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Thursday, March 17, 2016

Glue Distemper Paint

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Jim Hingst explains what distemper paint is and why it was so popular in years past.

By Jim Hingst @hingst_jim

Until I had learned about the French post-impressionist painter, Jean-Édouard Vuillard, I had never heard of distemper paint. What makes distemper paint different from other paints is that it uses glue as its resin or binder. The glue not only holds the paint components together, but it also does a good job of  binding the paint to a variety of substrates, as you will soon learn. 

 What Vuillard admired about distemper paint was its warm, velvety and non-gloss texture. These aesthetic properties also made it a popular choice in bygone years for other applications, such as interior wall painting.

  
Édouard Vuillard's 5 panel glue distemper painting entitled "Place Vintimille" hangs   in the National Gallery of Art in Washington, DC.


Distemper paints have a  long history. In Medieval times, painters used glue distemper paints for banners and temporary decoration. However, when used for fine art painting, these paints lacked the durability of tempera and oil paints, failing to survive the test of time.  Many of these distemper paintings cracked or  the paint flaked off of the substrate. 

 While painters of all types have used many different kinds of glues in their formulas, traditional recipes typically include either animal hide glue or rabbit skin glue. After the glue is heated, it is added to a mixture of slaked whiting (calcium carbonate) and pigment.  

 To slake whiting, cover it with water overnight. The whiting absorbs the water. After completing this process, you should pour off the excess water.The powdered pigment should be mixed with a sufficient amount of water to create a paste. After mixing the paste and slaked whiting, then mix in the heated glue. 

 Note: non-traditional recipes include glues such as PVA glue.

 The type and amount of glue used in paint formulas can be critical. Of the animal glues, rabbit skin glue is preferred for its flexibility. Too much as well as too little glue in the mix can be problematic. Using too much glue often results in cracking. Too little can result in the paint flaking. 

Distemper Paint Advantages


Distemper paints have many advantages. Because it is water based, fast drying and inexpensive, theater scenery painters in the early 1900s often preferred this paint. 

 The fast drying characteristic also makes it great for interior wall painting. In fact, distemper paints were regularly used for interior walls  in the 19th and 20th centuries until shortly after the Second World War. 

By the 1950s, latex paint for all practical purposes replaced it. In spite of its diminished popularity, the flat finish and muted tones still make it a suitable choice for stenciling as well as for conservation work when restoring painting in historical buildings. Compared to the wall paints that we use today, the distemper paints do not flow out quite so regularly and consequently tend to show brush marks. 

Restoration of Monticello

Conservators have used distemper paint in restoring the interior painted walls of Thomas Jefferson’s home, Monticello.  Chemical analysis determined that distemper paints were originally used. At this time distemper paint was used because it was compatible with the high pH of plaster walls. Since fresh lime based plaster is very alkaline, oil based paints break down very quickly. 
In restoring the interior walls of Thomas Jefferson's home to their original condition, conservators used glue distemper paint.
Used in these architectural restorations, distemper paints have the advantage of adhering well to porous surfaces, not only plaster walls, but also moldings, brick and paper wall coverings. 
You should not use these distemper paints on any walls which are continually damp. Over time the dampness will compromise the water-based binder.

 When necessary, the water-soluble distemper paints are easily removed. This removability is advantageous to prevent paint buildup of multiple layers, which could obscure the details of intricate carvings or moldings.

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About Jim Hingst: After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.

Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer.  Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.

Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 150 articles for  publications, such as  Signs Canada, SignCraft,  Signs of the Times, Screen Printing, Sign and Digital Graphics and  Sign Builder Illustrated. He also posted more than 325 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published.

Slides of Jim's Artwork

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