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| Photo is in the public domain. |
With so many types of white
paint on the market, it can become very confusing to select the best white
paint for oil painting. These types of
white paint include Titanium White, Zinc White, Flake White, Cremnitz White,
Foundation White, Underpainting White and Transparent White. It was so much easier for an artist in the
Renaissance, when his only choice was Flake White.
paint on the market, it can become very confusing to select the best white
paint for oil painting. These types of
white paint include Titanium White, Zinc White, Flake White, Cremnitz White,
Foundation White, Underpainting White and Transparent White. It was so much easier for an artist in the
Renaissance, when his only choice was Flake White.
What complicates the
decision making process further is that paint manufacturers use different oils,
such as linseed oil, walnut oil, poppyseed oil and safflower oil, as vehicles
or binder for their paint formulations. Each oil has its own unique
characteristics¹. Linseed oil tends to yellow over time, but it dries faster
than other oil, which is why it is sometimes used for underpainting. Safflower
oil, on the other hand, does not yellow so much, but takes longer to dry.
decision making process further is that paint manufacturers use different oils,
such as linseed oil, walnut oil, poppyseed oil and safflower oil, as vehicles
or binder for their paint formulations. Each oil has its own unique
characteristics¹. Linseed oil tends to yellow over time, but it dries faster
than other oil, which is why it is sometimes used for underpainting. Safflower
oil, on the other hand, does not yellow so much, but takes longer to dry.
Titanium White
Titanium White and Zinc White
are two popular white oil paints but very different in appearance and
performance characteristics. One key difference is opacity, which is important
when you are blending colors. First used as an artist’s oil paint pigment after
World War I, Titanium Dioxide (TiO₂) produces a white, which is much more
opaque than any other white. This opacity gives Titanium White its superior
tinting strength. Mixed with other colors, the brightness of Titanium White
tends to dominate or overpower the mixture, so the color becomes much less
saturated and more pale.
are two popular white oil paints but very different in appearance and
performance characteristics. One key difference is opacity, which is important
when you are blending colors. First used as an artist’s oil paint pigment after
World War I, Titanium Dioxide (TiO₂) produces a white, which is much more
opaque than any other white. This opacity gives Titanium White its superior
tinting strength. Mixed with other colors, the brightness of Titanium White
tends to dominate or overpower the mixture, so the color becomes much less
saturated and more pale.
Flake White Hue
If Titanium White is too
chalky or overpowering for you and you cannot afford a Lead White, you can try Winsor & Newton
Flake White Hue, which is Titanium White processed (without any
additional colorants) to look like Flake White. As a hue, it will not look or
perform exactly as real Flake White does. After all, it is an “imitation”
product.
chalky or overpowering for you and you cannot afford a Lead White, you can try Winsor & Newton
Flake White Hue, which is Titanium White processed (without any
additional colorants) to look like Flake White. As a hue, it will not look or
perform exactly as real Flake White does. After all, it is an “imitation”
product.
Zinc White
Zinc White is one of the
most transparent of all of the white oil paint. Winsor & Newton first
utilized Zinc Oxide (ZnO) as a pigment for oil paint in the mid-19 century.
Compared to other white oil paint, it has very low tinting strength. As a
result, when you mix a color with Zinc White, the resulting color is much more
saturated than mixing a color with Titanium White. Zinc White is also
characterized as a cooler white when compared to either Flake White or Titanium
White. Because of its transparency, you can conceivably use it for thin glazes
and when scumbling.
most transparent of all of the white oil paint. Winsor & Newton first
utilized Zinc Oxide (ZnO) as a pigment for oil paint in the mid-19 century.
Compared to other white oil paint, it has very low tinting strength. As a
result, when you mix a color with Zinc White, the resulting color is much more
saturated than mixing a color with Titanium White. Zinc White is also
characterized as a cooler white when compared to either Flake White or Titanium
White. Because of its transparency, you can conceivably use it for thin glazes
and when scumbling.
Many artists avoid using
Zinc White because they believe that it can become brittle over time, which can
lead to cracking. This is especially the case if this white is applied in a
thick layer. What’s more, Zinc White is said to exhibit poor intercoat
adhesion properties, leading to delamination and flaking. In spite of these
tendencies, many manufacturers will mix Zinc Oxide with other white pigments,
such as Titanium Dioxide. As long as the amount of Zinc White is low (below
20%), this should not pose a problem.
Zinc White because they believe that it can become brittle over time, which can
lead to cracking. This is especially the case if this white is applied in a
thick layer. What’s more, Zinc White is said to exhibit poor intercoat
adhesion properties, leading to delamination and flaking. In spite of these
tendencies, many manufacturers will mix Zinc Oxide with other white pigments,
such as Titanium Dioxide. As long as the amount of Zinc White is low (below
20%), this should not pose a problem.
Because paints can
combine different pigments and can include other ingredients, such as fillers,
it is a good idea to get in the habit of reading the labels on the tubes of
paint as well as reading the manufacturer’s data sheets. The best paints
consist of little more than pigment and oil. Cheaper paints include higher
concentrations of fillers, such as calcium carbonate, to extend the paint and
lower the cost. What can I say? You get what you pay for.
combine different pigments and can include other ingredients, such as fillers,
it is a good idea to get in the habit of reading the labels on the tubes of
paint as well as reading the manufacturer’s data sheets. The best paints
consist of little more than pigment and oil. Cheaper paints include higher
concentrations of fillers, such as calcium carbonate, to extend the paint and
lower the cost. What can I say? You get what you pay for.
In comparing white oil
paint, the flexibility of the paint is also critical, because some paint
formulations are more prone to cracking than others. This is the case with Zinc
White. When it is applied thickly, Zinc White can become especially brittle and
is prone to cracking. Thinner applications are less likely to crack. Flake
White and other paints utilizing lead carbonate in their formulation are the
most flexible of the white oil paints, which is why it tends to be the most
durable of these paints.
paint, the flexibility of the paint is also critical, because some paint
formulations are more prone to cracking than others. This is the case with Zinc
White. When it is applied thickly, Zinc White can become especially brittle and
is prone to cracking. Thinner applications are less likely to crack. Flake
White and other paints utilizing lead carbonate in their formulation are the
most flexible of the white oil paints, which is why it tends to be the most
durable of these paints.
Lead-based White Oil Paint
The Old Masters used
lead-based white paints, which include Cremnitz white, Flake White and Lead
White. All of these lead white paint are very similar, consisting of lead carbonate (2PbCO3·Pb(OH)2) pigment and an oil binder. The advantage of
lead-based white paint over other white paint is that it creates a stronger
paint film. The other advantage is its warmer color temperature, which is why
portrait painters, such as Lucien Freud, used it for their flesh tones.
By comparison, Zinc White is a much cooler white. Titanium White is more
neutral in color.
lead-based white paints, which include Cremnitz white, Flake White and Lead
White. All of these lead white paint are very similar, consisting of lead carbonate (2PbCO3·Pb(OH)2) pigment and an oil binder. The advantage of
lead-based white paint over other white paint is that it creates a stronger
paint film. The other advantage is its warmer color temperature, which is why
portrait painters, such as Lucien Freud, used it for their flesh tones.
By comparison, Zinc White is a much cooler white. Titanium White is more
neutral in color.
Some highly regarded
manufacturers of flake white and Cremnitz white are Blockx, Charvin Oil Paint,
Williamsburg Handmade Artists’ Oil Colors, Vasari Classic Artists’ Oil Colors,
Rublev Colours Artist Oils, Old Holland Oil Paint and Michael Harding’s Artist
Oil Colors. Lead-based white paints were used exclusively until early in the 19th century.
manufacturers of flake white and Cremnitz white are Blockx, Charvin Oil Paint,
Williamsburg Handmade Artists’ Oil Colors, Vasari Classic Artists’ Oil Colors,
Rublev Colours Artist Oils, Old Holland Oil Paint and Michael Harding’s Artist
Oil Colors. Lead-based white paints were used exclusively until early in the 19th century.
Today, many oil painters
prize lead-based white paint because it is the warmest of all of the white oil
paint. While lead has been banned for house paints, it is not as dangerous as
some might lead you to believe, if it is handled safely. In other words, please
don’t eat the paint, and avoid touching it as much as possible. (As a tip,
never clean paint from your hands with solvent, especially lacquer thinner.
Instead, apply vegetable oil to your hands and wipe the soften paint off with
paper toweling. Then wash your hands with soap and water.)
prize lead-based white paint because it is the warmest of all of the white oil
paint. While lead has been banned for house paints, it is not as dangerous as
some might lead you to believe, if it is handled safely. In other words, please
don’t eat the paint, and avoid touching it as much as possible. (As a tip,
never clean paint from your hands with solvent, especially lacquer thinner.
Instead, apply vegetable oil to your hands and wipe the soften paint off with
paper toweling. Then wash your hands with soap and water.)
The traditional stack
method for making lead carbonate during the Renaissance was to expose lead
panels to fumes of white vinegar, which is composed of acetic acid and water,
and horse manure in an enclosed container. The microbial decomposition of the
manure produces carbon dioxide, which contributes to the corrosion of the lead
panels, and generates heat, which accelerates the chemical process. Today
the process of producing lead carbonate is similar, however no horse manure is
used. After the panels have corroded, the lead carbonate is washed of any
impurities and ground up.
method for making lead carbonate during the Renaissance was to expose lead
panels to fumes of white vinegar, which is composed of acetic acid and water,
and horse manure in an enclosed container. The microbial decomposition of the
manure produces carbon dioxide, which contributes to the corrosion of the lead
panels, and generates heat, which accelerates the chemical process. Today
the process of producing lead carbonate is similar, however no horse manure is
used. After the panels have corroded, the lead carbonate is washed of any
impurities and ground up.
If you are so inclined,
you can buy Flake White pigment and make your own paint. The Natural
Pigments Company, which makes the Rublev brand of pigments and paints, provides
their lead carbonate pigment as flakes. Using a mortar and pestle you can grind
the flakes into a powder and then mix it with oil. Follow some basic safety
rules if you grind any lead carbonate flakes or any pigment powders, for that
matter:
you can buy Flake White pigment and make your own paint. The Natural
Pigments Company, which makes the Rublev brand of pigments and paints, provides
their lead carbonate pigment as flakes. Using a mortar and pestle you can grind
the flakes into a powder and then mix it with oil. Follow some basic safety
rules if you grind any lead carbonate flakes or any pigment powders, for that
matter:
● Prior to using lead
carbonate pigment thoroughly familiarize yourself with the safety data sheets
and technical data bulletins provided by the manufacturer. Follow their rules
to the letter.
carbonate pigment thoroughly familiarize yourself with the safety data sheets
and technical data bulletins provided by the manufacturer. Follow their rules
to the letter.
● Do not use the mortar
and pestle that your wife uses to grind spices. Remember, that lead flakes are
toxic and mainly get into our bodies through ingestion.
and pestle that your wife uses to grind spices. Remember, that lead flakes are
toxic and mainly get into our bodies through ingestion.
● Always wear a
well-fitting dust mask, whenever working with any powder. I learned about the
hazards of chemical dust through personal experience when adding chemicals to
formulations.
well-fitting dust mask, whenever working with any powder. I learned about the
hazards of chemical dust through personal experience when adding chemicals to
formulations.
● Always wear safety
glasses. Better yet, wear a full facepiece respirator. See my article on which
type of dust mask is best.
glasses. Better yet, wear a full facepiece respirator. See my article on which
type of dust mask is best.
● Never smoke or have
food or drink in the same area where you are mixing pigments.
food or drink in the same area where you are mixing pigments.
● Wear nitrile gloves
when after handling pigment powders. Always wash up with soap and water after
handling any toxic materials.
when after handling pigment powders. Always wash up with soap and water after
handling any toxic materials.
● Heavy-Duty, 6 mil
black nitrile
black nitrile
● Rip, tear, and
puncture resistant
puncture resistant
● Latex-Free, Powder
Free, Fits either hand
Free, Fits either hand
● Great for painting
Flemish White
Closely related to Flake
White and other whites utilizing lead carbonate as its pigment is Flemish
White, which utilizes lead sulfate (PbSO4) as its colorant. This white
crystalline pigment was created in the late 19th century. You probably have
noticed lead sulfate in the form of corrosion on a car battery terminal.
Flemish White is slightly yellower than white oil paint comprised of lead
carbonate and is not quite so opaque, nor does it dry as fast. Not many
companies, other than Rublev Colours, manufactures Flemish White using lead
sulfate pigment. Blue Ridge Oil Paint offers a Flemish White, which
combines Lead Sulfate and Titanium White in a blend of walnut and safflower
oil.
White and other whites utilizing lead carbonate as its pigment is Flemish
White, which utilizes lead sulfate (PbSO4) as its colorant. This white
crystalline pigment was created in the late 19th century. You probably have
noticed lead sulfate in the form of corrosion on a car battery terminal.
Flemish White is slightly yellower than white oil paint comprised of lead
carbonate and is not quite so opaque, nor does it dry as fast. Not many
companies, other than Rublev Colours, manufactures Flemish White using lead
sulfate pigment. Blue Ridge Oil Paint offers a Flemish White, which
combines Lead Sulfate and Titanium White in a blend of walnut and safflower
oil.
Foundation White
Foundation White is
typically painted on top of a sized and gessoed canvas. Generally, in
making Foundation White a manufacturer will blend either a Lead White with
Titanium White or combine a Lead White with Zinc Oxide. These formulations are
designed to act as a base or primer for a painting and, after coating, should
be thoroughly dry in about five days to a week. Many Renaissance painters, who
painted on wood panels, used Lead White to prime the surface. To ensure that
the paint was thoroughly cured, they allowed the panels to cure for six months.
typically painted on top of a sized and gessoed canvas. Generally, in
making Foundation White a manufacturer will blend either a Lead White with
Titanium White or combine a Lead White with Zinc Oxide. These formulations are
designed to act as a base or primer for a painting and, after coating, should
be thoroughly dry in about five days to a week. Many Renaissance painters, who
painted on wood panels, used Lead White to prime the surface. To ensure that
the paint was thoroughly cured, they allowed the panels to cure for six months.
The Michael Harding
Foundation White and Holbein Foundation White are popular products used
for priming or underpainting. Un-thinned this paint will provide
the surface with some texture. For a smoother surface, you can thin the paint
with turpentine.
Foundation White and Holbein Foundation White are popular products used
for priming or underpainting. Un-thinned this paint will provide
the surface with some texture. For a smoother surface, you can thin the paint
with turpentine.
Transparent White
Some artists will use a
Transparent White as a white glaze over another color, lightening it, but
allowing that color to show through. Transparent White is also used by artist
when scumbling.
Transparent White as a white glaze over another color, lightening it, but
allowing that color to show through. Transparent White is also used by artist
when scumbling.
Conclusion
If you had to choose
only one white oil paint, your choice would be between a lead based white, such
a Flake White, and Titanium White. The best way for you to decide is to try
both products. Flake White is more traditional and a more durable product, but will
cost significantly more. It has a thicker consistency than other whites, which
helps in building textures. Titanium White is a good, economical product, but
tends to be more overpowering, more opaque and appears in the minds of some as
having a slightly chalky appearance.
only one white oil paint, your choice would be between a lead based white, such
a Flake White, and Titanium White. The best way for you to decide is to try
both products. Flake White is more traditional and a more durable product, but will
cost significantly more. It has a thicker consistency than other whites, which
helps in building textures. Titanium White is a good, economical product, but
tends to be more overpowering, more opaque and appears in the minds of some as
having a slightly chalky appearance.
When you are comparing
products, you might notice that some white oil paint, such as Flake
White, may seem gritty. That is not necessarily a bad thing. During the days of
the Old Masters, when painters mixed their own paint, pigment particles were
larger and arguably more durable. The grinding processes used today
produce much finer pigment particles. What’s more, the lead carbonate pigment
particles harvested from lead plates used in the stack white process tend to be
larger.
products, you might notice that some white oil paint, such as Flake
White, may seem gritty. That is not necessarily a bad thing. During the days of
the Old Masters, when painters mixed their own paint, pigment particles were
larger and arguably more durable. The grinding processes used today
produce much finer pigment particles. What’s more, the lead carbonate pigment
particles harvested from lead plates used in the stack white process tend to be
larger.
Particle size can affect
the opacity or hiding power of a white oil paint. By preventing light from
penetrating the paint film, a pigment can block that light from reflecting off
of any underlying color. The type and size of a pigment used in a paint formulation
also affects the strength, durability and refractive index (hence perception of
color) of the paint.
the opacity or hiding power of a white oil paint. By preventing light from
penetrating the paint film, a pigment can block that light from reflecting off
of any underlying color. The type and size of a pigment used in a paint formulation
also affects the strength, durability and refractive index (hence perception of
color) of the paint.
How pigments are
processed in manufacturing along with the type of oil used and the addition of
additives and fillers can produce white oil paints in a particular category
such as Lead White, which can vary slightly in appearance and handle
differently, which respect to how they flow out as they are brushed and how
they hold textures. For this reason, it helps to evaluate products in side by
side comparison to decide which white paint is best for oil painting.
processed in manufacturing along with the type of oil used and the addition of
additives and fillers can produce white oil paints in a particular category
such as Lead White, which can vary slightly in appearance and handle
differently, which respect to how they flow out as they are brushed and how
they hold textures. For this reason, it helps to evaluate products in side by
side comparison to decide which white paint is best for oil painting.
NOTES
¹Traditionally, linseed
oil was used during the Renaissance. It is still used today for making paints
because it creates the strongest paint films. By comparison, walnut
oil, poppyseed oil and safflower oil, while they are clearer oils and less
likely to yellow, are prone to become brittle and crack as they age.
oil was used during the Renaissance. It is still used today for making paints
because it creates the strongest paint films. By comparison, walnut
oil, poppyseed oil and safflower oil, while they are clearer oils and less
likely to yellow, are prone to become brittle and crack as they age.
Renaissance painters mixed their own paints, which were comprised of
finely ground pigment and oil, creating a stiff mixture. The ratio of oil to
pigment in mixing paints is critical. This ratio varies from one pigment to
another, because pigment powders will absorb the oil to a lesser or greater
degree. Too much oil in the mixture quite often results in wrinkling. In
addition, an excess of oil also weakens the paint film.
If an artist wants to make his paint less viscous, he should not add oil.
Instead, he should use a solvent, either turpentine or mineral spirits, because
the solvent evaporates from the film.
Essential
Reading for Artists
One topic that fascinates me in the field of art are the materials and techniques of painters, especially the Old Masters. So much of what an artist uses and how he uses these materials affect the durability of the painting. Failure to understand the physical properties of pigments and oils used in painting, and how one material chemically interacts with another can result in problems.
To ensure the longevity of a work of art, an artist needs to thoroughly familiarize himself with the materials, tools and techniques of his trade. What's more, because many of these materials are comprised of toxic chemicals, he or she needs to know the hazards involved and how to deal with them. Here are four books in my library that I believe are essential reading for artists.
The Artist's Handbook of Materials and Techniques
If
you are an art student or serious artist, The
Artist's Handbook of Materials and Techniques by Ralph Mayer belongs in
your bookcase. Called the “Painter’s Bible”, this reference book explains the
chemistry of commonly used art materials that you should understand. These
materials include pigments, drying oils, solvents and varnishes. The Artist’s Handbook provides
information on how to make your own paint and painting mediums, how to prepare
a canvas and how to care for your tools. In addition to oil painting, Mayer’s
book also covers tempera painting and encaustic painting. Originally published
in 1940, The Artist’s Handbook has
been revised several times. The fifth edition is now available.
you are an art student or serious artist, The
Artist's Handbook of Materials and Techniques by Ralph Mayer belongs in
your bookcase. Called the “Painter’s Bible”, this reference book explains the
chemistry of commonly used art materials that you should understand. These
materials include pigments, drying oils, solvents and varnishes. The Artist’s Handbook provides
information on how to make your own paint and painting mediums, how to prepare
a canvas and how to care for your tools. In addition to oil painting, Mayer’s
book also covers tempera painting and encaustic painting. Originally published
in 1940, The Artist’s Handbook has
been revised several times. The fifth edition is now available.
The Materials of the Artist and Their Use in Painting: With Notes on the Techniques of the Old Masters
The Materials of the Artist and Their
Use in Painting by Max Doerner, a
German artist, who painted in the impressionist style, was an authority on the
materials and techniques of the Old Masters. Originally, this book was
published in1921. It is still relevant for any artist or restorer, who wants to
learn the techniques used by the great painters of the past.
Use in Painting by Max Doerner, a
German artist, who painted in the impressionist style, was an authority on the
materials and techniques of the Old Masters. Originally, this book was
published in1921. It is still relevant for any artist or restorer, who wants to
learn the techniques used by the great painters of the past.
Painter's Handbook
First
published in 1993, The Painter’s Handbook
by Mark David Gottsegen provides artists with essential information about art
materials. The book also offers step-by-step recipes for making paints,
varnishes and gessoes. In addition, it explains how to prepare your supports
and how to preserve, store and restore paintings. Gottsegen, who chaired the
ASTM committee on artist’s materials, also covers the health hazards, which artists
routinely encounter, as well as how to safely handle materials in your shop or
studio.
Artist Beware, Updated and Revised: The Hazards in Working with All Art and Craft Materials and the Precautions Every Artist and Craftsperson Should Take
Often artists and art students are unknowingly exposed to
highly toxic chemicals or work in
poorly equipped studios. Gases, solvents, dusts and fumes can be toxic and
threaten your health. If you work with
art materials, you need to read Artist
Beware, by Michael McCann PhD. This book provides details regarding
toxicity of chemicals, flash point and common uses for these art materials.
McCann also explains what personal protective equipment an artist should wear
when working with hazardous materials.
Vinyl Sign Techniques by Jim Hingst
Jim Hingst is the author of Vinyl Sign Techniques. Here is a comprehensive guide to the vinyl sign and graphics business. Compiled from 54 Vinyl Graphics columns in Signs of the Times, edited, updated and condensed here into 39 chapters, Vinyl Sign Techniques is an essential resource. The book is divided into four sections: sales & marketing, materials, fabrication, and vinyl application & removal. Every important aspect to running an efficient and profitable vinyl sign business is covered in detail, often including valuable charts, tables and photos for reference.
About Jim Hingst: Sign business authority on vehicle wraps, vinyl graphics, screen printing, marketing, sales, gold leaf, woodcarving and painting.
After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.
Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer. Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.
Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 150 articles for publications, such as Signs Canada, SignCraft, Signs of the Times, Screen Printing, Sign and Digital Graphics and Sign Builder Illustrated. He also posted more than 500 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published. Vinyl Sign Techniques is available at sign supply distributors and at Amazon.
© Jim Hingst 2018
