Binder – Page 2 – Drypigment.net

Cennino d’Andrea Cennini’s Size

Below is an excerpt from “The Craftsman’s Handbook” – D. V. Thompson’s English translation of “Il Libro dell’Arte,” an intriguing guide to methods of painting written in the 15th century Florence. Page 68.

“A size which is good for tempering blues and other colors. Chapter CXI.

And there is a size which is made from the scrapings of goat or sheep parchment. Boil them with clear (or light-colored) water until it is reduced to a third. Know that it is a very clear size, which looks like crystal. It is good for tempering dark blues. And apply a coat of this size in any place were you have happened to lay in colors which were not tempered sufficiently, and it will re-temper the colors, and reinforce them, so that you may varnish them at will, if they are on panel; and blues on a wall the same way. And it would be good for tempering gessos too; but it is lean in character, and it ought to be rather fat for any gesso which has to take gilding.”

What I find interesting with this is addressing the idea of colors dusting, or not being stable enough for a top coat to varnish. In other words, the unstable colors would smear onto the rest of a composition. This is similar to my process during scenery restoration. The dusting pigment needs to be “re-tempered.” Cennini writes, “apply a coat of this size in any place were you have happened to lay in colors which were not tempered sufficiently.” I spray a solution of size to stabilize the colors on the backdrop. The glue attaches loose pigment back to the surface of the fabric. It is crucial that you get the perfect strength, however, or it can make the surface shine and brittle.

Here is an example of pigment dusting…I apologize about the photo quality.

And to end with the following chapter in “The Craftsman’s Handbook” that made me grin….titled: “To make a glue out of lime and cheese. Chapter CXII”

“There is a glue used by workers in wood; this is made of cheese. After putting it to soak in water, work it over with a little quicklime using a ittle board with both hands. Put it between the boards; it joins them and fastens them together well. And let this suffice you for the making of various kinds of glue.”

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.

The Binding Medium – Extra Strong Size

“The medium for binding distemper is known as “size,” or sizing. For making it, gelatine is preferred, although the best grade of White Cabinet Glue answers very well and is most commonly used. Drop four or five pounds into the cauldron, cover it with water, and fill the water vessel two-thirds full of water. Apply the heat, and when the glue is melted you will have extra strong size. One dipper full of strong size with four dippers of clear hot water will produce working size.” Excerpt from Frank Atkinson’s “Scene Painting and Bulletin Art” (1916, page 154).

Advice from Wendy: My glue supplier is Bjorn Industries out of North Carolina. I have discussed my need for animal glue during restoration projects with their chemist and we decided on their product HC351. Rabbit skin glue is my second favorite to work with as an alternative. Also, NEVER put size water in plastic – only metal or glass. Also, do not seal the jar, cover loosely. Otherwise, you create your own little science experiment, allowing the glue to begin a rotting process.