you (seeing as you are a fellow lead-head) we had been trying out different samples of Basic lead carbonate, massicot and antimony oxide. We've finally settled on a supplier for all three. The white lead is GORGEOUS. It's that nice soft creamy color, not the dead bright white we see with those mixed lead whites. It grinds up beautifully.

: We are planning to get a kiln in order to control the different tones when making lead antimoniate. That definitely beats using a welding torch in a crucible like some people I know ;->

damn you satan .if you are able to get a batch pale and faire....and somewhere near reasonable in cost ,...mind you i know what the materials and energy/manhours cost! ....where do i sign?...better you than me cooking the deadly sunlight...

get an oxyigen sensor as deprivation of oxygen plays a part (or so im told) and im also told you will have difficult time getting same color twice..all this you probably know ?..as an old potter i strongly suspect it is the atmosphere (oxidising/reducing)and soaking time(how fast to temp , how long sustained , and how long to cool)....
i quit playing around with the antimony and summoning the fire gods....theyre not amused by my antics...and frankly im too busy painting and wringing my hands in angst while squinting at crappy value transitions ....
mixing the antimony and basic lead carb will result in beautiful yellow which oxidises nasty very quickly in presence of oxyigen once knifed into oil...havent figured that one out so its shelved for time being...only straight masic varnish seems to keep it from turning .it turns quick too!....so damn!!.....
fortunately i dont use experimental concoctions on actual work...my studio at present has more than its share of experimental swatches ....

for all the other
"lead heads" out there paul (delorenzo) gave me an excellent method of grinding ld wht that seems to work for me better than adding wax (though wax is excellent and comes in handy ,thanks for the tip)..

his metod and now mine for other pb o philes searching that happy medium between fresh grind excellence and convenience is : grind up as much as will be used in a month of painting....loose....tube it up..(tick tick tick) of course it will start doing its thing ....but loose tubed works for a few weeks ....shoot a blob out onto paper towel night before to soak ...work it up just prior to useing next morning ...if gone a tad stiff....add a bit of the loose stuff from tube...it takes some handling and understanding of lead to work well(this method) but it fits my style.....i like freshly ground ..i want it just the way i want it full bodied and ready to kick ass and take dog tags....but sometimes im just not into the zen of grind soak grind soak ....before i even get at it... the mo's flown the coop you know??i use fairly stiff paint that is why fresh is best.no chance to get cute before i lay it on..but alas im also sometimes lazy ....

rob the zecchi's rule in florence...chuckle....the zecchi's make some very good products and fly some really shoddy "special old world recipe" products under the wire at primarily rich nieve young students spending daddys wad abroad in one of the many neo-french school religeous orders there..the store is thick with them day and night desperately trying to look itallian ..the store is never empty..big business...businessman/ buyer beware goes double in italy of course , ....in biazzaros (may have spelling wrong there) ..also in florence ..can be found an alchemist/painters smorgasboard.i found this out of the way not changed in 300 yrs store two months before i left (and after zecchi's had about a grand of my money)...smells of dust and hasnt sold out one bit....that said the zecchi family have forgotten more secret recipes than can be aquired in a single life time....italy is the land of many secret recipes.......some of them pretty bad......(thats where i procurred the annaggoni tempra emulsion "secret" recipe...chuckle)....it is sort of funny to watch the itallian business of art supply in action....when itallians are buying its "new and improved !try it!" when its the americans and other (art students abroad )its "ancient secrets known only to our family"....god i love itallians.

one more thing on my mind tonight....it seems to me a cold process of amber extraction would require a very strong solvent unsuitable for introduction into painting process....i do not understand this notion that cooking oils will make them deteriorate or darken any sooner than raw oil....im not a scientist but i do not see the scientific cause for this concern....and the concern is always presented as a science of painting problem ..painting into a couch of slightly darker medium is practically unnoticable to begin with ,and it seems to me , allows for any correction nessisary for darkening oils in medium (not oil in pigments)up front by way of color adjustment at time of painting into an oil which is likely not getting any darker.as lights are applied on top of and smooshed into this couch it has seemed to me to be an aid for shadow to light transition which will get better as time progresses if anything ...darn i dont know ...not sure i really want to know either ! as i am greatly aided by this method and am unable to get certain effects otherwise ....L

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