Adding a teaspoon of water to the yolks before dripping in the oil helps create

a stronger and more stable emulsion,

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.

__________________________

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

Mix 30-40 minutes total, to the book.

Then add 1/4 volume stand oil & 1/4 vol. varnish.

Use an old electric hand-mixer; new ones are too strong.

If mixed too fast, separates the medium rather than emulsifies it.

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.

Use dry white wineA. used Lacrimi Christi.

Acid in wine acts as preservative and cuts greasiness of yolk (& strengthens paint bond)

Grind emulsion with wine and pigment (dont just mix!)

Medium: emulsion or water.

Use a custom metal palette.

__________________________

Tempera Grassa Recipe:

1) Transcription of Pietro Annigonis tempera grassa recipe

as recorded by Antonio Ciccone forwarded to David C. Hancock June 21, 2004:

per 100 gr Tempera Grassa

Titanium n110gn. 100

bianco zinco 2 gr.120
ocre n120, 125
terra ombra n200
Prussia oltermare n180, 200
terra siena terra rossa n120
lacca grasaiise (?) n180 (grey lake? lacquer?)
rosso Indhi n130
nero avorio n250
cadmio 120
cobalt 250
verde emerald 200

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.

Colours (in ground powders) Dry Quantity per 100gr Emulsion

1 Titanium white 100 grams 110 grams
2 Cadmium yellow light 100 140
3 Cadmium yellow dark 100 200
4 Raw umber natural 100 200
5 Burnt umber 100 120/25
6 Burnt siena 100 120/25
7 Yellow ochre pale 100 120/25
8 Yellow ochre dark 100 120/25
9 Red pozzuolo 100 120/25
10 Crimson lake 100 180
11 Cadmium red (dark and light) 100 140
12 Cadmium orange 100 140
13 Cobalt blue 100 250
14 Ultramarine blue 100 180
15 Emerald green (viridian) 100 200
16 Morellone 100
17 Black (ivory) 100 250
18 Prussian blueif necessary 100 180/200 (very strong colour; only small quantity)
The eggs must be carefully separated and poured into a glass cylinder in multiples of 3 at a time,
dividing quantity exactly in half to add the appropriate amount of emulsion.
Then this mixture transferred to a suitable metal container to whisk thoroughly for half an hour
in order to amalgamate the mixture which becomes a creamy white colour and smooth consistency.
An electric mixer saves time and energy.
Meantime the powder colours are carefully measured according to the various amounts required,
starting with the lightest colours, and each one mixed on a marble slab with dry white wine,
using a spatula or palette knife, and then measured carefully against the appropriate quantity of emulsion
in a thoroughly cleaned container and mixed well together.
The resulting liquid poured into clean plastic bottles and well capped and sealed.
When mixing the powder colours, add very little wine at a time to form a paste which should not be too
liquid; when the colours are added to the emulsion they become more liquid and therefore shakeable.
Obviously a larger amount of white is needed, next the earth colours, yellow, blues and green and
lesser quantities of reds and black. So select different sized plastic bottles accordingly.
This process demands precision, care, time and patience.
The slab, palette and mixer container must be washed thoroughly between each mixing.
When the desired selection of colours are mixed, bottled and sealed these should be placed in a suitably
large ceramic or plastic bowl containing damp sand and kept moist in a cool place
away from heat or cold.
This way they will keep for up to 4-6 months, after which colours deteriorate and begin to smell strongly!
Before using each time, every bottle must be well shaken.
A special metal palette with small pans attached around the edges to hold the liquid colours is necessary,
taking care to only pour out sufficient quantities for each days work.
These can be covered with strips of dampened cloth to avoid them drying out overnight.
So that they can be used or added to for several days.
However, do not return any excess paint back into bottles.
There is inevitably some wastage, as with oil colours and this has to be discarded.
Therefore only put out small quantities at a time.
When using and mixing the desired colours, water is used and added by brush on the palette
not into the colour pans. The colours can be used as thickly as with oils for an impasto base,
and thinly as with watercolours for glazes and fine drawing.
The possibilities of this medium are endless but not for a beginner or a speedy painter alla prima!