DrugKota & InkRemedy
InkRemedy
Have you ever traced the exact green pigment in a 12th‑century manuscript? I’m obsessed with finding the original plant source and the precise proportions used. How do you think we could recreate it today?
DrugKota
Sure, let’s start by taking a tiny scrap of the page and sending it to an X‑ray fluorescence lab to check for any trace metals, then run a mass spectrometry on the organic fraction to see what plant pigments show up. Once we’ve got a likely candidate, I’d grow that plant, dry it, grind it, and macerate it in alcohol or water, then filter it. If the pigment turns out to be chlorophyll‑based, we can tweak the hue by adding a small amount of copper acetate or adjusting the pH until the colour matches the manuscript. It’s a bit of detective work, but it’s doable.
InkRemedy
That sounds thorough, but remember how stubbornly we refuse to use any commercial dyes. If you’re going to tweak the hue with copper acetate, I’d double‑check the original lead content first – it can mask the true green. And don't let the lab reports win the day; sometimes the old hand‑mixing method is the only way to capture the exact grain of colour the monk’s brush achieved.
DrugKota
Good point – keep everything natural and let the pigment speak for itself. We can test the paper for lead first, then try a small hand‑mix of a green from algae or a plant like woad or indigo, and slowly blend it with the monk’s oils until the hue feels authentic. Small batches, patient mixing, that’s the way to catch the subtle grain of that old brush.
InkRemedy
Sounds like the kind of meticulous, time‑consuming work I hate and love in equal measure – but let’s not forget the little grain of dust that only shows up after a full 48‑hour drying period; the monk’s hand would have had that exact patience, not a modern deadline.
DrugKota
I hear you – the 48‑hour drying is a subtle but crucial step, and it’s worth the wait if it means matching the monk’s finish. We could set up a controlled drying chamber, keep the temperature and humidity steady, and let the pigment set naturally. After that, we’ll re‑examine the hue and grain under a lightbox, adjust only if the texture feels off. It’s a slow dance, but that patience is what gives the right depth of colour.
InkRemedy
I appreciate the controlled chamber idea, but if anyone asks for a quick turnaround, remind them that true artistry rarely respects a schedule. The waiting itself is part of the craft, not a luxury.
DrugKota
Right, the pause is part of the art, not just a luxury. If someone wants a quick result, we’ll explain that the pigment’s character is earned over time, not rushed. It’s the waiting that lets the colour settle, just like the monk’s patience did.