Posts Tagged ‘paint’


Paint Test on Tyvek Synthetic Fabric

June 11, 2018

Following up on the Tyvek fabric that I showed in my previous post, I wanted to show some paint tests on it using both oils and acrylic paints. In the photo above I painted a few sample swatches of each using different tools and methods. As a reminder, this is a 9×12 inch sheet of polyethylene fabric, “Tyvek” brand, mounted to mat board with acrylic gel.

For the oil paint on the left I used stiff a hog brush and soft sable, as well as a paint knife. Some areas were thinned with mineral spirits, or wiped down with a soaked rag. All of this worked out fine. There were a couple problems to point out, however. In the center yellow area, I used a stiff brush soaked with spirits, and scrubbed the surface hard. This caused the fabric to come unglued from the backing in that area (see the image below.) The other problem happened scraping lines with a metal paint knife. When I applied a lot of pressure it caused the thin fabric to tear. Although it is tear resistant, it’s not tear proof when using a metal tool. Otherwise, it works very well with oils. Since this surface is slightly porous, if your backing is a paper product I recommend sizing it properly if you will be using oil paint on this.

In the acrylic paint section everything worked well with the range of tools I tested. This included the same type of brushes as used with the oil, a paint knife, a rag, and also acrylic paint markers (DecoColor & Molotow.)

Above are a couple things to point out about using acrylic paint. With a metal paint knife I was able to scratch through the paint surface rather easily after the paint had dried. It’s an interesting effect, but also shows that the adhesion is not perfect, but acceptable. This layer (left image above) of burnt umber was painted with a stiff brush in the top area, and again below it with water added. You can see how the water beaded up as it dried. When using a wet soft sable brush, this was less noticeable. The paint also takes a little longer to dry on this surface than it does on regular paper. After a minute or so I was able to wipe it off almost completely with a damp rag. In these closeups you can also see a small square grid pattern showing through from the fabric where the paint is thin. The square is only about 1 mm. It’s less noticeable in areas where the paint is more opaque.

Keeping these points in mind, I would still have no problem using this as a paint surface for oils or acrylics. Being synthetic, it wouldn’t have some of the aging or humidity problems that come with natural fiber canvas. It’s also very inexpensive, and comes in large size rolls. I may do another test using water-based paints of gouache and casein, as well as different drawing media, so stay tuned.


Using Tyvek Polyethylene Fabric for Artwork

June 9, 2018

I recently purchased a large sheet of synthetic fabric that I wanted to experiment on as a painting surface. It’s called “Tyvek,” made by DuPont, and is a paper-like fabric made of polyethylene fibers. There are different brands out there that have different textures, and other features. The sheet I bought is 60×52 inches, and came folded in a letter sized envelope. I’ve seen rolls of it in larger sizes at hardware stores with “Tyvek” printed on it in large type. This was blank, and other brands in rolls may be also. This sheet is 43 GSM (grams per square meter) which is very thin, but it’s extremely tear resistant. Some other brands I’ve seen have a puffed up canvas-like texture, but this is smoother.

The folded sheet has creases, but I was able to mount it to a scrap piece of 9×12 inch mat board, and that removed the crease. In the picture above, the Tyvek board is on the left. I used an acrylic gel medium, and also painted the back of the mat board with a single coat to flatten it out when it dried, and then folded over the edges of the fabric to the back.

In this photo above you can see what looks like wrinkles, but it’s actually very smooth. These are fibers that leave wavy streaks of matte and sheen lines that looks something like wood grain. If you wanted to leave areas unpainted this would be seen, but an opaque coat of paint would hide it.

Here I’ve scribbled some ink lines to on the back to show an example of what that media looks like on this surface. Even though it’s soft to the touch, it does have a texture. You can see a grid of square lines running through it like a canvas weave. A thick paint layer would cover that, but thin washes would not. That’s not necessarily a bad thing, but something to keep in mind. I used sumi ink with a brush, a PITT brush pen, and a ZIG Millennium marker. Markers draw well on this in general, but water based inks may bead up some. Metal dip pens don’t work so well, tending to snag on the surface. Dry media, like charcoal or pastels work okay, but this is a little too smooth to be ideal for them. Hard leads of graphite or wax pencils don’t work very well either.

Once I figure out what to paint on this, I’ll show an example of how it performs with paints. I may just paint example swatches and nothing in particular, but I’ll still wait for a later posting.


Considering Selling the Casein Paint I Make

January 20, 2018

I continue to be wrapped up in a family crisis, so I haven’t yet gotten back to my painting, but hope to tomorrow. In the meantime, I made up some more casein paint yesterday. This time I made some yellow ochre.

It came out very good. The paper shows a thin wash, and an undiluted sample painted over a black sharpie ink marker. I decided to use my last empty 45ml tube instead of the new 37s I got recently.

All this paint I’ve been making has got me wondering if anyone would be interested in buying some tubes of paint from me. Right now I have a bunch of burnt umber, titanium white, red oxide, and this yellow ochre. I have a few small jars of other colors, but can easily get more. I could put together a “basic set” of six tubes, such as what Richeson does with their caseins. I’m sure I could affordably sell it for $15 to $20, and possibly individual tubes as well for $3 or $4. That would be much cheaper then Richeson. Not sure how I would market them. Perhaps an Etsy page, or a Go Fund Me project would work. Does this sound like something any of you would be interested in? If so, please leave me some feedback.


Empty Paint Tubes Arrived

January 15, 2018

The empty paint tubes I ordered arrived on Saturday. I got 24 37ml tubes for $20 including shipping from Cheap Joe’s. I used one of them to hold the red oxide paint I made a few days ago. I’ll need to make up some yellow ochre soon, I think.


Making Red Oxide Casein Paint for New Painting

January 7, 2018

As I’m starting to work on the background of the new painting, I noticed I was too low on the red oxide paint that I wanted to use, so I needed to mix up some more.

I also wanted to test out the package of Bob’s Red Mill milk powder I bought recently to see how well it works for making a casein binder. 1 quart of rehydrated milk gave me a little less than 6 ounces of casein when I added 1/2 cup of vinegar. That’s the separated milk liquid on the right. I’m used to seeing the milk coagulate into a large ball after I add the vinegar, which I then tear it into small pieces so it will dissolve better. This milk forms small clumps of casein instead, as seen here, so that saves me an extra step.

I added about 2 teaspoons of Borax diluted in 1/2 cup distilled water to this casein, and let that sit for about 24 hours to form a thick smooth gel. This will be my paint binder.

The red oxide pigment was purchased from Camden Grey. A one pound bag cost me only $3. It makes a lovely dark red burgundy color that mixes very easily with my binder. I’m waiting on an order of empty paint tubes to arrive, so I’m using a one ounce jar in the meantime.

Here’s a scan of the paint on a piece of watercolor paper. I painted it over some black Sharpie marks to show how opaque it is. It also thins down nicely. Now I’m ready to get back to work.


Comparing My Casein Paint to Shiva Brand

July 22, 2017

I wanted to follow up on my previous post where I made my own casein white paint, and see how well it compares to tubes of the Shiva paint I had, and discovered something interesting. I used the paint swatch I made testing my paint on a sheet of Strathmore textured “Art Paper” 65lb.

I painted a small swatch of the Shiva titanium white, undiluted, next to the swatch of mine I had made. It may be hard to tell in this photo, but I noticed their white has a slight off-white yellowish tint to it that mine does not. I let this dry for a day, and came back and gave both a buffing with some colored fabric, and saw no transfer of pigment from either swatch. Next I placed a small piece of cellophane tape over each one, rubbed it, and removed the tape. Both transferred some paint, but more paint came off the Shiva swatch, lifting almost all the paint from the paper. The casein binder I used to make my paint was over a year old, so later I’ll see if a fresher batch performs better.

Since that tube of Shiva white is many years old, I thought I’d test a newer tube of Cadmium Green that I had to see if it performed any better. Rather surprisingly the pigment adhesion was worse. I let that paint swatch dry for about 3 hours, and rubbed the surface with a paper towel. You can see quite a bit of pigment rubbed off. The tape test pulled off quite a bit of pigment also, and the way the pigment transferred was not in sections of paint, but powdery like what I saw on the paper towel. This tells me that the adhesion on this tube of Shiva paint is poor. Granted, it’s about 5 years old or so, but it shouldn’t come off this easily. I have commercial tubes of gouache that adhere better than this. I hope the newer Richeson brand of Shiva adheres better. Now I want to test the rest of the Shiva paints I have. This is not terrible, but surprising. This paint adhesion is not much better than soft pastel.


Making Casein Paint: Titanium White

July 21, 2017

I’ve been wanting to get back to using one of my favorite paint mediums for awhile, casein. I took an inventory of the tubes I had available for my next project, and noticed I was short or low on a few colors, particularly titanium white, so it’s time to make some more.

I have a bathroom next to my studio space that I use exclusively for this type of work, so I clean off an area by the sink, and set up my tools and supplies. I have a large sheet of textured glass that I use for mixing the paint. There’s a mortar and pestle for smoothing the dry pigment, an empty tube for the paint, a squirt bottle of distilled water, about 4 ounces of casein binder, and white pigment.

The pigment is a little lumpy, so I use the pestle to break it down some, and place about 2.5 tablespoons of pigment on the glass with about 2 teaspoons of binder and just enough water to get the consistency of paint I want, and spend a few minutes with the spatula smoothing it out.

I test the paint I’ve mixed to see if it spreads easily with a brush without having to add any water, and check the opacity on this sheet of colored paper. It looks fine, so I repeat these steps about 2 more times to make more paint to fill the tube.

There’s enough paint now to fill up this 50ml tube and another 22ml. I seal the ends by squeezing it shut at about 1/2 inch below the end. to give me enough room to crimp.

I fold over a little of the end, and crimp it tight with some pliers, and repeat this about 2 more times to get a tight seal.

Here I have two tubes of white casein labeled and ready to use.