Formulation of Artist’s Paint
Chapter One
AIM AND OBJECTIVE
This work is aimed at developing an economic and Indigenous way of producing artist paint using local /available raw materials in the best interest of small-scale industries thereby conserving the foreign exchange earnings. Also, it provides an alternative source of raw materials for the formulation of an artist’s paint. This will in a very large measure minimize the importation from abroad.
Finally, an attempt is made at formulating specific brands of artist paint from available raw materials using standard procedure.
CHAPTER TWO
LITERATURE REVIEW
Paint making is a large and often dry subject, a Sahara of facts. In paint making, “water color” or artist paint, refers to painting done on a special hand –made rag paper with pigments very finely ground in a binding medium composed of an aqueous solution of gum Arabic. In watercolor and other water paints, as the name implies, the only “thinner” is water
KINDS OF ARTIST PAINT
Water –Soluble Paints
Aqueous media are divided into two main groups those forming films which can be readily dissolved again when water is applied to them
-those when dry are resistant to resolution in water.
In the first group are such paints as transparent watercolor or aquarelle gouache (which is watercolor containing a white pigment), “size or distemper a color” (which is the term for gelatins or purified glue, this is an independent medium and pigments that are usually mixed with white to form opaque paint). These employs binders as gums or starches which do not undergo any chemical changes en they dry or dissolve, but instead dry only by the evaporation of the water content of the paint. In the second group are the various tempera paints which change their chemical composition as they dry and so become relatively water resistant after they harden. The binders of these materials usually consist of a combination of an adhesive material, oil and water Troche J. H 1971.
Water – Resistant Paints
Casein, a powdered protein made from milk is a blinder and an adhesive of grounds made under scientifically controlled conditions. It is a cacheable and a permanent binding material which has been successful aqueous paints. Casein powder is not soluble in water. When treated with certainty, equaling tempera in this respect tempera is the term used to designate water – thinned paints which dry to a somewhat water proof or at least water resistant, state troche J.N. 1971.
Emulsions.
An emulsion is a combination of two liquids which in the ordinary sense cannot be mixed, such as oil and water. If these are stirred together, drops of one will suspired in the other. If nothing is done, the drops will eventually come together, and the two liquids will again separate. To prevent this emulsifying agent is introduced into the mixture, and this has the effect of surrounding or suspending the drops, and preventing their coalescing. According to troche J.N. in her book when an emulsion dries it becomes insoluble in water.
Oil paint
Oil paints consists of finally divided pigment particles evenly dispersed in an oil medium which in drying, forms a continuous adherent film. Linseed oil a so – called drying oil is usually voluble for oil painting as it allows the color to be applied and to spread out. It can also be said to be a paint varnish and which by the oxidation or polymerization of the binder, as opposed to water paints in which the binder an emulsified oil dispersed in water and which dry initially by evaporation oil distempers which are bound with such materials as casein or glue size and which dry by the evaporation of the water content, emulsion paints which are bound by the coalescence of synthetic resion particles etc. cooler J.N. (Dictionary of painting and decorating).
CHAPTER THREE
METHODOLOGY
Once a paint manufacture has assembled the necessary raw ingredients, the methods of mixing paints have remained relatively constant for over a century. Today larger machine and manufacturing line can produce greater quantities of paint, but for basic steps remain the same:
- Finishing the pigments by added grinding
- Premixing the materials,
- Milling the premixed paste and
- Packaging the paint.
This is achieved with the small batch method using a three roller machine.
FORMULATION
The pigment was first premixed with the vehicle in gradients (gum, water, glycerin, gypsum, honey and other additive) in the proportions necessary to make a thick paste. These proportions vary with the pigment used. Absorptive or finely ground pigment particles require more vehicle (because the total surface area of pigment increase as the average size of the individual particles gets smaller) and strongly tinting (or in some brands, very expensive) pigments are more diluted with vehicles and filler
Next, the premix thoroughly milled under large stone or metal rollers, (in my case I used laboratory motar and pestle) turning in opposite direction at different speeds. (In paint manufacture “milling” means mixing payment and vehicle not crushing or grinding the pigment particles these are usually three roller on these machines and they mix the pigment with the vehicles through the act of crushing, smearing and folding the paste.
In the three roller machine the premix was poured into a reservoir between the two first rollers
- Because it will be so vicious, most of the paint simply swirls around in this trough A small amount is pulled down into the opening between the roller where it is sheared and crushed. As it course out the other side it is pulled apart, which pulls open undeserved pigment clumps sticking to the rollers, half is carried back around to the reservoir at A, and the other half to a second accumulation trapped between the second and third rollers.
CHAPTER FOUR
RESULTS /DISCUSSION
RESULTS:
A good result was obtained when the paint was tested by
- Brushing out on blank watercolor paper, using both went in wet and wet in dry applications
- leaving a large drop to dry on the glass sheet
- it was smooth (finely ground).
DISCUSSION
The careful balance of the modifying ingredient in artist paint is necessary not only to give the correct working properties, but to ensure the proper balance of solubility, that is the dried layer of good artist paint must be sufficiently resistant so that subsequent brush strokes will not pick it up. On the other hand, the paint should not be so insoluble that one cannot soften or run into it.
To attain or formulate a paint product close to the manufacturers standard or formulating principle was used. This was achieved by following a laid down variation and modification and also in using other two classes of material being dealt with, binders (including linseed oil for oil paint, polymer emulsion for acrylic paints and combinations there of) and, to a lesser extend, solvent.
Formulars are written up either in weight units of all ingredients, or pounds of pigment and gallons of liquids the formular, however, often has to work in terms of volume relationship, and the pigment volume concentration (PVC) is usually an important consideration. Pigment volume of non volatiles ie, nonvolatile vehicle volume plus pigment volume.
CHAPTER FIVE
CONCLUSION AND RECOMMENDATION
CONCLUSION
most artist paint used by artists for their paintings are imported, that is they are foreign products. The manufacture of artist paint will encourage skill and increase in the use of natural resources, this will lead to doing more research work formulating, manufacturing/ making of and using new equipment that will give the appropriate product with high quality standard. Equipment like spectrophtography, infrared and ultraviolet spectrographs, such instrument will be perfected to expedite production
RECOMMENDATION
PERFECTION OF GYPSUM
Using gypsum instead of white starches the filler in the production of this artist paint is better because gypsum is more efficient and lasts longer that the wheat starch since the starch will later make the whole thing to be watery. Though other chemical used is costly.
REFERENCES
- Bruce, M.E, (2004) Paints – How Water Color Paints Are Made, 5th Ed; USA; PP. I22
- Debussy, J.H, (1972) Materials and Technology Volume TV. Untied States and The Philippines – Barnes And Noble Books, Longman Croup Ltd PP. 687 – 688.
- Goodier, J.H, (1974) Dictionary of Painting and Decorating Griffin London, PP
- Herman F. Mork, G. Gaylord Norman and M.Bi Kales Norbert (1970) Encyclopedia of Polymer Science and Technology Volume 10 And 13, Inter science Publishers A Division Of John Wiley And Sons, Inc PP. 170 – 192, 492 – 510
- Torche J.H, Ed. D. (1971) Acrylic and Other Water – Base Paints For the Artists, 4th Ed, New York, Sterling Publishing Co, Inc. PP 5-19
- McGraw, Hill (1971) Encyclopedia of Sciences and Technology, Volume TX, United States, Mc Graw Hill, Inc. PP 558 – 559.
- Morgan’s W.M. P.H.D; F.R.T.C, (1969) Outlines Of Paint Technology Charles Griffin And Company Limited 42 Drury Lane, London, W.C. 2 PP 91, 127 And 130.
