Medium for Binding Distemper Colors

This is an earlier take from my previous post that noted Atkinson’s directions for scene painters in 1916.   F. Lloyds gives instruction to make the binding for dry pigment in 1875.  Below is an excerpt from his “Practical Guide to Scene Painting and Painting in Distemper” on page 19.

“Size is sold in firkins or by weight.  That called best double is to be preferred, and when melted, must be mixed with water in the proportion of one pint size to four pints water, to make what is called working size.  Another called, strong size, for sizing and priming a cloth or any piece covered with canvas, may be made by dropping the size exactly as it comes from the shop, into a kettle in which there is just sufficient water to prevent the size from adhering to the bottom of the kettle.  The size is ready for using as soon as it is completely melted, without having been allowed to boil.  Use is frequently made of what is called half-and-half size, a mixture of working size and strong size in equal quantities.”

I have found the best hide glue available from Bjorn Industries in North Carolina.  Working closely with their chemist to get the perfect version – HC315.  In the past I have mixed my own versions with products labelled rabbit skin glue, hide glue, and technical gelatin.  The biggest thing is to heat it up in water over very low and indirect heat.  The expensive glue pot is not always an option.  I have used a double-boiler (not the same one I use for melting chocolate!) and a crock pot (not the same one I use for cooking).  My personal favorite for small projects is the mini crockpots as you can create very small amounts of size glue each day.  The best experience that I have has is mixing ONLY the amount of size that I will use for one day and then disposing of it.  If you need to keep it for an extended period of time, store it is glass containers, do NOT cap, and ideally refrigerate it.  I use those industrial size pickle jars and cover with cheesecloth.  In these conditions, size can last for weeks.  I try not to add any preservative to extend the shelf life as I really believe that counteracts with the strength of adhesive properties.  Putting in metal or plastic has a tendency to turn your size into a science experiment.

Below is the crystallized hide glue that I purchase from Bjorn.  You can immediately tell the strength based on the translucent quality of each grain.  Weak version appear very opaque and dull.  Good versions are translucent and shiny.

 

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Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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