Is it any good?

[Moo]

In today's Telegraph magazine, an article about someone called Allyson McDermott :

"Allyson McDermott, a historic interiors consultant with a speciality in decorative finishes, has always been disappointed with the 'historic' paint ranges on the market ... 'So many are flat, lifeless, dead' ... she began making her own distemper paints."

"... we've also developed a range of water-based natural eggshell and emulsion paints with a very high pigment content ... they have a much more brilliant and dense effect than most modern ones."

It lists some pretty impressive places where her paints have been used (eg Petworth House, V&A, Kew Palace) and says that she is now producing them commercially (http://www.allysonmcdermott.com).

Does anyone know whether her stuff is as good as the article claims?

 

[Nemesis]

No, but I think any distemper range heavy on pigment will be better than many a modern paint range, which I agree are dead flat and lifeless. That's because people like Cr*wn have colours they claim are historic, but basically they are modern stained flat emulsions.

 

[jocelyn plummer]

She cannot be aware of the Rose of Jericho paints then, or, for that matter, Francesca's Emulsions. They are a hard act to beat.

I tend to agree with the generalisation that many 'historic ' paints are lifeless, it rather depends which manufacturer you use, and the effect you want. Success also depends what previous paint finish one is trying to cover.

 

[Moo]

According to the article, she provides (at a cost, no doubt) hand-coloured paint charts, rather like the ones you get from Patrick Baty. I'm tempted to splash out and get some, to compare with R of J's stuff.

 

[Penners]

I'm a paint Philistine. I don't understand what people mean when they talk about colours being "flat, lifeless and dead".

"I don't like that colour" makes complete sense, however.

Colour is colour - you either like it or you don't.

 

[jocelyn plummer]

'Tis' the magical way in which pigments float around in the 'binder'. When applied to a wall, the depth of pigment varies, and as the light rests upon the wall at different times of the day, so the wall colour appears to change, that's what maketh colours come alive---------- that's my theory anyway.

Joss

 

[Penners]

But surely that's true of all paint. It's pigments in a binder. The depth of it varies when applied to a wall, and the colour changes as the light changes.

That all sounds pretty standard stuff to me! :?

 

[Nemesis]

Nope - it's different.

I can tell Stork from butter too, even when spread with Marmite.

 

[Nigel Watts]

Quite apart from their inherent properties one of the great things about traditional paint is that you can make it yourself. This is after all what decorators used to do in the old days and, like home cooked food, you know exactly what has gone into it.

Home made distemper is especially easy, and with a bit of trial and error you will soon get the hang of it. I have just been decorating a moulded cornice with a home made distemper comprising 2 parts whiting, 2 parts pure raw sienna pigment and one part pure yellow ochre pigment, mixed with water and rabbit skin size. If you buy the pigments in reasonably large sized bags from a good specialist colourist they are not expensive, especially the earth colours (I can recommend AK Fitzpatrick in Bethnal Green).

The question of intensity of pigment also applies to wallpapers. I looked for a long time for an intense dark green manufactured paper. Even the examples from excellent firms such as Coles didn't quite do it for me. Then I saw some handprinted paper. There is simply no comparison - I believe handmade papers use a form of distemper, whereas machine mades have to use oil based ink. I have just collected my bespoke batch of 14 rolls of handprinted paper from Watts of Westminster. The repeat gives me little more than two inches spare per drop - that and the price is going to make hanging a terrifying experience!

 

[Nemesis]

It's the rabbit skin size which is the problem though.

Not all manufacturers seem to use it though, so maybe home made can be made without it too.

We need pics of the paper - once your wallet has recovered from the shock!

 

[Nigel Watts]

I am a great believer in making things myself, but I draw the line at shooting rabbits and boiling down their skins.

I have had no problem buying rabbit skin glue, from which the size is be made. It comes in dried form and can be obtained from any good art shop.

The paper hanging will begin (I hope) in a month or so once I have completed the (fake) oak graing on the woodwork.

 

[CHRIS]

I bet Davebrigg and SHENSTONE will have nightmares over the poor fluffy bunnies that went into the distemper!!!! (recent quotes about being Veggie etc)

I am looking forward to seeing this paper as well.

 

[Penners]

I draw the line at shooting rabbits and boiling down their skins.

 

[Nemesis]

I'm veggie too. And the ability to buy rabbit glue isn't the problem - it's the lack of desire to use it.

I'm not a bunny boiler.