Directory of Artists Techniques; Gesso Solution for Priming Painting Surfaces

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Gesso Solution for Priming Painting Surfaces
or
Ground Preparation

Ingredients Needed:

size or hide glue solution
whiting, gypsum or chalk
white lead or zinc dry pigment

For the size solution recipe, please refer to
Size Solution for Canvas and Wood

The best record of the early European methods of making gesso is contained in Cennino Cennini's treatise which describes the making of a glue from parchment scraps, and combining an inert white pigment. That pigment was plaster of Paris. Of course, in the fouteenth century, artisians primarily used this method for the production of egg tempera paintings.

Today the best glues to are sold under the names of rabbit-skin and calf-skin glues. For our purposes, the optimum glue is rabbit-skin glue, found at most art supply stores, which will set to the strongest jelly, allowing the amount of organic material in the gesso to be kept at a minimum.

Because glue and gelatin are hygroscopic and extremely variable, especially in connection with the wide range of supports, methods of application, atmospheric and other conditiions, it is quite impossible to quote a precise formula which will give universal succcesful results.

A definition of the ingredients listed below:

Whiting:

Calcium (Carbonates and Sulphates)is a category that comprises a wide variety of products,such as powdered chalk, Spanish white (known as whiting), gypsum and plaster. They must all be finely pulverized. The easiest to use is whiting. It is inexpensive, can be purchased in quantity, and lasts indefinitely.

White Lead Dry (Powdered) Pigment:

This is the hydrated carbonate of lead that is generally found in the art supply markets. It must be finely ground in oil. It is usually purchased properly ground and therefore not necessary to do this oneself. White lead is preferable to all other whites, for it has the essential quality of great covering power, plus it has strength and speed of drying. It has proved itself since the very beginning of painting.
White Lead is poisonous. This is the reason many choose to use zinc white. This is a personal preference but if you choose to use white lead, BE CAREFUL when using it. Protect yourself as the powder becomes air bound easily, especially when mixing, and breathing lead white can be dangerous. It is recommended to wear a breathing mask. You can mix the pigment and binder (a small amount) in a stainless steel bowl using a spatula first, and then move it to the grinding slab. This will prevent as little of the white lead as possible to become air bound.

The figures and amounts given below should, therefore, be used with intelligent allowances for variation according to your project.

First, you will need to make a glue solution. Please refer to the
Size Solution for Canvas and Wood

GESSO RECIPE

To achieve an ivory-smooth, brillant white surface, no other this formula equals this glue gesso. It is ideal for egg tempera or renderings in oils.

Ingredients:

whiting, gypsum or chalk...................one part
lead (or zinc) white, dry pigment......................one part
Hide glue solution, warmed (above).....one part

Blend the dry pigments together in an enameled pan and add a small amount of the warmed glue solution. Work out the lumps before adding more glue. You can avoid air bubbles by keeping the glue warm enough to remain liquid but not hot. Let the finished gesso stand, warm, for half an hour before using.
Brush the warm gesso solution on your support in one direction. Allow to dry. Apply subsequent coats in opposite directions, alternatively, as many as five coats. Allow to dry for two days.
For panels, finish with a fine sand paper to smooth out brush marks.
For other supports, paint away.
Remember to adjust this recipe according to your needs and projects.
A small amount goes a long way and can be stored indefinitely.

Bibliography:
Formulas for Painters, Robert Massey, 1967
The Painter's Handbook, Mark David Gottsegen, 1993
The Secret Formulas and Techniques of the Masters, Jacques Maroger, 1948

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