Making Paint I - Langridge Pigment

This is my first attempt at making paint. I used Langridge pigment and linseed oil for this trial. I have my own samples of rock that I would like to use in the future. For now, though, I thought I would stick to commercial pigment.

Materials

Langridge Raw Umber Green Pigment - 2 tsp
Langridge Refined Linseed Oil - 1 1/4 tsp
2 Palette Knives
Small Measuring Spoons
Muller and Glass Plate
37mL empty Paint Tube

Photo Documentation

The materials were purchased at Parkers Art Supply in Sydney. They have two locations now, the one at The Rocks has a larger selection and carries raw pigments. Langridge paint is new to me as it was not available in Boston or Chicago. I have only used it once, today, but it seems to be similar in quality to that of Gamblin Artist Colors, although I don't yet have research to support this. Overall, it was wonderful to make my own paint. I have begun a chart in which I will paint daily swatches of this paint to see how it ages.

The Material Limitations of Painting

 The question of materiality undoubtedly arises in every group critique. Chosen materials influence the viewer's contextual relationship to a piece. Every material includes cultural, emotional, situational, ecological, and personal significations. Rather than analyze artistic choices in the making process, this lecture focuses the lens on disciplinary subjectification. Dr. Stephen Little questions the material limitations with in the discipline of painting. This presentation brings up some interesting points regarding material specificity and it's relationship to a disciplinary practice.

Dr. Stephen Little presented his paper titled, "Painting In Transit: A Re-mapping of Paintings Changed Terms of Reference." at the Transdisciplinary Conference 2010 which took place at ArtSpace.

Information regarding the 2010 conference and future events can be found here: Tansdisciplinary Research: At the Intersections Between Art Science and Culture

Here is a link to the audio file of Dr. Little's presentation.

As a painter who is currently working in collage, this paper was very informative for me. I have some research to do on Ludwig Wittgenstein's relational theories as well as Rosalind Krauss's material specificity.

This is the beginning.

Hi Everyone or No one,
I have given in to the blog universe. As an avid reader of blogs, I have decided that I have something to share. More importantly, I have a lot to learn. This blog is a journal of sorts for my 1st semester research while I pursue my Master's in Fine Arts from the Vermont College of Fine Arts.

The process I am engaged in while working is directly tied to the transient qualities of memory in the individual. This research will hopefully begin to help me clarify what I mean by that. In addition, I am interested in pursuing a material analysis as a means to relate my history and interests with my chosen tools and their origin in relation to their social, political, and ecological impacts. This journal will focus on my findings concerning the background of any given material in my studio. Examples include but are not limited to Williamsburg paint, Gamblin paint, Old Holland paint, Gamsol, Mineral Spirits, paint brushes and canvas.

My main reason for have a public journal is because I may be wrong. There are misleading studies in any subject. As a result, I encourage you, the reader, to challenge me and if inclined to do so, give me resources that will aid me in my pursuit.

And with that. Here I go.