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A little water physically broadens the space between fat droplets, helping them stay separate,
Mr. Bunch said. If the oil droplets dont stay distinct from one another and evenly dispersed in the oil,
the mayonnaise will break. He explained that while you need not add water for an emulsion to form,
just a teaspoon increases the odds that it will.
Lemon juice and vinegar accomplish the same thing,
Another reason to add water is, that it dilutes the yolk and opens up the complex matrix of lecithin and
proteins it contains, said Richard D. Ludescher, the dean of academic programs at the School of
Environmental and Biological Sciences at Rutgers.
The lecithin binds the oil droplets and the water in the yolk; thats the essence of a mayonnaise emulsion.
As long as they are bound together, the emulsion is stable.
The last piece of wisdom Mr. Bunch shared was that initially the oil should be added to the yolk drop by
drop; the emulsion should form when about a quarter of the oil is beaten in.
Once that happens you can go a lot faster, increasing the drops to a steady stream.
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Annigoni had evolved his own special medium of tempera grassa (oily tempera),
which involved fresh eggs, very dry white wine, stand oil and mastic varnish, the addition of oil giving
the medium more flexibility and the pigments greater expansion.
This medium takes much patience and time to prepare.
Very simply explained, the process requires 18 to 20 powder colours, scales to measure them,
an electric mixer, a chemists glass cylinder into which to measure the proportions of the emulsion,
a slab of marble (we used porfora, which is very cold) on which to mix the powder colours,
sufficient dry white wine to form a paste, the appropriate number of plastic bottles for each colour to be
kept in, and at least a day to complete the mixing of pigments with the emulsion (each colour requires a
different proportion). A nearby sink into which to thoroughly wash all the implements used between
each colour is also necessary.
This method involves a lot of washing up as you go along. The procedure has to be watched in order to
understand each stage of the process, and that is the way I learnt, observing Nando.
Thereafter I was able to prepare my own colours and recorded each mixing in a book,
as the quantities varied according to the size and number of the paintings.
I found this an invaluable reference and time saver.
Maintained in a large ceramic or plastic bowl containing damp sand these colours keep fairly well
in cool weather, usually for about four to six months, provided the bottles are vigorously shaken each
time before they are used and well sealed afterwards.
All this is not as easily portable as a box of oil paints, nor is the support wood panel on which to paint.
This is, ideally, a board of well-seasoned poplar wood, although I have since worked on blockboards,
suitably prepared. In either case the board needs to be covered with a fine canvas well glued down with
animal size (i.e. rabbits foot).
Finally the canvas must be given two coats of gesso to obtain as smooth a surface as possible . . .
Michael John Angel on Annigonis Painting technique:
(Visit http://www.davidchancock.com/ElementgoniRecipe.jpg for paint recipe)
Eggs: 3 yolks, 2 egg whites beat together
Or else use an electric drill on lowest speed with a paint mixer attached.
Annigoni used copal varnish, which darkens like crazy; Mastic varnish yellows. Can use either.
Pigments ground in wine, ground in the smallest amount of wine possible, to a cakey paste.
Emulsione:
(1 part:) 2 uove rossi e uno intero
(1 part:) 1/2 olio lino cando + 1/2 vernice mastice
2) from Dawn Cookson, Appendix, Painting with Annigoni:
A Haleyon Decade as a Student in Florence 1958-68. London: Unicorn Press, 2000.
This formula is Cooksons own, and is not strictly attributed to Annigoni :
Formula for oil-tempera medium
For those who may find the procedure of personal interest: To make the emulsion:
Eggs, in the proportion of :
one whole egg to two yolks, 4 parts
Mastic varnish 1 part
Equalling half the quantity of eggs
Stand oil 1 part
To make an average mix of approximately 18-20 colours (this varies according to size of painting)
18-20 eggs are needed, as they often vary in size.