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Over the pandemic I fell down the rabbit hole of hand making my own watercolors and I’ve found I really enjoy the process. I haven’t found much historical documentation on how watercolors were made historically. From what I have found, the process of hand mulling pigments into various binders (gum arabic, animal glue, egg yolk, oils, etc) hasn’t changed drastically.
Over the pandemic I fell down the rabbit hole of hand making my own watercolors and I’ve found I really enjoy the process. I haven’t found much historical documentation on how watercolors were made historically. From what I have found, the process of hand mulling pigments into various binders (gum arabic, animal glue, egg yolk, oils, etc) hasn’t changed drastically.
Binder with additives
Binder with additives
Pigment + binder = paint. In this case, watercolor is pigment in a water-soluble gum arabic binder. However, paint made from just pigment and gum arabic will likely dry into a hard and difficult to reactivate paint. I add corn syrup, glycerin, and ox gall (sometimes). The corn syrup (interchangeable with honey) and glycerin ensure the paint is easy to reactivate and dries without cracking, crumbling, or excessive shrinkage. The ox gall helps the pigments disperse and is optional depending on the pigment properties and preferences of the painter. The exact proportions of the ingredients depends on the pigment(s) and climate.
Pigment + binder = paint. In this case, watercolor is pigment in a water-soluble gum arabic binder. However, paint made from just pigment and gum arabic will likely dry into a hard and difficult to reactivate paint. I add corn syrup, glycerin, and ox gall (sometimes). The corn syrup (interchangeable with honey) and glycerin ensure the paint is easy to reactivate and dries without cracking, crumbling, or excessive shrinkage. The ox gall helps the pigments disperse and is optional depending on the pigment properties and preferences of the painter. The exact proportions of the ingredients depends on the pigment(s) and climate.
Binder with pigment
Binder with pigment
Next I mix the pigment(s) into the binder with a palette knife. Some pigments are hydrophobic (difficult to mix into the binder) or hydrophilic (easy to mix). Fortunately the pigment seen here, ultramarine blue, is a relatively easy pigment to work with and mixes into the binder easily. Respiratory protection (respirator or dust mask) is important while measuring and mixing in the pigment, as breathing in pigment particles is dangerous to one’s health.
Next I mix the pigment(s) into the binder with a palette knife. Some pigments are hydrophobic (difficult to mix into the binder) or hydrophilic (easy to mix). Fortunately the pigment seen here, ultramarine blue, is a relatively easy pigment to work with and mixes into the binder easily. Respiratory protection (respirator or dust mask) is important while measuring and mixing in the pigment, as breathing in pigment particles is dangerous to one’s health.
Paint pre-mulling
Paint pre-mulling
At this stage, the pigment is roughly dispersed into the binder, but not yet complete. The pigment particles aren’t yet evenly distributed into the paint yet.
At this stage, the pigment is roughly dispersed into the binder, but not yet complete. The pigment particles aren’t yet evenly distributed into the paint yet.
Mulling
Mulling
A muller is a tool with a large flat bottom that evenly distributes the pigment into the binder and thickens the paint into the desired consistency. I use a glass muller, but marble is an option too. I mull in a figure eight motion for at least 15 minutes (or more depending on the pigment), periodically testing the paint until it’s the right consistency and performs well on paper.
A muller is a tool with a large flat bottom that evenly distributes the pigment into the binder and thickens the paint into the desired consistency. I use a glass muller, but marble is an option too. I mull in a figure eight motion for at least 15 minutes (or more depending on the pigment), periodically testing the paint until it’s the right consistency and performs well on paper.
JD5: Paint post-mulling
JD5: Paint post-mulling
The paint looks quite different after mulling. It should have few air bubbles and a viscosity similar to toothpaste, though thinner is also fine.
The paint looks quite different after mulling. It should have few air bubbles and a viscosity similar to toothpaste, though thinner is also fine.
Conclusion
Conclusion
Historically paint would be dried and stored in sea shells. I’m using a plastic pan here for convenience. As far as I know the overall process isn’t drastically different than what would be used in period. Honey is a suitable humectant, but I don’t know if it was used in the medieval period paints.
Historically paint would be dried and stored in sea shells. I’m using a plastic pan here for convenience. As far as I know the overall process isn’t drastically different than what would be used in period. Honey is a suitable humectant, but I don’t know if it was used in the medieval period paints.
I use a variety of pigments, some historically accurate and many which aren’t. I personally won’t work with historical pigments that contain lead (lead white), arsentic (orpiment) or mercury (cinnabar) due to toxicity. However, earth pigments and ultramarine (synthetic lapis lazuli) are varied, relatively affordable and generally easy to work with. If you’re curious, I share more of my paint making experiments on Instagram at instagram.com/BringerofSpiders, along with my many other hobbies.
I use a variety of pigments, some historically accurate and many which aren’t. I personally won’t work with historical pigments that contain lead (lead white), arsentic (orpiment) or mercury (cinnabar) due to toxicity. However, earth pigments and ultramarine (synthetic lapis lazuli) are varied, relatively affordable and generally easy to work with. If you’re curious, I share more of my paint making experiments on Instagram at instagram.com/BringerofSpiders, along with my many other hobbies.
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