when you left it in the jar did you let it dry? ( like a pan paint?) If so, how well does it work by wetting and then painting it out? Or are you best to keep it wet in the jar?
TroCol ARE "watercolors" in their dry powder form. They already have binders mixed in--all you need to do is add water, and they act like watercolors. You have to REALLY mix them with a brush to get them smooth though. You can't just put a few drops of water in the powder and expect them to look good. You need to mix them pretty hard with a brush in your palette. Everyone seems to think you have to add gum arabic to it to work, and this is not true--you just need a lot of patience, and some vigorous mixing with a brush. If you want it to be REALLY smooth, you can mix it with a palette knife on a glass plate, and then use a muller to REALLY work it together with the water. The only reason to add gum arabic or ox gall is so it will mix faster, and will make semi-soft pan watercolors. The drawback to adding gum arabic to it is that it massively increases it's drying time...
I know what it says in the bottle and on the website, but unfortunately it didn't work without gum arabic at all. No matter how much mixing, the particles would flake instead of form a paint. So I'm afraid there was no way of doing this without gum arabic or I would have done so. I love the goldness of this golden product, but I'm afraid its workability is not what I'd hoped it would be... And for me a longer drying time wouldn't matter since I'd add the gold to the painting last...
Maybe the stufff they sell in Europe is different than the Tro-Col in the US. I've been using TrolCol for years, and I've never had a problem with it. It does work a lot smoother if you put some gum arabic in it, but I sort of like the crunchy, sparkly effect it has using just water. If I want a really smooth gold, I'll use Finetec pans or just do real gold leafing. Are you sure you are using TroCol, and not Schmincke Bronzing powders? Those are meant to use with a sizing or adhesive, or to mix into oil paints or other binders, and do NOT go into solution with water. They come in a bottle that looks almost identical to TroCol, and are easy to get confused....
No, the label really saysTro-Col-Bronze Dry Gouache sec. Or perhaps it's got the wrong label. The metallicness of this powder is amazing, even when adding water. But it really does not work without a little gum arabic. But you know what? I'll try stirring/shaking the bottle...because I'm thinking...what if the binder sank to the bottom and that the bigger metallic flakes rest on top? Maybe that's not possible, but I can at least try...
Bob Beckwith well' I ended up using Kremer gold watercolor paint instead. The tro-col wouldn't mix with water well enough to work satisfyingly with. I'm not sure about rewetting the paint. I should try that again because I think I've forgotten...😊
OK Thanks Mandy, I have some tro-col-Bronze, and before I mix it with some Jo Sonja Flow medium I want to know what happens if it dries out in the container and I add some more flow medium to re use it, if this will work. Let us know if you are able to reactivate the Reo-Col please? Thanks Bob
Have you ever had with this powder a problem, that it's falls off when you touch it, dry of course. I tryied it on smooth paper and watercolor 100% cotton paper and with water or binder it always a little falls off. Especially when it's mixed only with water, even when I touch it gently, it leaves pingment on my fingers. I know that paintings are not for touching, but I was thinking about use it on my originals which I want to sell and I'm affraid that it can falls off in my clients house ;_;
Ahh, I just saw today's information on their instagram that you must use fixative if you not framing your art. Well in overall they are beautiful and effect is stunning but I was a little disappointed, that even when paint will dry up it's quite powdery on paper :(
Yes! I had the same problem. In fact, I once mixed it into transparent glue to prevent that, but then it became plasticcy. I use Kremer gold paints these days...they are SOOOOO good. And once dry, they don't come off easily. Don't rub them too hard, of course, but they are nowhere near as fragile as this stuff is.
Also this one looks like a real winner! I think I'm going to get a few bottles (even though I could have sworn I bought it before). I'm the type whom has to play with formulas between the ratio of Guam Arabic, powder and/or water and/or ox gall maybe even a drop of glycerin who knows. Still so happy you did the video so fast! Oh do you think this is a finalist in your search for metallic paint for your commission?
You're welcome, Erin! I don't normally do new reviews this fast, but I had to try this powder for my commission, Or rather: you reminded me I even had it still...I had forgotten. But it's really beautiful! I compared it to other paints and inks that I have and this is the best. But...having said that...the application is a bit harder, so it will be a little more risky on my commission...fingers crossed ;-) And thanks for reminding me! :-)
+Mandy van Goeije we helped each other I think! Try adding a touch of ox gall for the application and if it is about permanence use the other medium you have!! I actually got a response from schmincke here on RUclips so I know they read their comments (they for some reason don't get many!) but ask if they have a suggestion to best use it for the requirements you need. Or email....but I hope this works out for you!! I am curious to know more about your commission, I'm sure you can't give any information regarding it now but maybe after the fact? Best to you.
No, I'm sorry...can't say anything about it yet...isn't that the hardest part about commissions? That you must keep your lips sewn together for so long? :-) But when the time comes I'll sure reveal my work!!! Contacting Schmincke is a really good idea. I decided not to use Ox gall in this case, because I wonder if it won't make the golden particles flow on the paper too much. I want my paint to settle in the paper straight away. So I haven't even tried...I might try with a little, though...see what happens! :-)
This is the method I was taught in my Byzantine iconography course where we applied it on top of egg tempera paint.. Of course we didn't use the Shmincke product but gold powder made from gold flakes. You do need work it a bit though to get the granulation out with a rougher brush, and you can mix a new batch as you need it.
Oh, that is really cool! That is one thing I'd love to learn...iconography and egg tempera. For some reason it's so appealing to dig into the past and learn...I've a huge bunch of pigments here from a woman who used to paint icons, so all the right colors are there...now I just have to go and get to it... :-)
I don't know where you live but if you drop into a Greek church (if there are any that you know of) they usually can point you in the right direction or know of someone who gives lessons in iconography. The videos I've seen are not that enlightening and the best way to learn this skill is in person with a teacher.
True, a teacher is always better! I will check out Betsy Porter's website first... We don't have any Greek churches in the area, I think. I live in a rather rural part of our little country...but I know someone who is a trained icon painter, so I think I can have access to a teacher....
when you left it in the jar did you let it dry? ( like a pan paint?) If so, how well does it work by wetting and then painting it out? Or are you best to keep it wet in the jar?
It didn't pick up very well when it was totally dry...it did flake a bit, but it's not an ideal solution, I have to say...
TroCol ARE "watercolors" in their dry powder form. They already have binders mixed in--all you need to do is add water, and they act like watercolors. You have to REALLY mix them with a brush to get them smooth though. You can't just put a few drops of water in the powder and expect them to look good. You need to mix them pretty hard with a brush in your palette.
Everyone seems to think you have to add gum arabic to it to work, and this is not true--you just need a lot of patience, and some vigorous mixing with a brush. If you want it to be REALLY smooth, you can mix it with a palette knife on a glass plate, and then use a muller to REALLY work it together with the water.
The only reason to add gum arabic or ox gall is so it will mix faster, and will make semi-soft pan watercolors. The drawback to adding gum arabic to it is that it massively increases it's drying time...
I know what it says in the bottle and on the website, but unfortunately it didn't work without gum arabic at all. No matter how much mixing, the particles would flake instead of form a paint. So I'm afraid there was no way of doing this without gum arabic or I would have done so. I love the goldness of this golden product, but I'm afraid its workability is not what I'd hoped it would be... And for me a longer drying time wouldn't matter since I'd add the gold to the painting last...
Maybe the stufff they sell in Europe is different than the Tro-Col in the US. I've been using TrolCol for years, and I've never had a problem with it.
It does work a lot smoother if you put some gum arabic in it, but I sort of like the crunchy, sparkly effect it has using just water. If I want a really smooth gold, I'll use Finetec pans or just do real gold leafing.
Are you sure you are using TroCol, and not Schmincke Bronzing powders? Those are meant to use with a sizing or adhesive, or to mix into oil paints or other binders, and do NOT go into solution with water. They come in a bottle that looks almost identical to TroCol, and are easy to get confused....
No, the label really saysTro-Col-Bronze Dry Gouache sec. Or perhaps it's got the wrong label. The metallicness of this powder is amazing, even when adding water. But it really does not work without a little gum arabic. But you know what? I'll try stirring/shaking the bottle...because I'm thinking...what if the binder sank to the bottom and that the bigger metallic flakes rest on top? Maybe that's not possible, but I can at least try...
That is the only thing I can think of that could be the problem then...
OK Mandy, what was the verdict after the paint was dry and you added water? Did it work well as a paint as it did when you first mixed it?
Bob Beckwith well' I ended up using Kremer gold watercolor paint instead. The tro-col wouldn't mix with water well enough to work satisfyingly with. I'm not sure about rewetting the paint. I should try that again because I think I've forgotten...😊
OK Thanks Mandy, I have some tro-col-Bronze, and before I mix it with some Jo Sonja Flow medium I want to know what happens if it dries out in the container and I add some more flow medium to re use it, if this will work. Let us know if you are able to reactivate the Reo-Col please? Thanks Bob
Thanks so much! Is it pronounced "Schmenka" or "Schminkey"? (I was wondering how this compared to their metallic watercolor paint).
Schmienke...in german. The metallic watercolor paint by Schmincke is not so good. It's not very powerful. Too light for my liking.
Have you ever had with this powder a problem, that it's falls off when you touch it, dry of course. I tryied it on smooth paper and watercolor 100% cotton paper and with water or binder it always a little falls off. Especially when it's mixed only with water, even when I touch it gently, it leaves pingment on my fingers. I know that paintings are not for touching, but I was thinking about use it on my originals which I want to sell and I'm affraid that it can falls off in my clients house ;_;
Ahh, I just saw today's information on their instagram that you must use fixative if you not framing your art. Well in overall they are beautiful and effect is stunning but I was a little disappointed, that even when paint will dry up it's quite powdery on paper :(
Yes! I had the same problem. In fact, I once mixed it into transparent glue to prevent that, but then it became plasticcy. I use Kremer gold paints these days...they are SOOOOO good. And once dry, they don't come off easily. Don't rub them too hard, of course, but they are nowhere near as fragile as this stuff is.
Does it mimic a bit more like gold leaf
No, gold leaf is something unique.
Wow you made fast of the video! Thank you. This is exactly what I had imagined it would do!
Also this one looks like a real winner! I think I'm going to get a few bottles (even though I could have sworn I bought it before). I'm the type whom has to play with formulas between the ratio of Guam Arabic, powder and/or water and/or ox gall maybe even a drop of glycerin who knows. Still so happy you did the video so fast!
Oh do you think this is a finalist in your search for metallic paint for your commission?
You're welcome, Erin! I don't normally do new reviews this fast, but I had to try this powder for my commission, Or rather: you reminded me I even had it still...I had forgotten. But it's really beautiful! I compared it to other paints and inks that I have and this is the best. But...having said that...the application is a bit harder, so it will be a little more risky on my commission...fingers crossed ;-) And thanks for reminding me! :-)
+Mandy van Goeije we helped each other I think! Try adding a touch of ox gall for the application and if it is about permanence use the other medium you have!! I actually got a response from schmincke here on RUclips so I know they read their comments (they for some reason don't get many!) but ask if they have a suggestion to best use it for the requirements you need. Or email....but I hope this works out for you!! I am curious to know more about your commission, I'm sure you can't give any information regarding it now but maybe after the fact? Best to you.
No, I'm sorry...can't say anything about it yet...isn't that the hardest part about commissions? That you must keep your lips sewn together for so long? :-) But when the time comes I'll sure reveal my work!!! Contacting Schmincke is a really good idea. I decided not to use Ox gall in this case, because I wonder if it won't make the golden particles flow on the paper too much. I want my paint to settle in the paper straight away. So I haven't even tried...I might try with a little, though...see what happens! :-)
This is the method I was taught in my Byzantine iconography course where we applied it on top of egg tempera paint.. Of course we didn't use the Shmincke product but gold powder made from gold flakes. You do need work it a bit though to get the granulation out with a rougher brush, and you can mix a new batch as you need it.
Oh, that is really cool! That is one thing I'd love to learn...iconography and egg tempera. For some reason it's so appealing to dig into the past and learn...I've a huge bunch of pigments here from a woman who used to paint icons, so all the right colors are there...now I just have to go and get to it... :-)
I would love to pinpoint you in the right direction if you want youtube videos and sites. Betsy Porter .com has a lot of info on her site.
I don't know where you live but if you drop into a Greek church (if there are any that you know of) they usually can point you in the right direction or know of someone who gives lessons in iconography. The videos I've seen are not that enlightening and the best way to learn this skill is in person with a teacher.
True, a teacher is always better! I will check out Betsy Porter's website first... We don't have any Greek churches in the area, I think. I live in a rather rural part of our little country...but I know someone who is a trained icon painter, so I think I can have access to a teacher....
Great then! Good luck!
Wow what a great video! Thanks alot! Love your "Metallic"-Collection-Journal too!
Thank you! :-)