Below is information on mixing your own Patina and some Antiquing Tips and General Finishing Notes

The formula is in Scottie's Guide to Bauernmalerei Book 1 but some of those brands are no longer being manufactured either. So here is an updated version. Feel free to share this information and if you know someone who would like to manufacture it again that would be wonderful.

The formula for Scottie's Antiquing Patina is:

The ingredients are possibly available at your local art store or order online from www.misterart.com. There are many other brands of synthetic turpentine available. However,  based on my experiments, some of them will definitely dissolve plastic when mixed with the other ingredients. So I am recommending Turpenoid  which has a very mild odor and did not cause any problems when mixed with the other ingredients. However, this information is presented in good faith but no warranty is given nor results guaranteed. Since the author has no control over physical conditions surrounding the application of this information, the author disclaims any liability for untoward results.

When you mix it up, you will need to store it in a glass bottle WELL LABELED or an old purchased plastic Patina bottle that is now empty. Do not mix the new patina with the old formulation. Ordinary plastic can be dissolved by some chemicals so to prevent a disaster, special containers are necessary (such as glass or an old Patina bottle). Also, remember to store it out of reach of children since it probably will not have a child-proof lid when you mix it yourself.

Disclaimer: Here is the disclaimer information on the manufactured bottle which complies with ASTM D-4236 labeling requirements (remember you are dealing with chemicals and they are safe as long as you use them in a sensible manner and precautions are followed): Scottie's Antiquing Patina is an antiquing medium to be used with tube oil paint. For complete instructions, see Scottie's Bauernmalerei, Bavarian Folk Art, Book 1. DANGER: HARMFUL OR FATAL IF SWALLOWED! COMBUSTIBLE! HARMFUL IF ABSORBED THROUGH SKIN (use surgical gloves and throw away afterwards); IRRITATING TO EYES, NOSE AND THROAT. CONTAINS: Petroleum distillates. KEEP OUT OF REACH OF CHILDREN. Keep away from eyes. Avoid prolonged skin contact. Avoid breathing vapor. Use only with good cross ventilation. Keep away from heat or open flame. Do not transfer contents of this bottle to an unlabeled container. FIRST AID: If swallowed, rinse mouth. DO NOT induce vomiting. For eye contact, rinse eyes immediately with tap water. Remove contact lenses, then flush eyes with water for at least five minutes. Then call a poison center emergency department or physician. For skin contact, flush skin thoroughly with water.

ANTIQUING TIPS and GENERAL FINISHING NOTES

More information is contained in Books 1 and 4 and the Video. Click on each photo below to see the larger image.

Antiquing supplies: a tube of your favorite Burnt Umber oil paint, a cotton rag about 6” square, wax palette paper, an old mop brush and a “dead” round or flat brush dedicated to antiquing.

1. To remove dust particles, wipe your project with a paper towel slightly moistened with water and squeezed out well.  (Do not rub with a tack rag.)

2. Dry with another paper towel.

3.  Wearing surgical disposable gloves and with the rag wrapped around your fingers, put some Patina on it. Then rub your project well with Patina to remove all graphite and/or chalk lines. (If you do not antique, be sure to remove all graphite before varnishing. Use an eraser or Odorless Brush Cleaner or other graphite remover.) Apply the Patina to the entire surface you are working on but only work on one surface at a time. You have about 30 minutes of open time before the Patina starts setting up. When you apply the Patina, just moisten the entire surface, rubbing all areas particularly well where you need to remove the graphite lines. Do not apply liberally. Apply just enough to moisten the entire surface you are working on. If you have applied too much, just wipe it back before proceeding. Too much Patina can cause stickiness and can delay drying.

4. Put about ¼ inch of Burnt Umber oil paint on the wax palette. Using the same place that has the Patina on the rag, wipe it through the edge of the oil paint and then work it into the rag by softening it on the palette.

5. Antique you piece softly starting on the edges and working inward. I prefer to apply the oil paint to the edges and around the design area leaving some of the background the original color for contrast. With the old round or flat brush, add an extra touch of oil to the thick border strokes and the dots. Then soften all those areas with the mop brush that you use only for antiquing. I leave the paint from mopping in the brush (do not clean it) because the more paint that dries on the brush (to a point) the better it is at softening! Even when the bristles break and fall off, they will not stick in the antiquing so it’s OK. You will be able to use this brush for a very long time.

6. When you are finished with the antiquing rag, dip it in water and throw it into an outside trash can since Patina can be flammable. DO NOT place in an airtight baggie and save.

7. When the antiquing is dry (24 hours), rub with #0000 steel wool to raise white highlights. If you want more antiquing to come off on certain flowers, wet a Q-tip and rub with that.

Above are three examples. The third photo is after rubbing the piece with 0000 steel wool to bring up white highlights and create an "older" look (some antiquing rubbed off). If you prefer, you can leave the project without rubbing with steel wool. However, it will appear a little darker than if you rubbed it. If you only want to bring up highlights in a small area, rub it with water-moistened Q-tips. Rub gently as the antiquing will come off very easily. Experimentation is the best teacher!

8. When you are satisfied with the raised highlights, tack with a damp paper towel and varnish three coats with your favorite waterbase varnish (NOT JoSonja Polyurethane (incompatible with Patina). I use JW Right Step Matte Waterbase Varnish or Ceramcoat Matte Waterbase Varnish. For a very smooth finish, sand lightly between the second and third coats with very old fine sandpaper dipped in water (gives a very smooth finish but be very careful not to sand too much).

9. After the last coat of varnish, wax with a good quality paste wax such as J.W.'s Finishing Wax, using a #0000 steel wool pad as an applicator. Buff and enjoy!

FINISHING NOTE: I always emphasize finishing all of your pieces because you have spent a great deal of time and money to "almost" complete your piece in class or at home. So, right away when you get home from a class, persevere and do the remaining small amount of work left to actually complete your piece. You also complete the learning process when you complete each piece:

1. You learn to persevere and not give up;

2. You learn that your piece looks so much better when it is finished (even if you did not think that it would!);

3. You get to practice and perfect your antiquing, varnishing and waxing methods if you choose to do them.

4. And most important of all, you learn to fix things and make them work out when unusual things happen or go wrong with painting, antiquing and/or varnishing.

 Just think of all the things you would not learn if you did not finish your piece!

 Happy Painting and Finishing!

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