Materials
In the photo above are 3 samples of Lapis Lazuli. On the left is a sample I acquired in Florence and, after testing, it appears to be about 80% synthetic (causes the visible “oily” clumping). On the far right is a sample acquired in Amsterdam that is not very pure, and not from the best stone. Each sample cost about $150 for 10 grams. In the center is a sample of my true ultramarine that I derived by hand from gem quality Lapis Lazuli and extensively purified using only water and creativity.
Above are photos of my recipe for copal varnish. The first photo shows Frederick Taubes Copal Medium on the left, Grumbacher Copal Medium on the far right, and my product in the center. Both Taubes and Grumbacher are thin, watery and dark. The second photo shows my copal varnish after being tilted and held at this angle for a full five seconds to demonstrate its viscosity. If it were thinned to the consistency of the others, it would be exceptionally paler. The third photo shows my copal on a test slide. This sample has been kept in the dark and is about eleven years old, yet it continues to become paler and more transparent with time. The 4th photo shows the droplet from the side showing it is thicker than any brushstroke needs to be. The fifth photo is my copal varnish mixed with additional ingredients to become my copal medium which after about 6 years still appears “wet”. My Copal varnish is derived from clues dating back to the 15th Century, as it was used in painting, which differs from the recipe/process used for making Copal furniture varnish available today which does not demand the clarity or purity I have sought and achieved.
Here is a photo of a commercially available marble dust on the left and my product on the right, made from pure carrara marble and processed in the method of creating “San Giovanni” (or St. John’s) White. The next photo is of grumbacher mastic varnish on the left and my mastic varnish on the right.
Final Note: The quality that comes from a profit-making manufacturer is normally the best that they can produce and yet remain competitively priced. The quality that is possible with a self-manufactured product that does not require a direct financial return has no limitations other than the knowledge, ability and will of the producer.
Art Supplies that are available in Europe are much more varied and of better quality than what is generally readily available in the USA. Many of the items shown are not available anywhere on the internet or in the USA.
European acquisitions 2010- Pigments, mediums, chemicals, tools