Michael_Molnar

Here are the last photos.

More photos.

More photos here. And more later.

The video is a bit pedantic for my taste.

JM Jones, I like your cooked Black Spruce samples at Thrift's workshop. Looks good.

Here's Joe Thrift gluing a joined plate. Note that it isn't hide glue. More photos later this week.

You rang? I did experiment with it and never found it worth the cost.

The simplified equation ignores acute incidence and polarization: .

I discussed this in my VSA talk of a few years back. RI difference is a red herring in most cases. The issue is the attachment or wetting of the varnish/oil to the pigment surface. It there is a gap, the RI difference is huge and scattering or reflection at the gap increases dramatically. This is why you want to mull and mull well. Or, you can use a dispersant, but I do not recommend that unless you are working with nano-pigments. According to some pundits, the ionic makeup of the linseed oil used for mulling is key to wetting the pigment. See Natural Pigments website for lots of informative articles.

Here is a quote from Maximilian Toch - Materials for Permanent Painting: Madder lake may be mixed with any oxide of iron color which has been burnt, but may not be mixed with any raw iron color. For instance, madder or alizarin may be mixed with Indian red, forming a color known as Tuscan red, which is perfectly permanent. It may also be mixed with burnt sienna, burnt ochre, burnt umber, etc., but is fugitive when mixed with raw ochre, raw sienna or raw umber. The chemical colors like flake white (white lead), zinc oxide, chrome yellow, Naples yellow and chrome green all bleach it, but colors like quick silver, vermilion, cadmium yellow and all of the blacks do not affect it. The safest way in which to use it is as a glaze over a ground which is thoroughly dry. Madder lake deepens considerably when placed in a dark place, but is revived when subjected to bright sunlight.

Sheesh. I stopped reading this thread out of boredom and missed Apocalypse Now.

I wouldn't really add this stuff to my varnish. The iron in meteorites is chemically active. In fact, I do not use any iron in my varnish because it is unpredictable. Some makers get excellent results, nevertheless.

I guess you do not approve of the stars on my pegs.

I am intrigued with Kremer's Meteorite Brown (10975) although I do not like the idea of destroying these remnants of our solar system's birth. I am toying with the idea of incorporating a smidgen into my varnish in recognition of my profession. "Our meteorites were found near the Moroccan town of Zagora. These Chondrites belong to the so-called stone meteorites and are about 4.5 billion years old. The meteorite fragments are ground to a powder finer than 80 µ."

So that's your secret.