التصوير بالوان التمبرا أو الجواش ٢_a , من كتاب تكنولوجيا التصوير , د.م محمد حماد

Types of it, namely, clay, gypsum and chalk with glue. And the word “bridge” is a European name. You know that photographers in Italy and Spain in the Middle Ages used gypsum mixed with liquid glue to form a floor on which they photographed. ) to strengthen it, so they also called it the word “Jesso” as a designation for the material of chalk or sticks of colored chalk… They also called the word “Jesso” on the ground material from which the paintings are prepared for coloring, since the original substance in it is gypsum, whether it is made of a colored or white material such as gypsum Or limestone powder, or zinc oxide, or webbing, or a combination thereof, or some of them, in addition to a glue solution to strengthen it. gypsum According to what Cennino Cennini (from the fifteenth century) said, the gypsum was of two types, the non-off Besso grosso and the off gesso sottile, both of which were used with glue. In the eleventh century, Theophilus referred, in his writings, to the use of slaked lime with glue, and pure chalk powder with glue, in covering the skins to prepare a ground for photography. Of burnt gypsum mixed with liquid glue, and the use of two different materials for one purpose in this way, and the use of one name for both of them causes a lot of confusion. Church also says, “The bridge is made of plaster and liquid fur, or of chalk and glue dust.” There is a prominent example of painting on a structure made of chalk soil, which is the box that was found in the tomb of Tutankhamun, and it is a very ordinary box of wood whose outer surfaces were covered with this type as preparation for painting on it in colors, so it depicted very accurately scenes of fighting and hunting46 And it was often depicted on Stone, or stones painted white, not only in the walls of tombs and temples, but also in large and small statues, coffins and other things, especially those made of limestone or sand, which are the most common stones as a surface for drawing on. However, drawing was not limited to these two types, as we find that it was sometimes drawn on other stones, such as granite, alabaster, quartz, and schist. A thin layer of white limestone was often placed on the stone before depicting scenes on the walls of tombs and temples, as we see in the Medinet Habu temple. The sandstone was rougher than necessary to accept the depiction on it in a satisfactory manner, which prompted the artist to paint before applying color to it. As for the use of papyrus as a material for photography or writing on it... It has been known since the time of the ancient Egyptians, as we see in many examples in the Egyptian Museum and international museums, and it is undoubtedly a good material for drawing on with tempera colors... Until now, artists use ordinary paper or types of paper The other is without preparation if it is used for watercolors, including tempera colors, and the wood also covers the bridges before using it as a ground for photography,

However, it was also possible to use wood directly, especially in the case of furniture and boxes, and in this case it was painted in one color, which is the material of red, white, yellow, or brown 00, which are the natural colors used by the Egyptians - Basic factors of tempera supplies: The basic factors of tempera painting supplies are summarized On the surface or wall on which you want to paint, the medium used to fix the color, the colors that are well plated for use in drawing, the brushes used in painting, then the color sheet or pallet: 1- As for the surface on which you want to paint, there are many types, the most important of which are: It can be painted on without preparation (b) wood. It can be painted on directly or after smoothing its surface and painting it with a layer of gesso or tempera color to give the whole surface a unified color that can be painted on. (c) Surfaces on which greasy materials are attached, such as oil paints, as well as smooth, shiny surfaces such as glass. Before drawing on them, we can paint their surface with ox gall, which is a substance that has strong adhesion. . (D) The walls are prepared for painting on them in a manner similar to a great extent to the method used in ancient Egypt, by taking an appropriate amount of good gypsum (royal gypsum) and gradually mixing it with water placed in a container and stirring it, until it reaches a suitable consistency, to coat the wall with it. As a daharah white over the ordinary white of the lining, which is worked over a sprinkling of cement and sand, which is usually made of lime and sand in a ratio of approximately 1:4, and a small amount of cement may be added to it for strengthening. And the layer of whiteness of the lining works to cover the dents and gaps between the stones in the wall, and there is a regular surface that is easy to cover with gypsum to draw on after it is completely dry. It is noted that the layer of gypsum whiteness does not exceed 7 cm so that it is not easy to crack or fall. As for the gypsum used in the whiteness, its composition is usually from a volume of powder to an equal volume of glue liquid consisting of glue and water in a ratio of 1: 5 by weight, noting that the best Types of glue used here is rabbit glue. In this way it is possible to form the “gyso” putty with which the wall can be coated as an outer coating over the inner lining of lime and sand mortar as we explained in the previous paragraph. 54 This outer backing can be one or two layers, provided that the outer layer is lighter in texture and its atoms are finer so that it is suitable for making a smooth surface for photographing on it (and this is in the event that the first layer is rough and not fine atoms). Tempera on it... except that some

Tubes or containers with tight lids, or shaped into discs (in the ancient Egyptian style) to be used in painting when necessary • (b) Colors in which glue is used as a mediator (tempera glue). This type of painting has been used in Egypt since the time of the Pharaohs, as they were known Glue as an adhesive and they made it from some gelatinous materials containing gelatin 07, such as bones, skins, cartilage, muscle tendons ... etc. by extracting with boiling water and concentrating the resulting liquid by evaporation, then pouring it into molds, in which it turns after it cools into a solid mass. The Egyptian used it for various purposes, including that it was used as a color-fixing substance, and some scholars think that it was used since the Fourth and Fifth Dynasties in ancient Egypt, as the Egyptian found that the colors that he could not soften and crush - such as the industrially compound colors - he had to find a medium for them stronger than the glue that I use it with natural colors so that it binds the color atoms to each other and also binds the colors to the surface of the painting (i.e. as a mediator that connects the color and the medium). Therefore, liquid glue was used in addition to the color well, which was crushed as much as possible, and the colors of tempera glue are prepared so far in almost the same way. To prepare them, a liquid of glue is prepared. and water at a ratio of 1:4. Add a little alum to the solution, which works to prevent rotting, then mix an amount of this solution into an equal amount of the powdered color, crushed well, and thus the color is ready for use. And since the colors of tempera made with glue easily dissolve in water or disintegrate and decompose from its effect, the ancient Egyptians resorted in some cases to covering the color layer with wax so that the color would be away from the influence of water or moisture ... However, this prevented the strong effect of the color and wasted from His joy... Therefore, artists today tend to use a new method, which is spraying the picture with a solution containing 4% formalin, which makes the colors less affected by moisture and water if exposed to it •. 4 (c) The colors in which egg whites (egg tempera) are used, and the natural albumen present in the contents of the egg (white and yolk) is used in them. We note that the ancient photographers, since the time of the ancient Egyptians, used whiteness, just as this use of egg whites as an adhesive material in painting in tempera colors is a shadow In use from the Fourth Dynasty until the end of the Roman era. Some believe that Al-Masry painted the surfaces of stones and plasters used as a medium to close the pores, and it is possible that Al-Masry used it as well in the formation of color, or in both. And I remember that I noticed when I was working with the Karnak antiquities that some of the colored pieces of Akhenaten’s antiquities that contained salts, and I tried to clean them with water (by leaving them in a basin of running water for two weeks) were not affected by the water to a large extent, which made me prefer the use of egg whites to make them and I intended Do some experiments on color material

Tubes or containers with tight lids, or shaped into discs (in the ancient Egyptian style) to be used in painting when necessary • (b) Colors in which glue is used as a mediator (tempera glue). This type of painting has been used in Egypt since the time of the Pharaohs, as they were known Glue as an adhesive and they made it from some gelatinous materials containing gelatin 07, such as bones, skins, cartilage, muscle tendons ... etc. by extracting with boiling water and concentrating the resulting liquid by evaporation, then pouring it into molds, in which it turns after it cools into a solid mass. The Egyptian used it for various purposes, including that it was used as a color-fixing substance, and some scholars think that it was used since the Fourth and Fifth Dynasties in ancient Egypt, as the Egyptian found that the colors that he could not soften and crush - such as the industrially compound colors - he had to find a medium for them stronger than the glue that I use it with natural colors so that it binds the color atoms to each other and also binds the colors to the surface of the painting (i.e. as a mediator that connects the color and the medium). Therefore, liquid glue was used in addition to the color well, which was crushed as much as possible, and the colors of tempera glue are prepared so far in almost the same way. To prepare them, a liquid of glue is prepared. and water at a ratio of 1:4. Add a little alum to the solution, which works to prevent rotting, then mix an amount of this solution into an equal amount of the powdered color, crushed well, and thus the color is ready for use. And since the colors of tempera made with glue easily dissolve in water or disintegrate and decompose from its effect, the ancient Egyptians resorted in some cases to covering the color layer with wax so that the color would be away from the influence of water or moisture ... However, this prevented the strong effect of the color and wasted from His joy... Therefore, artists today tend to use a new method, which is spraying the picture with a solution containing 4% formalin, which makes the colors less affected by moisture and water if exposed to it •. 4 (c) The colors in which egg whites (egg tempera) are used, and the natural albumen present in the contents of the egg (white and yolk) is used in them. We note that the ancient photographers, since the time of the ancient Egyptians, used whiteness, just as this use of egg whites as an adhesive material in painting in tempera colors is a shadow In use from the Fourth Dynasty until the end of the Roman era. Some believe that Al-Masry painted the surfaces of stones and plasters used as a medium to close the pores, and it is possible that Al-Masry used it as well in the formation of color, or in both. And I remember that I noticed when I was working with the Karnak antiquities that some of the colored pieces of Akhenaten’s antiquities that contained salts, and I tried to clean them with water (by leaving them in a basin of running water for two weeks) were not affected by the water to a large extent, which made me prefer the use of egg whites to make them and I intended Do some experiments on color material

To make sure that there are traces of sulfur, which increases the likelihood of using egg white in the formation of the color, but the time did not allow. It is also proven that this substance was used to manufacture tempera colors, especially in the Eighteenth Dynasty. Egg albumen is a complex substance that contains sulfur in a small percentage... This albumen is present in the whites and yolks, as we will see in their chemical composition below. Therefore, whiteness was used in the composition of colors, as we mentioned in ancient Egypt, and some artists still use it, and some of them use yolk, and some use both together to provide material 000. However, it is of course better to use yolk because its formation made it have more efficient and stronger properties than white to work on the cohesion of colors. When preparing tempera colours. This, of course, is due to the fact that the amount of albumin, which is the sticky substance, is higher in the yolk than in the white. Also, the yolk contains a large percentage of oil in the form of a water emulsion with the help of lecithin, and this makes it more efficient than the white in creating the necessary cohesion of the colors, as it is one of the properties of the oil to slow drying, and thus the coloring matter remains suspended in the albumen medium, which makes the color more Stable and less soluble in water We are interested in providing here the following table showing the materials that make up the white and yolk of the egg and the percentages of these materials in the formation 000 Note that these percentages are not fixed, but rather they differ from one sample to another according to the type, the nature of the weather and the nature of the pasture - and for the preparation of colors Tempera using the egg yolk A fresh egg is taken and the yolk is separated in it from the white (which precaution is taken in separating it to be intact). Then this yolk is placed in a mug and a proportion of cold water equal to its volume is approximately 000. Then stir and add two drops of vinegar to prevent mold. On the other hand, a paste of color and water is prepared in an equal proportion, and it is well crushed with mortar until its atoms soften. When creating the working color, a volume of this color paste is mixed with a similar volume of previously prepared egg yolk and the mixture is stirred well, then water is added to it at the rate preferred by the photographer, since the estimation of the percentage of water in the composite color depends on the type of coloring matter, the coloring ground, and the degree of color. And the texture to which the photographer rests according to his habit.