Bone Pigment | Ancient Techniques in a Modern Landscape

Power lines sway as a light breeze hums through the various planted flora nestled in a cozy Humboldt Park yard. Shadows glimmer across a snow laden landscape, ashes dance as embers catch fire... the bones inside ignite.

Bone is one of the oldest forms of pigment that mankind has used.

And here, today, we still utilize it.

For an ongoing project that will debut in October 2026 in Paris, I decided that what is currently available on the market wouldn`t fit the looks, nor ethos I wanted to achieve. Following research into Bone Black, it was decided that this ancient technique would be utilized to cull the desired palette and effects.

In the previous Lab Notes, Bone Black, the history, sustainability and techniques in creating a soot-colored pigment are expanded upon; what was not covered was how slightly altering the technique, creates a polar opposite color, white. 

In the same application of throwing bone into fire, an oxygen rich environment brings forth a white. In an oxygen depleted one, black is born. Taking remnants of alligator vertebrae that had fractured in the process of cleaning flesh from bone...

Instead of waste, change ensues. Alchemy. A shifting of material structure. Honoring of what was lost.

Taking Aluminum Foil, two batches of bones were wrapped; one snuggly encased in three layers with a small opening for gasses to escape, the other formed into a bowl with full exposure to the air. A fire was birthed and each was placed in the flames, the "bone burrito" nestled underneath the domed wood, the bowl placed on the edges of the flames atop coals. Some bones were even fed to the fire uncovered, blanketed by ashes and smoldering coals.

With mindful watch and stoking of the fire, the cooking progress carried on for almost 2 hours time. A smell reminiscent of burnt hairs, mixed with something else escaped during the process. A primal spark. A historic burning. A uniting of ancestors lost and the cycling of materials.

The intent was to emulate a loosely controlled environment, to invoke unpredictability and variation.

Just like nature.

The result was perfectly on point for my goals. After sifting through the ashes and letting the bones cool, a range of whites, blacks, greys and a "mushroom-like" tone were collected. On returning back to The Labs, the bones were broken into smaller fragments, arranged by tone.

Smashing within a granite vessel and rolling in arthritic-inducing motions, a mortar and pestle helped break down the materials into smaller, and smaller still particles, ending at a point of fine, gritty sand. This is the first point in refining, with each color separately contained within its own glass beaker, further parsed out to later grind again, and finally mull.

While I have previously experimented with collecting, processing and mulling my own pigments into paint, my time with the technique is admittedly brief. What I sought was a temporary paint in which to apply to leather (and potentially other natural materials), one that would crack/slough off and reveal the underlying color. And to utilize as a colorant for later experiments (likely with latex and wool). One that was based in natural materials, with either a milk-based paint (called casein) or an oil based paint. Consulting various sources online, as well as local Chicago artist, Anthony Adcock, to achieve the effect.

Oil Recipe:

Ingredients and Tools

• Pigments: Powdered pigments (earth pigments, dry pigments).
• Linseed Oil: Refined artist grade.
• Turpentine: Distilled from resin (wood or gum).
• Tools: Jar/small bowl, palette knife, glass jar (or paint tube) for storage, brush. Glass slab and muller.

• A normal ratio would be 1:1 pigment to binder (oil) ratio; because of the desired effect of intentional loss of paint, a ratio of 60% to 40% was utilized instead.
• Make a volcano mound of pigment.
• Add in a bit of linseed oil and start mulling. Ensure even mulling, you`ll be able to hear the gritty texture transition to a smoother one over time, as the pigment breaks down further and begins mixing with the binder (oil).
• Since bone is thirsty but we want to reach a loose binding power, add drops of Turpentine as you go. This will cause the mixture to dry fast.
• As oil will create a strong and flexible paint, the goal is to actually avoid it (unless you want a non-cracking, durable and smooth application).

• Storage: Keep in airtight vessel, in a cool, dark and dry space. Exposure to air will cause the paint to dry.
• Surface Preparation: Best applied on a rigid, absorbent surface. Can be applied to canvas and other materials, but for longevity and to avoid cracking, surfaces should be first primed to create a protective layer between the substrate and oil.
• Proportion: If the dried paint is too paste-like, it needs more oil. The aim is to create a smooth, creamy consistency. Ratios will need to be adjusted throughout the process.

Egg Tempera Recipe:

• Pigments: Powdered pigments (earth pigments, dry pigments).
• Fresh Egg: Yolk only.
• Distilled Water: To create a paste and dilute the yolk.
• Vinegar or Clove Oil (optional): A few drops act as a preservative.
• Tools: Jar/small bowl, palette knife, glass jar (or paint tube) for storage, brush. Glass slab and muller.

1. Prepare the Yolk Medium: Separate the yolk from the white and roll it on a paper towel to remove all egg white. Pierce the yolk sac, drain the yolk into a jar, and discard the membrane. Mix the yolk with an equal amount of distilled water (some recipes suggest a 1:1 ratio, others suggest 1/2 eggshell of water to 1/2 eggshell of yolk). Add a drop of vinegar or clove oil to keep it from spoiling quickly.
2. Create Pigment Paste: Place a small amount of powdered pigment on a palette and add a few drops of water. Mix with a palette knife until it forms a thick paste, similar to the consistency of oil paint.
3. Mix the Paint: Combine equal parts of the prepared yolk medium and the pigment paste. Mix thoroughly with a palette knife or brush.
4. Check Consistency: The paint should have a creamy consistency. If it is too thick, add a tiny bit of water; if it is too thin or watery, add more pigment. 

• Storage: The egg medium lasts about 3-7 days in a sealed jar in the refrigerator. It is best to make the amount needed for the project and nothing more.
• Surface Preparation: Best applied on a rigid, absorbent, and white surface like a gessoed wood panel.
• Proportion: If the dried paint is too chalky, it needs more yolk; if it is too shiny, it needs more pigment. 

The Tests

Ongoing experimentation is in progress. This portion will be updated as more tests are completed, documenting both successes and failures.

Collecting scraps from past projects for the leather & scrap card stock, with water and a paint brush I applied a layer of the tempera paint atop. This particular test was done with the "mushroom" toned pigment.

The paint was allowed to dry fully. It came to a matte appearance, visibly somewhat chalky, preserving the underlying textures of the leather grain. Preforming friction tests, done by rubbing, folding and creasing the leather, the paint flecked off. The end result is reminiscent of an elephants skin, or a dried-up river bed. 

Notes:

This result gives me faith in the concept, of a pigment crafted from organic materials that remains temporary, and causes no synthetic pollutants upon leaving the material. A color that easily sloughs off and reveals whats beneath it.

An emerging of the subconscious, of what lies beyond. A death. A revealing.

However, this current technique needs refining as the bonding strength is weak, and I aim for a longer-lasting effect. I think at this stage, it would be best suited for studio presentation, namely in use of short films or photography settings, rather than a longer lasting event. I can imagine the bone dust crumbling down as material folds and is worn becoming beyond beautiful.

The Results

When the (currently ongoing) testing process is complete and the desired effect formula is determined, the results will be posted here.

This experiment would not have been possible without the collected knowledge and resources I sought. 

Thank you to Stephen Hill for providing a literal flame and space in which to create a  "bonefire". Thank you to Anthony Adcock for letting me pick your experienced brain in which to achieve the results I desired. Thank you to the multiple users on Reddit who helped me attain a raw material to work with.

To Paris, and onward...

-The Labs at Lost Adornments