Part 551: The Phobias of Dry Pigment and Aniline Dye – Third of Three Parts
Over a fairly short period of time, the American scenic artists shifted from using dry colors to pre-mixed paints. Dry pigment and binder were replaced with a relatively expensive pre-mixed product in a can. In addition to the expense, pre-mixed paints had a limited shelf life and color selection. Keep in mind that dry colors can be stored almost indefinitely and used even after they freeze, get wet, or are stored in less than ideal conditions. The longevity of dry pigment is due to the fact that it is stored separately from the binder.
So why did we shift to a more expensive product, especially one with inferior paint colors and a shorter shelf life? Convenience is a big reason.
Selecting to use pre-mixed paints instead of dry pigment and hide glue is similar to deciding on take out in lieu of cooking a meal. When we buy fast food there is no shopping, preparation or clean up involved for that meal – just pull up, pay and drive away. You don’t even have to know how to cook. The same can be said for using pre-mixed paint in a can; no instruction needed, just open and apply. Pre-mixed paint was the great equalizer and removed some of the mystery from the scenic art process. You don’t have to understand how certain dry pigment colors interact with others or worry if the binder is either too weak or too strong.
But there is one factor to consider when we chose convenience. Just like preservatives placed in a variety of pre-made meals, we need to be aware of hidden ingredients in pre-mixed paint. Yesterday I alluded to ever changing paint formulas and additives introduced to the product; not all paint ingredients are safe. With dry pigments, we worried about the possibility of lead, cadmium, arsenic, or other dangerous ingredients in specific colors. However, beyond the concern of using certain colors, the binder was all natural, simply diluted hide glue. As scenic artists, WE controlled every ingredient that we were handling as we mixed our own colors and binders. This is not the case with pre-mixed paint produced by a company.
We also must always remember that paint manufacturers believe we solely handle and apply their product as recommended, and in a traditional manner with a brush, roller or sprayer. As scenic artists we have a variety of non-traditional practices when applying paint to scenery. We push the limits of the product and bend recommended handling procedures to achieve stunning effects. While doing this, we also get covered with paint.
Here is what I have observed thus far. Many scenic artists are much more cavalier with water-based products than their solvent-based counterparts – regardless of any warning. Water-based paints constantly get on our clothes and skin; we wear it like a badge, signifying what we are to the general public and our colleagues. Paint covers our shoes, socks, pants, shirts, sweatshirts and other personal items. Our phones, keys and jewelry all sport little droplets of paint. We spend hours spattering paint, squeezing paint out the bristles, cleaning spray guns, and scrubbing out buckets.
I have seldom encountered “tidy” scenic artists, those who wear street clothes that show no sign of their profession. We look back in wonder at early-twentieth-century photographs that depict scenic artists who painting in suits, showing very little paint spattered on their clothes. Our predecessors were smart to avoid dry pigment and hide glue from getting on their clothes and coming into contact with their skin.
A few years ago, I began wearing everyday clothes while painting. The immediate change in my behavior was astounding. I worked with the water-based paint as if it were solvent-based paint; avoiding contact with my skin or clothes at all costs. This immediate shift in my perception was fascinating. Our overall perception of all water-based paint needs to change. We must acknowledge that there are hidden dangers in pre-mixed paint and we have yet to discover them all.
To be continued…
