Chet de Kooning! : Oil & Water

My focus is examining one of de Kooning’s very unusual methods: mixing oil and water. This technique is best utilized in his graphic paintings of the 60’s. Water and oil do not mix and the mediums are usually not combined. It is possible to homogenize water and oil through various processes and additives.

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1 06. May 2015 21:06

Trial & Error - Acrylics

One of the first paints I made was an acrylic. I used the K 19 Matte Dispersion (75355) with earth and synthetic pigments. Making a watery, yet pigment-rich paint was very easy to achieve and I made a number of successful samples……..

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0 18. December 2014 20:12

Trial & Error

Trial & Error is the beginning of a series of articles on recipes, including samples of product applications, trials and errors and accidental experiments by our intern Chet Mills – who previously did not have any experience making paint.

We expect these precisely measured samples to be an insight into the variety of directions you can take paint-making – while cataloging mistakes and successes of a new paint-maker along the way.

The first group of tests include acrylic, lime-casein gesso, developing a new gel-paint medium, and decoding an old De Kooning recipe. Follow our Kremer Tech blog for new updates and details on Trial & Error.

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2 16. December 2014 19:26

Paint-making as Food-making

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1 12. December 2014 22:00

International meetings

Kremer Pigmente takes part in international meetings and trade fairs for art, culture and conservation.

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0 06. December 2013 12:20

FEAR LESS PIGMENT

Kremer rarely feels like a retail establishment, because the experience of shopping here is often predicated on an exchange. Though they are specific, the products we carry rarely embody fixed identities; their applications are mutable. Roger encourages improvisation; perhaps that’s the only reliable route to learning. There’s room for innovation in every studio practice.

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0 21. November 2013 21:31

Video - Inner-Glow Pearl Gold

Oil paint demo - a

This recipe yields a semi-opaque whitish gold color. Has the appearance of a hard-surface paint, marble-like but flexible fast-drying covering paint. With line work you will get a sharp opaque paint and if diluted you can get radiant white-gold glazes. The paint is very thick but can easily be diluted with more turpentine.

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0 09. August 2013 18:41

Newsletter August 2013

35th Anniversary Pigment Set

Stay updated with tips, news, and updates.

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0 07. August 2013 17:47

Newsletter Summer 2013

Can you name the colors of Spring? Which pigments resemble those colors? Although, in New York City we do not see the airy yellow ochres, sweet oranges of the French Ochres, and certainly not the fruity English red earths. We do see the ashy slate grays, steely metal pigments and the rusty burnt umbers.

The spectrum can certainly be made-up though with the essence of pigment. One can imagine and make up any color!

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0 09. July 2013 22:23

Video Crash Course: Oils

Video – Crash Course: Oils

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0 17. May 2013 19:26

Smalt - Blue-Glass Sludge

by Roger Carmona

I have not tried all the pigments we offer at our shop. This candy store of colors points me in different directions each week. Most of the time, I lean towards the greens. Their instances of natural and synthetic beauty easily overtake my paintings without much effort- a dangerous territory (I know) that can stump my creative progress.

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1 11. March 2013 18:41

Newsletter January 2013

How can we make the use of pigments more accessible for you?

It is our ambition to educate and establish a conversation with our patrons of our experience with pigments, binders, and of course color.

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0 21. January 2013 19:01

Crash Course – Three Steps

Making your own paint can be fun and addictive. It is much easier than it seems. I invite you to follow me on the investigation of raw materials and learn how to control them for your purpose.

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11 15. September 2011 10:27

Welcome!

About this Forum
Discussions are organized in reverse chronological order and are not grouped together by topic. The forum is, however, searchable by keyword for easy reference.

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4 12. April 2011 01:00

Primary Colors - Pigment Selection

Our broad introduction to color theory explored how red, yellow, and blue prevailed as the foundation of the artist’s paint palette. Here we will discuss the practical challenge artists have faced to interpret these basic colors using pigments. We will see how external factors such as geography, trade, and technology affected the selection of these fundamental materials. This is a long one…

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3 12. April 2011 00:23

Primary Colors - An Introduction

The storied history of color theory has oft been fueled by an emotional and observational rather than scientific order of our color universe. Did pure colors arise, as thought by ancient Grecians, from the daily struggle observed between darkness and light? Subsequent theories were continually on offer regarding “basic”, “median”, “pure”, and of course, “primary” colors.

While the symbolism of color might assist an artist in the content of her work, it is not directly useful for the painter using pigments. Here we explore the path of the primary palette – how it came to be defined and how artists across the spectrum of time and place have applied it to the practical creation of their work.

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2 20. February 2011 23:52

Balsams

Balsams are natural emulsions of resins and essential oils (oleoresins) exuded from conifers. Called turpentines, they can be mixed with oils and solvents used in oil painting. They are insoluble and immiscible in water.

Many learning about these materials find the term “turpentine” confusing when applied to both the balsams and the product obtained from the distillation of the oleoresins.

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6 20. February 2011 23:44

Historical use of Shellac Ink

Is shellac ink a historical product or a new invention? How is this vehicle different from shellac varnish? Here we will explore the history of this unique emulsion.

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2 04. February 2011 08:44

Walnut Oil

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2 02. February 2011 13:38

Poppy Oil

Poppy oil can mitigate the fast drying effect of some pigments to reduce internal tensions in drying times of a paint layer. Excellent to use for wet-in-wet painting…

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2 14. January 2011 21:49

Linseed Oil

What is the difference between boiled linseed and stand oil? How do different processing methods effect a paint film?

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1 14. January 2011 18:31

Introduction to Drying Oils

Though linseed oil is the most commonly used drying oil, there are others such as walnut and poppy oil – as well as many others to greater or lesser success – which have been used throughout the history of painting.

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0 10. January 2011 02:00

Influence of Pigments on Drying of a Paint Film

Most pigments are chemically inert, but others can act as catalysts, promoting the drying reaction. The following groupings are gleaned from information in our artist manuals and experience of fellow artists…

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0 10. January 2011 01:38

How much binder should I use to make my oil paint?

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1 10. January 2011 00:08

Gum Tragacanth

A watercolorist we know is preparing to make his own pastels for an upcoming trip to South America. He was wondering how he might prepare the traditional binder, gum tragacanth, which is available only as a dry powder. Gum tragacanth makes very soft and velvety pastels when compared to those made with gum arabic.

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7 22. December 2010 21:28

Iron Gall Ink

We have had several students inquire this week about making their own iron gall ink. Our online recipe does not provide step by step instructions, and so we would like to share our notes on the subject.
Eva Eis, our conservator in Germany, sent us a recipe, and she was right that it made a nice black ink!

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5 22. December 2010 21:21

What is Plastorite® ?

Plastorite® has been a mysterious product to us in the store – it is actually not a plaster at all! It is a mixture of mica, quatrz, and chlorite.

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0 22. December 2010 21:21

NEW! Flat-rate shipping!

Announcing New Lower Shipping Rates!

We have adjusted our shipping rates to make it more convenient to shop at Kremer Pigments!

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0 17. December 2010 00:17

Our perfect Sepia

Sepia ink

Our famous Sepia – Ink .

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2 04. October 2010 15:23

Watercolor Demo

Learn to make your own watercolor paints!

This straightforward demo will demystify the basics of preparing your own watercolor paint. We will review historical and modern pigments for watercolor as well as various binding mediums and their properties. Pigment grinding technique will be demonstrated, as well as pouring pans for storage.

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2 21. July 2010 22:23