Timeline for How can I make egg-tempera that doesn't deteriorate?
Current License: CC BY-SA 4.0
15 events
| when toggle format | what | by | license | comment | |
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| Mar 2, 2021 at 16:51 | comment | added | Joachim♦ | @louisamccabeart It was acrylic-based (see the third comment). | |
| Mar 2, 2021 at 14:16 | comment | added | louisamccabeart | Did you use traditional gesso or acrylic gesso? | |
| Jun 5, 2019 at 17:04 | history | bumped | CommunityBot | This question has answers that may be good or bad; the system has marked it active so that they can be reviewed. | |
| S Apr 24, 2019 at 8:02 | history | bounty ended | CommunityBot | ||
| S Apr 24, 2019 at 8:02 | history | notice removed | CommunityBot | ||
| Apr 24, 2019 at 7:32 | answer | added | Joachim♦ | timeline score: 4 | |
| S Apr 16, 2019 at 6:22 | history | bounty started | Stefan | ||
| S Apr 16, 2019 at 6:22 | history | notice added | Stefan | Canonical answer required | |
| Jan 28, 2019 at 9:47 | comment | added | Joachim♦ | Did you thoroughly dry the yolk before opening the membrane (using, for example, the hand-to-hand technique, wiping your hands dry after every turn)? This seems to be important, I think to prevent the egg-white (and/or other contaminations) from mixing in and upsetting the mixture. | |
| Jan 23, 2019 at 12:27 | comment | added | Joachim♦ | Does the paint currently show an increased amount of these spots, or does the deterioration seem to have settled? And did you use contemporary (acrylic) or traditional (skin glue-based) gesso? Also, AFAIK, the verdaccio would normally be visible through the layered hatching technique that was traditionally used. Only really with oil painting does it make sense to cover it using glazing. | |
| Jan 10, 2019 at 21:59 | comment | added | A. Staffelbach | Joachim, addressing your side question, it's hard to say for certain if the verdaccio (green under painting) is doing much in the finished image. It is supposed to add vibrancy to the color of the skin. Egg-tempera has just a little transparency and is meant to be build up in layers, so it could be subtly influencing the finished look. I did it because it is what is traditionally done. | |
| Jan 10, 2019 at 21:51 | comment | added | A. Staffelbach | Joachim, the spots are small and dark, about the size of a dot that would be made by the tip of a felt pen (like a Sharpie). When the owner of the painting sends me a photo, I will add it to the post; I've seen it in person, but do not have photo documentation. I do not know if it is a fungus, rot, or a mysterious discoloration. I do not believe that it is a mark on the surface. I believe it is a change in the color of the paint itself. The gesso was acrylic based, applied in several layers, and sanded very smooth before painting on top. | |
| Jan 10, 2019 at 21:34 | comment | added | Joachim♦ | On a sidenote: is the green of your shadows actually coming through the skin layer? It doesn't appear to be the case, judging by the photographs, seemingly defeating its purpose. | |
| Jan 10, 2019 at 21:30 | comment | added | Joachim♦ | I think a lot of things could cause this, but if the tempera itself is bad, this should soon show up in all areas (esp. those with the same pigments). What do these spots look like? Is it a fungus, or a decoloration? And is the gesso a chalk skin glue mixture, or an acrylic paint? | |
| Jan 9, 2019 at 22:20 | history | asked | A. Staffelbach | CC BY-SA 4.0 |