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RALPH
IVUiJt^En
AUTH0R*OFipHE^RTi:
PENGUIN HANDBOOKS
THE PAINTER'SCRAFT
Ralph Mayer, internationally acclaimed artist, lecturer, con-
servator, and consultant to artists, was an undisputed expert
in the field of paint technology. A chemist and,a painter, he
combined his knowledge of both fields as an instructor at
Columbia University's School of Painting and Sculpture,
where he taught for twenty years. Mr. Mayer lectured at
many art schools and colleges, including the Art Students
League and the New School for Social Research. He was a
founder of the Artists Technical Research Institute, and
served as executive director of this organization, which re-
searches the technology ofpaints and painting and the devel-
opment of new processes. Author of The Artist's Handbook
of Materials and Techniques, he also wrote a column for
AmericanArtistand acted as consultant and technicalsuper-
visor to museums and restorers. His paintings have been
included in leading exhibitions and private collections.
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The
PAINTER'S
CRAFT
An
Introduction to
Artists Methods and Materials
Ralph Maqer
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PENQUIN BOOKS
Z;':^'^^^' S^aSTorlhl n,ale..Vor funher discussion, see pages
86-87.
PenguinBooks Ltd. Harmondsworth,
Middlesex. England
Penguin Books, 625 Madison Avenue,
NewYork. NewYork 10022, U.S.A.
Penguin Books Australia Ltd, Ringwood.
^Sn Br^rSnada Li.i.ed 2S0, John Stree.,
Auckland 10, New Zealand
First published in the United States ofAmericaby
D. Van Nostrand ComPany 1948 ^^^^
The Viking Press 1975
TThhierdMaecdimtiioUnanfirCstopmupblainsyheodfiC^laCnaandaadaLibm>ited 1975
Published in Penguin Books 1979
Reprinted 1980 (twice), 1982
Copyright 1948 by Ralph Mayer
Copyright © RalphMayer, 1966, 1975. ly/t^
All rights reserved
LIBRSRY OF CONGRESS CATALOGING IN PUBLICATION DATA
Mayer. Ralph. 1895-
The painter's craft.
Biblioeraphy: P- 194.
r'lS^iCS^Technique. 2. Artists' materials.
NDimM32 1979 751 78-27281
isbnO 14 046.369
PHrailnltieddayinLtihtehoUgnriatpehdCSotratpeosroaft.Aomne^rWieca bHyanover ^^^^^^^^.husetPtsennsylvania
Colorillustrationsprinted byTheChauceri-ress,
Set in Linotype Times Roman
Except in theUnited States of America,
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pincblluidsihnegdtahnidscwointdhiotuitonabseiimnilgarimcpoonsdeitdion
on the subsequent purchaser
PREFACE
This book is designed both as a text for class or workshop instruc-
tion and as a guide for the practicing painter who wishes to acquire by
independent study a systematic knowledge of the standard data relating
to the craft on which his art is based. It presents the basic background
knowledge that any artist must have in order to succeed as a competent
professional or amateur.
Although planned for the beginner as an introduction to the tech-
nical part of artists' work, it should be of much value to the mature
painter as an additional source of knowledge, especially when he has
not been so fortunate as to have received formal training. The plan and
content of the book have been guided by experience gained in a large
contact with practicing painters and in courses and lectures given to
artists and students.
I have endeavored to confine the present volume to standard ma-
terials and procedure, and to avoid those ramifications which lie beyond
the compass of a general textbook. After an outline of the important
basic principles which underlie the behavior and use of paints, the phys-
ical aspects of color are discussed in Chapter 2, solely for their applica-
tion to the techniques of painting and divorced from any aesthetic in-
volvements. The section on pigments includes only such matter as is es-
sential for a grasp of the subject, yet it omits no important information
that the painter should know. The chapters on the various methods or
techniques of painting follow the same plan, except that the section on
the preparation of gesso panels and also the section on homemade pas-
tels are expanded to somewhat greater detail. One reason for the length-
ier treatment of these topics is that they are typical studio activities and
have not, to my own satisfaction, been well described elsewhere. Con-
versely, the chapter on mural painting has been very much condensed
and generalized because, by its very nature, anything less than the most
complete volume of detailed information about this subject would not
be of much further practical value.
Throughout the book, emphasis has been placed on the basic prin-
ciples rather than on the "how-I-do-it" method of instruction. Definite
recipes and instructions almost always require much alteration to suit
individual requirements, variable raw materials, and divergent purposes.
The artist who has a sound grasp of fundamentals is in a better position
to solve new painting problems more successfully than the one who fol-
lows a recipe or set of directions by rote.
During the few years since this book was last revised, more new
materials have been introduced and more changes in old ones have taken
place than at any other period. Chapter 10 reviews the new materials
and practices; there isn't much one can report on a product of recent
development. Our traditional mediums have the benefit of centuries of
experience and much can be written about them; with a recently adopted
technique there are few do's and don'ts, and mostly a recital of its good
points, the advantages over traditional methods, as well as any short-
comings as compared to the older materials.
The author is indebted to Murray Pease, Harry Carnohan, and
Bena Frank Mayer for valuable assistance in reading and criticizing his
manuscript, to Alvin Taylor and Maurice Bratter for executing the
photographs.
I am indebted to Mr. Walter Russell for his painstaking work on
the new illustrations and on necessary retakes of some of the older ones.
Ralph Mayer
May 1975
CONTENTS
Preface
5
Introduction 9
1
2 Color 20
3 Pigments 28
4 Grounds
50
5 Oil Painting 84
6 Tempera Painting 120
7 Aqueous Paints 130
8 Pastel 143
9 Mural Painting 158
10 Synthetic Mediums 167
11 Studio and Equipment 174
Books for Further Reference 194
Index 196
I
Description:The craft first, then the art—for the painters art is founded upon his mastery of the craft. Yet craftsmanship is now in decline as students rely more and more on premixed paints and preprimed canvas. These students are losing the ultimate artistic freedom that only an absolute command of material
