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Thread: The evidence
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22nd June 2011, 12:13 AM #16
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22nd June 2011, 09:30 AM #17
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22nd June 2011, 09:44 AM #18
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22nd June 2011, 11:02 AM #19
WW
......why not?
is it not a remote possibility it could be both a really nice colour and an abrasive?
Ever wonder how these things came to be known and used?
I have used a process to texture silver and gold by painting the back surface with yellow ochre, then heating the front until that surface bubbles.
yellow ochre + heat = Ferric oxide (red)
(known also by those good folk in the north of Aust. from 60,000+ years ago)...
Ochre - Wikipedia, the free encyclopedia
now...
Yellow ochre + linseed oil + some dryer or wax or other stuff = yellow oil paint
BTW Ferric oxide is jeweller's rouge....the red stuff I use daily for polishing gold and silver.
The only difference is the carrying medium.
Don't you use a whole range of these oxides for colouring reproduction / restoration of furniture....I've watched Rob Brown work his magic with them?
Regards,
PeterLast edited by lightwood; 22nd June 2011 at 11:06 AM. Reason: wiki link for Ochre
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22nd June 2011, 12:11 PM #20
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22nd June 2011, 01:26 PM #21
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22nd June 2011, 06:14 PM #22anne-maria.
Tea Lady
(White with none)
Follow my little workshop/gallery on facebook. things of clay and wood.
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22nd June 2011, 06:35 PM #23
I suppose it is possible, though the grade of pigments used in artists' oils is much finer than those generally used by restorers. Some colours of 'restorers' grade' pigments are coarse to the point of being semi-translucent when mixed with carriers or binders.
Texture aside, there are a number of artists' colours that retain their original names, but contain none of the original ingredients. Most of the lead and other metallic colours don't actually contain lead or metallic ingredients any more due to their toxicity.
I use a number of pigments including red lead which are illegal in paint products now and unfortunately, their modern synthetic counterparts don't have remotely the same properties. However, I can (with some difficulty) obtain the old 'pigments' via other sources.
To be honest, AlexS' work mate could easily have obtained the same honing advantage using just linseed oil without any green colourant present if he poured some onto an MDF strop. Oiled brown paper was a popular stropping medium in the past.
At any rate, the dog is home in one piece (well, minus his nads actually) and was given a clean bill of health..
I know you believe you understand what you think I wrote, but I'm not sure you realize that what you just read is not what I meant.
Regards, Woodwould.
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22nd June 2011, 06:36 PM #24.
I know you believe you understand what you think I wrote, but I'm not sure you realize that what you just read is not what I meant.
Regards, Woodwould.
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22nd June 2011, 07:01 PM #25anne-maria.
Tea Lady
(White with none)
Follow my little workshop/gallery on facebook. things of clay and wood.
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23rd June 2011, 10:06 AM #26
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23rd June 2011, 11:11 AM #27
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23rd June 2011, 11:19 AM #28
Some glossy and quality paper and card is indeed finished with minerals such as kaolin, but the majority isn't. Cutting paper will not dull well maintained scissors.
Some craft workers even recommend cutting fine abrasive paper ocassionally in order to sharpen their scissors!.
I know you believe you understand what you think I wrote, but I'm not sure you realize that what you just read is not what I meant.
Regards, Woodwould.
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5th July 2011, 11:05 AM #29
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10th July 2011, 04:26 PM #30Hewer of wood
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The CrOx bar prob had mostly a fat carrier so was attractive to a treadmill-exploited pup desperate for calories.
Let's hope Hugh Wirth doesn't read this forum.Cheers, Ern
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