Nicole Alderman

I received these hair cutting scissors last Christmas, and I have found them quite sharp. I, however, do not have thick hair, and usually use mine for trimming split ends. When I trimmed my son's hair (which is thicker), I didn't have any issues.

Previously, I've also cut hair with my Gingher fabric scissors, and I'm pretty sure my mom trimmed my hair with Fiskars fabric scissors.

r ransom wrote:I think you're right.  Having lived with the swatch for a day, I don't see many places to use colbalt blue in my painting.

Maybe one day, if it's on sale, but not this time.

Now, smalt, on the other hand...

I had to look smalt up, because I wasn't sure what it was made of. It looks like it actually has (or at least originally had) cobalt in it! From Pigments through the Ages:

The cobalt ore was roasted and the cobalt oxide obtained was melted together with quartz and potash or added to molten glass. When poured into cold water, the blue melt disintegrated into particles, and there were ground in water mills and elutriated. Several grades of smalt were made according to cobalt content and grain size. In the complex ores in Saxony, as they were first roasted, much of the arsenic was volatilized. The oxides of cobalt, nickel and iron were then melted together with siliceous sand, and the resulting product called Zaffre or Zaffera were, in part, sold to potters and glassmakers.

Another modern recipe is heating of quartz, potassium carbonate and small amount of cobalt(II)-chloride to 1150°C and inserting the still hot product into cold water. The disintegrated glass is then homogenized in a mortar.

The principal source of cobalt used in the preparation of smalt in Europe during the Middle Ages appearing to be the mineral smaltite, one of the skutterudite mineral series. In the seventeenth and eighteenth centuries other associated cobalt minerals were probably used as well (erythrite and cobaltite).

The cobalt seems more of a greenish blue (warm), while the ultramarine is more purplish (cool)...which isn't what I was expecting. But, I guess it makes sense, because ultramarine used to come from ground lapis, and lapis isn't a greenish/warm blue.

It makes sense that you'd get more vibrant greens with the greenish cobalt/pthalo than you do with ultramarine. And, it makes sense that you'd get more vibrant purples with the purpler ultramarine.  

I wonder if anyone has done side-by-sides of quality cobalt with quality pthalo blue? I found this image (from In Search of the Lost Cyan: Manganese Blue):



Honestly, looking at that, cobalt blue seems a lot less vibrant than the pthalo blue. It seems more grey, rather than more green or purple in hue--less saturated overall.


I'm seeing a bunch of pros and cons to buying the paint. My head is a bit full, so I'm just going to list them to see if that helps.

Pros to Buying Cobalt	Cons to Buying Cobalt
Authentic color: easier to paint historical paintings	Expensive
Authentic color: great for learning about history	Toxic
Fun and unique Christmas present to self	Might support sad working conditions for people
You only need a little bit of cobalt paint to have a good time	Might be more destructive to the environment than other hues
You can mix a similar hue	It's hard to mix paints the same each time!

It looks like cold wax is also called "encaustic wax" (the same stuff that Roman Egyptians used to make their mummy portraits by adding pigment to the wax and "painting" with the pigmented wax). The encaustic wax can be made of dammar resin and beeswax. I found a recipe at Earth Pigments:

Ingredients

10 parts Beeswax

1 part Dammar Resin lumps

Dammar Resin has a higher melting point than beeswax, so it should be melted first, then the beeswax added. Neither should be heated over an open flame, or to temperatures above 250 F. Stir to blend while melting, then pour the mixture into aluminum foil muffin pans for cooling. Although the dammar resin will contain some impurities, these will fall to the bottom of the mixture as it hardens. Each contained portion can now be mixed with pigments or stored to be melted again with pigments.

They also note that many people use very different ratios of beeswax to resin:

A leading encaustic paint manufacturer consistently uses a ratio of 4.5 parts beeswax to 1 part dammar. This would be considered at the top end of the range by most artists, producing a hard paint.

An average among many working artists is a standard ratio of 6 parts beeswax to 1 part dammar.

AMIEN (Art Materials Information & Education Network) hosted by the Intermuseum Conservation Association, recommend a ratio of no higher than 1 part dammar to 10 parts beeswax, citing evidence that dammar is brittle and can yellow over time.

I thought about trying my hand at making cold/encaustic wax....but I really don't want to mess it up.  Learning new skills is awesome and fun....but I've already made a lot of mistakes on these little orange peal containers, and don't want to risk making even more.  Soooooo, I ended up ordering JJacquard Dorlands Wax. It says that it's a mixture of beeswax and dammar resin, though I'm not positive that they didn't mix in other stuff. Fingers-crossed that they didn't!

I haven't been on permies much the last few months because it's been pure insanity in my life. My husband was disabled for three months due to a Crohn's flare up, and I'm teaching more classes at my kids' school. Just before Christmas, though, some of my friends worked together to make a big gift basket for my family, full of goodies my husband (who can't eat much due to his crohn's) could eat...including some big tasty oranges. It was such an amazing, kind gesture.

I needed some way to thank them, and I had recently seen Sally Pointer's videos on making orange boxes:





I didn't have any wheat flour to make the traditional gluten-based papier-mâché paste. So, I decided to try using gum arabic (because I didn't want to use Elmer's PVA glue. Why make a container out of all natural materials and then coat it with a type of plastic?). I'm pretty sure gum arabic wasn't the best choice, though, because it reanimates really easily!  It was also finicky to work with, because it was such a thin liquid.

I then painted the boxes with my homemade watercolors. Usually my watercolors are pretty water resistant...but maybe because they're on a surface already coated in gum arabic made them reanimate too easily?

I went outside to get a pictures of the orange boxes, and the tiniest amount of moisture from the frozen snow caused my paint (which had been dry for days) to smear!

I guess that means I need to seal these somehow...but with what? I don't want to seal the inside, because then it wouldn't have it's lovely orange scent. But, the outside obviously needs to be sealed in some manner so the paint doesn't smear when touched with wet hands or a tiny amount of water!

What is a natural sealing method that won't reactivate the water color?

I'm so glad they loved their dragons, and I hope impressions occur soon!

From my understanding of milk paint:

- Casein = The sticky stuff. It's kind of the equivalent of Gum Arabic in water colors. It makes the pigment stick to the surface.

- Lime = The durable stuff. The liquid (hydrated/quick/etc) lime turns back into a rock when exposed to carbon dioxide. This is what makes the paint water resistant and more resistant to light, etc. Traditional frescos are made with thick lime plaster, where the pigment is added directly to the wet plaster and applied. No binder was used--it's embedded in the wall's material. Adding a bit of lime to the milk paint gives some of those advantages. The pigment gets embedded in the limestone rock.

(Limestone gets heated in a kiln to chemically turn into quick lime--I believe you burn off the carbon dioxide in the process. The quick lime turns into hydrated lime when you add water. Then, when it is exposed to carbon dioxide again, it turns back into limestone. Pretty spiffy!)

But, if you just put pigment in hydrated lime and try applying it to a surface without any casein or gum arabic, it's going to brush off. I can attest to this, because for my history class, I painted wooden boards with hydrated lime for the kids to paint hieroglyphs on (the wood was too dark to see hieroglyphs on). But, with just the hydrated lime by itself, the lime just brushed right off the smooth wood boards. I didn't have time to make milk paint, nor did I have enough just-add-water milkpaint, so I added gum arabic to the hydrated lime, and that worked quite well for attaching the lime to the board!

r ranson wrote:I wonder if mixed milk paint could be stored in a tube?

I think it might end up going rancid? I wonder what they add to the tube paints to keep them from spoiling?