Oil Paint Binding Medium

Pigments need to be bound to become a paint. For this they are mixed with a binder. The binders’ functions are to lock the pigment particles into a protective film, act as an adhesive by attaching the colours to the ground and to create an optical effect by bringing out the depth and tone of the pigment. Langridge has developed a range of Paint Binders to allow artists to easily and effeciently master the preparation of their own colours.They include stabilisers and preservatives for maximum durability and performance.

Langridge Oil Paint Binding Medium is a specifically prepared binding medium for the preparation of artists’ oil colours. Made with linseed oil, wax stabiliser and driers for optimum effeciency when grinding. Ready to use, just add to pigment and mill until the desired paint consistency is obtained.

For those artists that wish to prepare their own binder, a traditional recipe follows.

Materials: Pigments, Oil Paint Binding Medium, glass muller, glass slab, palette knife, empty jars or tubes
Method: Take a handful of pigment, make a well in it and pour in about a tablespoon of Oil Paint Binding Medium (a). Mix into a stiff paste using a palette knife. Grinding is best done standing, applying pressure whilst moving the muller in a figure of eight motion on the glass slab (b). Periodically scrape paste into the centre of the slab and off the muller. The paste becomes progressively smoother and glossier with work. When properly ground no grains should be seen and no grittiness may be heard or felt. Store the paint in containers (c). Pigment to oil ratios vary depending on chosen pigment. Always try to make paint with the minimum of oil to produce a workable consistancy, thereby minimising yellowing and wrinkling.

Traditional Method

Materials: Pigments, Cold Pressed or Refined Linseed Oil, glass muller, glass slab, palette knife, empty jars or tubes

Take a handful of pigment, make a well in it and pour in about a tablespoon of oil.

Mix into a stiff paste using a palette knife. Grinding is best done standing, applying pressure whilst moving the muller in a figure of eight motion on the glass slab. Periodically scrape paste into the centre of the slab and off the muller.

The paste becomes progressively smoother and glossier with work. When properly ground no grains should be seen and no grittiness may be heard or felt.

Store the paint in containers. Pigment to oil ratios vary depending on chosen pigment. Always try to make paint with the minimum of oil to produce a workable consistancy, thereby minimising yellowing and wrinkling.