User talk:74.108.137.207

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August 2014
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Re: Verdigris
Thanks for your contributions to verdigris. Unfortunately, they still need work before you can add them back. I've moved your work here for now. Feel free to work on it here instead. Viriditas (talk) 08:09, 22 August 2014 (UTC)

Proposed additions
The vivid green color of copper(II) acetate (plus hundreds of additions) made this form of verdigris a much used pigment. For illumination of manuscripts, an art form still practiced, watercolors and tempera,verdigris remains one of the most vibrant green pigment available, one of the few transparent ones and far safer than any of today's chrome greens (generally available for acrylic and oil media). Pure copper acetate is blue, and through "washing impurities away can be used as a pigment in many a medium. Add the least bit of acid (primarily more of the "best vinegar" which produces the fumes that turn the copper green initially, but also, according to formulae found in classical works including 's massive 'encyclopaedia of nature' additions of sugars, uric and other acids to both the transformation vapors and the resulting pigment. Over a thousand years, various writers assigned various nation's names to these variations, including coating the copper with a mixture of table salt and honey cooked to the hard-ball stage, which, when scraped from the copper was mixed with fresh honey and vinegar to hold it to an illuminator's parchment; later, paper. Te extra acid was probably the reason that family trees, with the male side ringed in red, the female side, a collection of green-rimed holes/

Ground verdigris can be used to produce the most intense pastels and water colors in a range of colors from dark blues, an almost-perfect cyan for color mixing, most greens, and through personal experience following up on a suggestion by Mark Clarke, the currently-most-active seeker and translator of medieval art mss, guild mss, studio- and workbooks.

Verdigris is lightfast in oil paint, as numerous examples of 15th-century paintings show. However, its lightfastness and resistance to change to, for instance brown copper carbonate are very low if not sealed in a non-reactive medium. Copper resinate, made from verdigris, is not lightfast, even in oil paint. In the presence of light and air, green copper resinate becomes a stable brown, a carbonate as previously mentioned, or a sometimes-barely perceivable copper oxide (patina), the best known example, New York's "Statue of Liberty". This degradation is to blame for the brown or bronze color of grass or foliage in many old paintings, although not typically those still referred to as the "Flemish primitive" painters (despite Clarke's publication of an arguably flawed translation of the "Montpelier Manuscript", which pushes back the timeline for the complete technique of working with pigments in linseed and other oils. Clarke provides examples showing the use, by the mid 1300s ce date for Montpelier, obviously indicating experimentation beginning at least a century or two earlier, of the techniques ascribed to Jan van Eyck and family, who are still given credit for the creation of modern oil technique.Clarke's major fault was a failure to include a photo-reproduction of the one extant copy of the Montpelier mss, alongside his reading of the document (preventing skilled manuscript readers from carefully checking his reading in an era of the use of personal, idiosyncratic writing styles that can drive the unskilled reader to at least desire to turn a rare work to dust. The van Eyck studio, which today might be looked upon more as a small factory, often used "normal" verdigris. In addition, verdigris is a fickle pigment requiring special preparation of paint, careful layered application and immediate sealing with varnish in panel and canvass painting, not in manuscripts - where the primary High Medieval through Renaissance alternative was the rough ground-if bright/fading to paleness if ground as most stone pigments wereto avoid rapid discoloration (but not in the case of oil paint). Verdigris has the curious property in oil painting that it is initially bluish-green, but turns a rich foliage green over the course of about a month. This green is stable. NOTE: THIS LENGTHY EXPANSION OF VERDIGRIS IS A WORK-IN-PROGRESS. pLEASE EXCUSE THE LACK, SO FAR OF FOOTNOTES, END NOTES AND REFERENCES TO THE BURNS IN MY SKIN CAUSED BY VERY VERY ACIDIC ACID INKS PRODUCED BASED ON CLARKE'S SUGGESTIONS AND INTERPRETATIONS.- ALEKSANDR 8/16/2014