This is a quick experiment with homemade peach gum paint! ->
I was reading in The Artist’s Handbook of Materials and Techniques, that you can use sap from cherry trees, apricot, peach, plum, etc for a gum binder for paint. I threw the book down, ran outside to my ancient peach tree and grabbed balls of sap from it. Thanks to borer worms, it exudes sap. So I dissolved it, made paint, painted a peach….isn’t this cool! I think it’s a lot like the gum arabic in watercolor. I don’t know yet…here’s a sentence from the book: “Recipes for the use of cherry gum in emulsions or to replace gum arabic can be easily worked out; it emulsifies very well with all tempera ingredients; it is an entirely acceptable material, and a favorite with those painters to whom the notion of utilizing domestic, noncommercial materials appeals.”
I’m impressed by what egg can do in less than 2 days. Let me show you the first day. I drew it and painted an underpainting – on terrible drawing paper! – the 1st day:
Now on that terrible drawing paper, which gave me awful problems, like weird circular spots that wouldn’t take paint, the second day:
That’s several layers of egg glazes on the face (in 1 day). The background is almost completely casein. I’m probably going to quit working on it. I was in such a hurry, I didn’t even know I had grabbed a piece of cheap wood pulp sketching paper. 9 x 12 in. (22.9 x 30.5 cm)
Update, 29th of June: I can’t believe it! After working and working on it, I have almost the exact same result as the one I originally posted! Here’s the latest, with the earlier below:
I’m working on a real portrait, of a beloved. I can’t quite get the exact perky look. And every time I change it, I get further away from what I want. So, while I almost have the look, I’m posting a photo of the WIP (work in progress). Oh and of course I have to look at a photo, because I’m not good enough without staring at a photo long hours.
I tried coating paper with gesso and glazing with casein. Sure enough, the casein lifted from the gesso. 🙁 So, I switched to egg. Same problem. So the paint is coming completely up while I change every feature.
Oh note – I’ve always hated my ground charcoal (as a true black) in every medium. But in egg, I actually like it.
Well, that’s an opaque I’m using now –
According to Daniel Thompson, of The Practice of Tempera Painting, the fact that I’m using transparent pigments means that I’m just watercoloring with egg. Just kiss my grits, D. Thompson!
Maybe I’ll have something better to present her……in a few….days….
I did an egg face – I’m happy with how the paint goes on:
Reference photo credit & thank you to Creative Commons licensed ‘The Old Man and the Sea’ by Thomas Leuthard: https://www.flickr.com/photos/thomasleuthard/5198470559
I used whiting for the beard and mustache and I really regret that you can’t see the raised effect. His stubble is made of raised bumps.
This is a little fast, so no fine detail. Close up, you see swipes and wipes. Fine lines, aka hatching, only for wrinkles and hair.
Oh, and thank you also to my sister’s chicken who laid the egg I used!!
1st of June: It’s migraine awareness month, and guess what? I pulled weeds I know I’m allergic to, and am fighting a migraine. Well, they won’t pull themselves. This is the egg painting I’m working on:
and when I ‘get back’, I want to tell about a book I’m reading and immediately start comparing acrylic glazes to egg glazes.
4th of June: Well, I’m back. I, of course, don’t have more to show on the painting. The book is “The Acrylic Painter’s Book of Styles & Techniques” (Seven successful artists show you how to master the versatility of acrylics). Chapter 3 with Barbara Buer. Here’s her website: http://www.bkbfloralart.com/ Yep, I’m applying her tips to egg.
Anyway, in the book, Barbara Buer explains her technique for using acrylic like watercolor glazes. Work each petal individually, then touch up later to unify – I’m trying that. Have you gone to her website? Jawdropping.
7th of June: I’m finished with the dahlia in egg paint:
I’m very happy with glazing with egg tempera on paper. I put wash over wash.
Next, I’ll do a dahlia in acrylic glazes.
14th of June: I didn’t like the acrylic paint I mixed up (from gloss medium). I almost didn’t get a spill cleaned up from my tile floor; it dried and wasted, etc.
I thought, “Forget this; I’ll finish it with casein.” So:
Actually, I ran out of paint and didn’t bother to mix more, because I was so close to being finished. So, I’m comparing it with the egg tempera dahlia and….the casein dahlia looks sharper and more focused – and brighter. Other than that, they both have a lot of depth; I like both. I glazed in the same way.
Oh yes!!!! Always before, I’ve had a problem glazing with casein. This time I glazed with no problem. The difference must be that I painted on bare naked paper.
Folks, I just got a vote for the egg tempera one.
I just casually drew, and didn’t do an underpainting.
2nd day: The second day, I realized flowers have too many petals. I prefer looking at other people’s flower paintings.
And the 3rd day, when I decided more work wouldn’t make a huge difference, so I’m done:
I didn’t find it too slow – I certainly didn’t make hatch marks, like I’ve read that you have to do with egg tempera. I wasn’t making lots of subtle transitions, granted… I used a lot of washes and some dry brush.
It’s on paper, 11 x 14 in (28 x 35,5 cm). Phthalo blue, hansa yellow medium, quin magenta and titanium white pigments.
Oh yeah! Look at the signature. It’s horizontal, so I consider it finished. I’ll start signing sketches at a slant. And do you see an ‘e’ after the date? That means it’s done with egg paint. Awesome code.