Oil Painting Mediums: Safflower Oil

Paint can yellow over time.  This is more of a concern lighter colored pigments.  As linseed oil has a tendency to yellow as it dries, artists and paint makers have found alternative oils for oil painters.  One of the most popular is Safflower Oil. 

Safflower oil is considered a reliable, pale drying oil.  Because it has good color retention and is believed to not yellow over time some prefer its use when making whites or light colored paints.  It is said to give oil paints a satin finish and buttery feel.

Oil Paints Made with Safflower Oil

• Blick oil paints from Dick Blick are primarily made with first-press, non-yellowing safflower oil (there are 4 exceptions). High Quality Artist Grade Paint and a Good Value.
• Sennelier are made with first-press, non-yellowing safflower oil. High Quality Artist Grade Paint.
• RGH Paints have Cremnitz white made with your choice of 4 different oils: RGH Cremnitz White.  They also make pure Titanium and will custom mix with the oil of your choice.  High Quality Hand Made Artist Grade Paint and a Good Value.
• Winsor and Newton (W&N) have some lighter colors made with safflower oil.  For example Titanium white and Zinc white.  But be careful if you want pure titanium white, W&N's is not pure.  (I talk about that here:  Paint Ingredients: Which White is in the Tube?    Read about the paint labeling inconsistencies: Oil Paint Ingredients.  Read more about choosing white paint: White Paint Ingredients: Lead, Zinc, Titanium).

Not all share the opinion that light colors are best mixed with Safflower Oil: Regarding Safflower Oil and Poppyseed Oil, R&F, the maker of pigment sticks, website states: "But those oils are very slow drying and prone to cracking, whereas linseed oil dries to a tougher, more flexible film."

Artist Jonathan Linton in his 5 year study,  has made some interesting observations about yellowing here: White Test.

Why Oil Paint Yellows is addressed in next month's post.

Artist Grade Safflower Oil vs Food Grade Safflower Oil

You may ask, "Can I use safflower oil from the grocery store?"   This is not the best choice due to the way in which it is produced.   First, there is a question of kitchen oils' purity; there may be additives, such as vitamin e which can hinder or prevent drying.  I recently read a journal article that points to contaminants as the the primary culprit in yellowing (2).  In addition, there is apparantly a wide range of drying ability in safflower oil.  Food grade safflower oil may have an an iodine value (correlates with oil's ability to dry) of as low as 87, where 130 or greater is preferred (1).



1. Knowles, P.F., Variability in oleic and linoleic acid contents of safflower oil, Economic Botany, January 1965, Volume 19, Issue 1, pp 53-62

2. Mallégol, Jacky; Lemaire, Jacques; Gardette, Jean-Luc, Yellowing of oil-based paints,

Studies in Conservation Vol. 46, No. 2 (2001), pp. 121-131

 

 

Oil Painting Mediums; Linseed Oils part 2

Why Use Oil as an Oil Painting Medium

Oil paints in their purest form are made with ground pigment and oil.  Therefore oil is a superb and highly compatible medium.though oil paint can be used directly out of the tube as is (and this is a fine way to paint), there are numerous oil mediums that oil painters can use.  This post discusses the difference between the various types of linseed oil.

What is the Difference Between Types of Linseed Oil

Through their manufacturing methods, the properties of linseed oils can be manipulated : Thickness, Color, Drying Time, Handling and Paint Film Strength.  Choosing a form of linseed oil depends on the desired use.

Linseed Oil

Linseed Oil is produced from the seed of the flax plant.  It dries slowly by oxidation and remains workable or "open" for a long time.  This can be very beneficial to the oil painter.  Once it is dry it can not be reversed.  Linseed oil is an excellent paint binder and medium, and excellent drier forming a strong paint film.  Straight linseed oil as your medium is a time honored choice.  Use less oil in layers closest to canvas and use more oil in the top layers.

Cold-Pressed Linseed Oil

Cold-pressed linseed oil is linseed oil in it's purest state.  Raw flax seeds or linseeds are crushed without the use of heat.  Because this is a low yield process, Cold-pressed linseed oil is a more expensive form of linseed oil.  Although there is some debate, paints made with cold pressed linseed oil are thought to have superior film strength, handling and brilliance to paints made with refined oils.

Alkali Refined Linseed Oil

Flax seeds are processed with use of heat via steam.  The heated seed are pressed and linseed and waste products are produced.  These waste products called mucilage or foots are removed through a refining process.  Sulfuric acid is used to treat the steam-treated, pressed linseed oil which destroys the waste products.  The acid is then neutralized with an alkali.  This alkali-refined linseed oil is a neutral, acid free oil and is is an inexpensive alternative to cold pressed linseed oil.  Less expensive high quality paints with high pigment content can be made with alkali-refined linseed oil.

Refined Linseed Oil

This is the same as alkali refined linseed oil.

Steam Pressed Linseed Oil

This is also the same as alkali refined linseed oil.

Sun-Thickened Linseed Oil

Sun-thickened linseed oil is the choice for using linseed oil as a painting medium during the painting process.  Sun-thickened linseed oil is made by mixing equal amounts of linseed oil and water and then left exposed to sunlight for several weeks.  Exposure to the sun lightens the oil by bleaching and partially oxidizes the oil.  Better results are obtained using this thicker bodied form;  It is a superb viscous medium that leaves texture and brushstrokes on the canvas and because it is partially oxidized and is therefore a faster drier than either cold-pressed or alkali refined linseed oil.  The lighter color and partial oxidation is also thought to reduce the yellowing of paint later compared to cold-pressed linseed oil and alkali-refined linseed oil.

Stand Oil

Similar to sun-thickened linseed oil, stand oil uses heat to create a bodied medium.  Linseed oil is heated at 550° F for at least 12 hours in an airtight oxygen-free container.  This causes the stand oil to polymerize rather than oxidize due to the absence of oxygen.  The result is a viscous medium that does not leave texture or brushstrokes and is superb for used when glazing.  It has a very strong paint film that resists cracking when dry.  I love to use stand oil in my glazing recipe that is damar varnish, stand oil, and mineral spirits.

Superb Oil Paint Medium Technique Using Linseed Oil

1. With paint thinned with mineral spirits (or turpentine) paint first layer onto gessoed canvas or panel and let dry if desired.
2. With paint straight from tube or lightly thinned with stand oil or sun-thickened linseed oil, paint next layers and let dry if desired.
3. With paint thinned only with stand oil or sun-thickened linseed oil, paint final layers.

The above method generally not only maintains a "Fat over Lean" concept but also allows a full bodied layered painting technique improving depth and textural brilliance.  This method dries faster than using regular linseed oils, but still dries slowly.

Best Oil Paint Glaze for a Smooth Surface

Oil Painting Glaze Ingredients
Damar Varnish: Linseed Stand Oil: Mineral Spirits

My favorite glaze for oil painting is Damar Varnish: Linseed Stand Oil: Mineral Spirits* in a  1:1:1 ratio. This is a very high quality clear glaze that creates a strong paint film.  This homemade glaze is mixed in a very small quantity:  I put equal parts in a 1 oz glass jar with a screw top lid and shake it up.  I usually make a small amount at a time, because it does thicken up a bit over time.  I do not dip into the jar, but pour it out into my paint mixing container.   Treated this way, it will last weeks in a tightly lidded jar.

This glaze mixture is said to dry relatively quickly. I find that it takes several days in my humid climate. Even though reworking the painting can occur early in initial painting session of a new glaze layer, the painting does not remain 'open' beyond this first day as this glaze becomes increasingly tacky during the drying period. That being said, there is a much longer open period compared to Liquin glaze.

This is perfect glaze for using on panels or other smooth rigid supports.  I also like to use it on canvas.  I use this formula of glaze when I want an extremely smooth surface without much in the way of texture or brushstrokes.

 

Many of my paintings are layer upon layer upon layer....of glazes and transparent or semi-transparent paints.  This glaze is perfect for this style of multi-layered painting.  The end result is a finish that has a slight sheen, but not a high gloss finish.

 

*The Brands I use: Richeson Damar Varnish, Maimeri Stand  Linseed Oil, Gamblin Gamsol 100% Odorless Mineral Spirits.

 

 

Oil Painting Mediums part 1

Oil Painting Mediums part 1

Oil paint can be used directly out of the tube as is.  And this is a fine way to paint.  Paint with the paint; clean the brush. The end.  With this method of using no medium, paying attention to oil content of paint may be important to preventing cracking- use most oil laden paint (which is slower drying) on upper layers: "Fat over Lean."

Linseed Oil

Alternatively use straight linseed oil as your medium, using less oil in layers closest to canvas and use more oil in the top layers...again "Fat over Lean."  More Oil (more fat) = More Drying Time!

Turpentine

Turpentine a solvent can be used to thin paint- it dries quickly and is best used for first layers or blocking in a painting; a very lean layer of oil paint.

I previously used pure gum turpentine for thinning and cleaning brushes.  It had a sweet strong odor.  Now I can no longer find this, either in hardware store or art supply store.  Yes, "pure gum turpentine" can still be purchased, but it is different...way different.  It has a foul, dead animal smell that I find terribly offensive.  I don't use it anymore.

Mineral Spirits

Mineral Spirits is a solvent that can be used in place of turpentine.  As with turpentine, paint thinned with mineral spirits makes for a leaner layer than paint right out of the tube.  I have used Gamsol 100% Pure Odorless Mineral Spirits as well as Kleen Strip Odorless Mineral Spirits from my local hardware store.  I do not notice a difference between these two.  Use mineral spirits for thinning oil colors, modifying other painting mediums, and studio clean up.  Less Oil (less fat or lean) = less drying time.

Simplest Oil Paint Medium Technique

1. With paint thinned with mineral spirits (or turpentine) paint first layer onto gessoed canvas and let dry if desired.
2. With paint straight from tube or lightly thinned with oil (such as linseed oil) paint next layers and let dry if desired.
3. With paint thinned only with oil paint final layers .

The above method generally not only maintains a "Fat over Lean" concept but also allows a layered painting technique improving depth and luminosity. 


      

Highest Quality Oil Paint for Pennies

Save Money by Tubing Paint

High quality oil paint does not have to be expensive.  Purchasing paint in bulk can save a bundle;  Get paint in jars and tubs and use it directly from the container or tube it yourself. 

Empty 40 mL paint tubes

I don't use it fast enough to prevent paint from drying out in a wide mouth container, so I like to order paint in large quantities and tube it into 40mL or 125mL tubes.

Bulk Professional Oil Paints

Previously I discussed the content of various brands of oil paints.  Another brand I like to paint with is RGH.  These american made paints do not use extenders and contain only pigments and alkalai refined linseed oil.  They can also be custom made with safflower or walnut oil. 

RGH sells paint in tubes, jars and cans in sizes from 37, 63, 125 and 250 mL or 1/8,1/4, 1/2 and full pints to a quart, 1/2 gallon and gallon!


See the RGH pigment identification chart here.

How to Tube Oil Paint

See Stapleton Kearns' Tubing Paint for a thorough tutorial.

Post Your Comment Below:

Art Supply Coupons

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Updated 12/19/15

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5 Best Gifts for Oil Painters

5 Best Gifts for Artists

Richeson Kolinsky Sable
Oil Brushes are handmade
 with gold ferrules
 and walnut handles

1. Palette Knife Set- Best Painting Knives; Made in Italy:

Set of 12 available at ItalianArtStore.com

Richeson Set of 6 available only at CheapJoes.com

2. Paint, Professional Grade Oil Paint

RGH, Gamblin,Williamsburg, Old Holland, Rembrandt

3. Brushes- High Quality

Hog Bristle-  available at Blick Art Materials

Hand-made Richeson Kolinsky Sable Brushes at RexArt.com

4. Art Marketing Book- I'd rather be in the studio!

5. Painting Supports- High Quality 

Art Panels available at JohnAnnesley.com

Oil Primed Linen (Canvas) available at Utrecht's Double Oil Primed Linen Clearance!

Artist Gift Shopping Deals

See my next post for Art Coupon Codes

Fattest White Paint For Scumbling

Final Paint Layers
The top most layers of an oil painting should be the fattest of all and dry the most slowly. That is the paint should contain the most oil and least amount of dryers. When it comes to white paint, zinc white dries the most slowly, followed by titanium white and then lead white.

Scumbling White 

White Oil Paint Tinting Strength

Since zinc white is the slowest drying white it will increase the drying time of paints it is mixed with.  For scumbling with a mixture, zinc white works well to make a subtle hue without greatly lessening the chroma.


If more hiding or covering is desired, then mixing in a bit of titanium white with the zinc white will help. The more titanium white that is mixed in the more the chroma and brightness will be knocked down as well- so keep this in mind. If one prefers to use titanium white on the scumbling, simply ensure that the previous layer is dry in order to prevent cracking.



Drying Times of White Paint

Lead White Fastest

Lead White + Titanium Fast

Titanium White Moderate

Titanium + Zinc Slow

Zinc White Slowest

Premixed white paint mixtures are available. White paint ingredients by brand vary significantly. Since safflower oil is said to yellow less, lately I've been using it with the whites as a medium rather than linseed oil. Experiment and find your favorite technique; and to prevent cracking just remember Fat over Lean.


Please contribute your thoughts by clicking 'posts' below.

Paint Snob Says: Best Oil Paint Is...

I am a Coffee Snob, a Wine Snob and a Paint Snob
Before my tastes became "refined," I painted with any paint that was pretty. I then discovered the deliciousness of Old Holland, Williamsburg and Rembrandt Oils. But now I have a new favorite!

RGH Oil Paints Are My New Favorites
RGH oil paints are made by artist, Rolf Haerem, for artists. Pure pigments are combined with alkali-refined linseed oil and put through a three roll mill three to five times. RGH does not use extenders in their paints and guarantees their quality.

Why I love this oil paint:

• High Quality
• Hand Made in US
• Professional Grade
• High Tinting Strength
• Butttery Consistency
• Economical Pricing
• Customized Paints
  

You no longer have to compromise paint quality for price. RGH paints are available in over 100 colors made from the purest pigments and finest ingredients.

Buy 37ml, a gallon, or many quantities in between!

Browse other posts about Oil Paint.

Oil Paint : Student Grade or Professional Grade?

Oil Paint Quality
Student Grade oil paints are usually less expensive and of a poorer quality than Professional Grade oil paints.  They are appropriate to use if:

• You do not consider yourself to be a professional artist (now or in the future).
• You really, really want your paintings to deteriorate more rapidly over time.
• You have to choose between eating and buying high quality paint.

Comparison of Oil Painting Changes Over Time
Student Grade Oil Paints over Professional Grade Acrylic Gesso on Canvas:  

BEFORE

AFTER

Observations of a Painting Stored in the Dark for Over 10 Years; Why I don't use student grade paints:

• Background pigment faded and patchy
• Cast shadows have taken on violet hue versus original neutral
• Highlights have dulled
• Edges of objects in shadow have taken on a hard, sharp line 
• Forms have lost 3-dimensionality and appear flattened and without structure

Due to my experience with various types of paint, I can only recommend the highest quality at any stage of your career.  Professional Artists Oil colors are even appropriate for doing studies, in my opinion.  Studies sometimes become an important point of reference in later years.  Furthermore, a study can take on a life of its own and become a painting in its own right.

Please Post Your Comment or Suggestion by Clicking 'Comments," Below.

White Oil Paint, Final Layers

Preventing Cracking in Oil Painting

In a painting, cracking can easily occur when the deep layers and middle layers painted first dry more slowly than the superficial layers painted last.  The paints containing a high amount of oil dry more slowly than paints that contain less oil.  While painting the final layers, continuing to adhere to the “fat over lean” principle, the painter can help prevent cracking paint later.

Fat over Lean, What Does it Mean?

Whether the artist is scumbling, adding highlights or glazing these most superficial (or top) layers, the fattest paint is recommended: that is the paint with the most oil content (compared to the previously painted, deeper underlying layers).  Fat or oil content is relative to the layers in that particular painting. 

Pure White Paint in Final Layers

Zinc white dries more slowly than titanium white which dries more slowly than lead white.  Zinc white, as the slowest drying white paint, is theoretically best suited for final layers.  Although I have not tested this myself, zinc is thought to be unstable as a stand alone paint.*  If pure white is needed, I add a bit of another white, such as titanium white to stabilize the zinc.  Titanium does make the zinc less transparent and more opaque.  If I am glazing and want to maintain or stretch zinc’s transparency, I mix a glaze medium containing turpentine, stand oil, and damar varnish. I have chosen this glaze because it dries much more slowly than a glaze medium such as Windsor Newton Original Liquin.  And I want this last layer to dry the most slowly of all.

Zinc White with Other Pigments

In my opinion, when zinc white is mixed with other paint colors it can be used freely in the last layers of an oil painting.  I believe it becomes more stable as the mixture incorporates the properties of the added paint.  Another note on using zinc white as opposed to titanium or lead:  Zinc affects the chroma of the paint it is mixed with more subtly compared to lead or titanium.  This is illustrated in the photo above in which three different whites are mixed in equal proportions with Gamblin Prussian Blue, a semi-transparent paint.  The zinc mixture on the far right has knocked the chroma down to a lesser extent than the titanium in the middle and the lead or flake white on the far left.   I have also found that the use of zinc, a semi-transparent paint, in a mixture on final layers allows a glow that I have more difficulty achieving with titanium.  Titanium, an opaque paint, can leave a flat chalky quality in some mixtures.  That being said, titanium's covering capacity is superior.

No white paint is the perfect choice in all situations.   By understanding a pigment's properties the painter can elicit desired effects more readily.   For more about the properties of white paint, click here: Lead, Titanium, Zinc Properties.  A white paint can be used in its pure form or can be combined with another white in an infinite number of ratios.  The artist has quite a varied toolbox of whites that can be used in multiple situations depending on the artist's needs.

*http://www.dickblick.com/items/01571-1033/#colorpigments, 9/21/10


Please share your experiences with white paints by clicking 'comments' below.

Fat Over Lean in Oil Paintings Middle Layers- White Paint

Fat Over Lean
In an earlier post you can find information about the appropriate white paint to use on the initial layers: Leanest White Paints.  The next layers (after the initial layers) in the painting ought to contain a less lean paint or a fatter paint with more oil.  This technique helps prevent cracking over time.

Middle Layer White Oil Paint
Painting over the foundation or underpainting requires pigments that are slower drying than these early layers.  Slower drying is fatter or contains more oil. 
~Titanium white is slower drying than lead white and suitable to use here.  If lead white was used in the early layers, lead plus titanium or just titanium white can be used.  If titanium white is to be used in the early layers, it is advisable to ensure that the first layers are dry before applying the subsequent layers of titanium white or mix a bit of zinc white in to slow down drying of the middle layers.  Also note that titanium white is neither cool nor warm and is generally the brightest white.

Wet Into Wet
~Titanium white can also be used to paint wet into wet.  If one would like to keep the painting open longer, zinc white, which is the slowest drying white can be mixed into the titanium.  Note, however that the zinc is semi transparent and will lessen the covering capacity of the titanium proportionally to the amount of zinc used.  Since titanium white can have a chalky quality, mixing it with another white can decrease this  (lead white for early layers and zinc white for later layers). 
~Zinc white can also be used successfully to paint wet into wet.  Notice, however, that compared to titanium white zinc's  tinting strength is much weaker.  This is an advantage if one wants to use zinc mix subtle hues without knocking down the brightness too far.
 
Glazing with Oil Paints
When applying transparent or semi-transparent layer(s) the white to use should have the property of semi-transparence.
Example: a palette of transparent pigments such as Prussian Blue, Madder Red, and Hansa Yellow will behave better for glazing when the white used in the glazing palette is semi-transparent.
~ Zinc white is the only semi-transparent white (sometimes listed as semi-opaque) available.
Also, glazing over an area to lighten and lesson color can be done with zinc white or zinc white mixed with a medium. Liquin as the medium will lessen zinc’s slow drying time.  Dick Blick* states that unmixed zinc white may be prone to cracking over time.  Also remember that zinc can lean to the cool side of the palette with a bluish tint.

* http://juliesusanne.blogspot.com/2010/04/foundation-white-ground-underpainting.html July, 6, 2010


Please add to this topic by clicking 'comments' below.

Paint Ingredients: Which White is in the Tube?

I once believed that a tube of oil paint named Titanium White contained only that pigment.  Silly, silly, me!  This is not the case.  Read about the paint labeling inconsistencies: Oil Paint Ingredients.  Read more about choosing white paint: White Paint Ingredients: Lead, Zinc, Titanium.  Below is a list white paint of several popular professional oil paint lines, including the ingredient pigments.  The information is based primarily on the manufacturers' websites. Pigment codes are also noted for clarity.

Blick First press non-yellowing safflower oil.
Exceptions: Cerulean Blue = poppy oil, Ivory Black,
Mars Black and Sepia = linseed oil.
Titanium White: Titanium dioxide(PW6) + Zinc oxide(PW4)
Zinc White: Zinc oxide(PW4) + Titanium dioxide(PW6)

Blockx Iron oxides, earth pigments, and blacks are ground with linseed oil. All other pigments are ground with poppy seed oil- believed to prevent yellowing and wrinkling.
Historical pigments hand ground with poppy seed oil: Vermilion, Naples yellow light, Naples yellow dark, Lapis Lazuli.
Flake White: Lead White (PW1)
Mixed White: Lead white(PW1) + Zinc oxide(PW4)
Titanium White: Titanium dioxide(PW6)
Titanium-Zinc White: Zinc oxide(PW4) + Titanium dioxide(PW6)

DaVinci Linseed based
Titanium White: Titanium dioxide(PW6) + Zinc oxide(PW4)
Zinc White: Zinc oxide(PW4)

Gamblin Alkali refined linseed oil
Flake White Replacement: Titanium dioxide(PW6) + Zinc oxide(PW4)
Quick Dry White: Titanium dioxide(PW6) + Zinc oxide(PW4)
Radiant White: Titanium dioxide(PW6)
Titanium White: Titanium dioxide(PW6) + Zinc oxide(PW4)
Titanium-Zinc White: Titanium dioxide(PW6) + Zinc oxide(PW4)
Zinc White: Zinc oxide(PW4)

M. Graham Walnut oil (flows more freely and less tendency to crack or yellow)
Titanium White: Titanium dioxide(PW6) + Zinc oxide(PW4)
Titanium White Alkyd (rapid dry): Titanium dioxide(PW6) + Zinc oxide(PW4)
Zinc White: Zinc oxide(PW4)

Michael Harding Refined cold pressed linseed oil: neutral acidity to ensure permanence
Exceptions: Titanium White 1 = safflower oil Flake White 2 = safflower oil
Cremnitz White: Lead White (PW1)
Cremnitz White (walnut oil): Lead White (PW1)
Flake White No. 1: Lead White (PW1) + Titanium dioxide(PW6) 67/33
Flake White no. 2: Lead white(PW1) + Zinc oxide(PW4) most brilliant/white in Harding line 75/25
Foundation White: Titanium dioxide(PW6) + Lead White (PW1) 50/50
Titanium White No. 1: Titanium dioxide(PW6) + zinc oxide (PW4)*
Titanium White no. 2: Titanium dioxide(PW6) + Zinc oxide(PW5) *
Titanium White No. 3 (with driers): Titanium dioxide(PW6) + (PW5)*
Zinc White: Zinc oxide(PW4)

Old Holland Cold pressed linseed oil from first pressing:
Old Holland Flake White 1: Lead white(PW1) + Zinc oxide(PW4)
Old Holland Cremnitz White: Lead White (PW1)
Old Holland Mixed White 2: Titanium dioxide(PW6) + Zinc oxide(PW4)
Old Holland Titanium White: Titanium dioxide(PW6)

Rembrandt, Royal Talens
Mixing White: Titanium dioxide(PW6) + Zinc oxide(PW4)
Pearl White: Titanium dioxide(PW6) + Tin oxide(PW15) + Mica(PW20)
Titanium White (linseed): Titanium dioxide(PW6) + Zinc oxide(PW4)
Titanium White (safflower): Titanium dioxide(PW6) + Zinc oxide(PW4)
Transparent White: Titanium dioxide(PW6) + Zinc oxide(PW4)
Zinc White (linseed): Zinc oxide(PW4)
Zinc White (safflower): Zinc oxide(PW4)

RGH Alkali refined linseed oil                         
Flake White: Lead White (PW1)
Titanium White: Titanium dioxide(PW6)
Zinc White: Zinc oxide(PW4)

Sennelier Pure, first press non-yellowing safflower oils
Flake White : Lead white(PW1) + Zinc oxide(PW4)
Titanium White: Titanium dioxide(PW6) + Zinc oxide(PW4)
Zinc-Titanium White: Titanium dioxide(PW6) + Zinc oxide(PW4)
Zinc White: Zinc oxide(PW4) + Titanium dioxide(PW6)5

Williamsburg Pure, premium, alkali-refined and pH-balanced linseed oil
Williamsburg Zinc White: Zinc oxide(PW4)
Williamsburg Silver White: Lead white(PW1) + Zinc sulphide(PW7)**
Williamsburg Titanium White: Titanium dioxide(PW6)
Williamsburg Titanium-Zinc White: Titanium dioxide(PW6) + Zinc sulphide(PW7)**
Williamsburg Flake White: Lead white(PW1)


Photos are of paints that I have tubed myself.  This is not as difficult as it may seem and saves a great deal of money.  Although I will do a demonstration post on my method at some point, Stapleton Kearns shows us how; click here: Tubing Paint by Stapleton Kearns. 


* Contact manufacturer before purchasing- Website has discrepancy

** Contact manufacturer before purchasing- PW4 may be in use, instead of PW7.



http://www.dickblick.com/items/01595-1023/#colorpigments 4/28/10
http://www.dickblick.com/items/01595-1033/#colorpigments 4/28/10
http://www.blockx.be/en/produits/huiles.asp 3/3/10
http://www.gamblincolors.com/artists.grade.oils/whites/index.html 4/28/10
http://www.mgraham.com/html/technical.asp 4/28/10
http://michaelharding.co.uk/colours.php 4/28/10
http://michaelharding.co.uk/_images/Addendum%20Colour%20Chart.pdf 4/28/10
http://www.oldholland.com/pages/english/color_oil.html 4/28/10
http://www.rghartistoilpaints.com/new/pigment_id_chart.shtml 4/28/10
http://www.sennelier.fr/fr/nuanciers/HXF.pdf 3/3/10
http://www.talens.com/uploads/products/2_C_GBR.pdf 3/3/10
http://www.williamsburgoilpaint.bizland.com/OilColors/whiteoils.htm 4/28/10

Foundation White Ground & Underpainting White Paints

To provide the best painting foundation, the earliest layers of an oil painting should have specific properties. Of particular importance are low oil content (lean) and high support strength. Whites are some of the leanest paints available. Both lead white and titanium white make strong paints.

Lead White or Flake White (PW1):
Chemical: Lead(II) Carbonate
Use where a lean, opaque, fast drying white is needed.

Titanium White (PW6):
Chemical: Titanium Dioxide

General all purpose white.
Tinting strength very high.
Pure titanium dioxide white may express oil to the surface during drying. ⁴

Foundation Ground or Foundation White
When preparing a canvas it is desirable to have a strong foundation in the first layers.  Furthermore, the guideline "Fat over Lean" should be used.  This not only helps prevent cracking later, but also gives the fatter layers of paint a lean "underbitten" surface to "bite" into and adhere to. ¹   And for convenience sake, a fast drying paint may be desired.  

   ~ Lead white, aka Flake white, has all of these properties:

• Structurally Strong White with a Tough Flexible Film ¹
• Leanest White
• Fastest Drying White
• Opaque
• Very Good Covering Ability

   ~ Titanium White is a good less-toxic alternative:

• Structurally, "Less Prone to Cracking" ³
• Less Lean than Lead White
• Medium Drying White
• Opaque
• Superior Covering Ability

Michael Harding carries a Titanium White with dryers to contend with the slower drying time compared to lead: it is called 'Titanium White no. 3.' 

Maximizing the properties of both lead white and titanium white, some artists use a 50/50 mix of the two for a foundation white.  While I prefer to mix my own, the Michael Harding line does contain a paint with this exact mixture: it is named 'Foundation White.' ⁵   If you want to mix your own, ensure you are using pure titanium dioxide and pure lead carbonate paints.   Click for more about: White Paint Ingredients.

Underpainting White
The underpainting portion of a picture is one of the earliest layers painted.  An underpainting white with the properties listed above would be most beneficial. 
   
   ~ Lead white, of course, has all of the properties and "is the most structurally sound white for underpainting" ² and its "tough stringy texture" ¹  makes it ideal for texturizing.

   ~ Titanium White is a less-toxic alternative.

As a final note, zinc white is not appropriate for the early painting layers of an oil painting.  Not only is its transparency and low tinting strength an issue, but also its paint film is too unpredictable for this job. ¹  Furthermore, it dries very slowly.

Please post your suggestion or remark by clicking 'comments' below.


Bibliography
1. Creevy, Bill The Oil Painting Book, Materials and techniques for today’s artist, 1994, Watson-Guptill, New York, pp50-51, p144
2. http://www.dickblick.com/items/01597-1242/#colorpigments 3/3/10
3. http://www.dickblick.com/items/01597-1013/#colorpigments 4/13/10
4. http://michaelharding.co.uk/colour-info.php?cID=75 4/13/10
5. http://michaelharding.co.uk/colour-info.php?cID=78 4/13/10
6. http://michaelharding.co.uk/colour-info.php?cID=77 3/15/10

Lead, Titanium or Zinc White; Which is Best?

Continuing the discussion of white paint available to the oil painter, I will go a little more deeply into the characteristics of individual white pigments. When determining the 'best' white to use, there is no single way to decide this. A white is chosen based on the needs of the artist in that moment. Lead white, titanium white and zinc white vary greatly in their properties: opacity, toxicity, drying time, etc. With such differing properties, I believe it is so essential to determine the actual pigments contained in the white being used regardless of the name of the paint.


Toxicity:
Toxicity varies to extremes. If a strict non-toxic palette is desired, titanium white is the choice.

Titanium white is considered to be non-toxic unless inhaled. Caution with dry pigment or sanding.  ²
Zinc white may have traces of lead. Moderately toxic by ingestion. Less toxic by inhalation.  ¹
Lead white is toxic and should not be ingested, or inhaled (when sanding, scraping or spraying). I believe it wise to keep lead white off of one’s skin: wear gloves and other barriers when painting. Keep out of reach of children.

Drying Time:
Drying times vary greatly. A fast drier will hasten the drying time of any paint it is mixed with. A slow drier will lengthen the drying time of any paint it is mixed with.

Lead White: Fast (a few days) ^{2, 3}
Titanium White: slower ²
Zinc White: slowest ²

Opacity:
Because the most opaque oil color of all is white, ³ it has excellent covering capacity and tinting strength. The opacity varies among the whites, however.

Lead White: Opaque
Titanium White: Opaque
Zinc White: Semi-transparent

Permanence and Lightfastness
All three whites have excellent permanence and excellent lightfastness.
However, the tendency to yellow over time varies.

Titanium White: Tendency to yellow less than zincs…but still yellows easily. ²
Lead White: “May become discolored over long periods of time.” ¹ May “blacken when exposed to sulphur in the air.” ¹
Zinc White: Tends to yellow. ²

White Paint Ingredients- What's in the Tube?
Earlier I stated, I believe it is so essential to determine the actual pigments contained in the white being used regardless of the name of the paint. Below is an example to illustrate this point.

Let us suppose I want a fast drying white paint with high covering capacity. I may choose lead white. Many know that the terms 'lead white' and 'flake white' are used interchangeably. A tube of white paint with the label, "Flake White" would lead me to believe that the only pigment in the tube was lead carbonate. I would be wrong to believe something so (seemingly) obvious!

Blockx "Flake White" and Williamsburg "Flake White" do contain only the pigment lead carbonate. However, Sennelier "Flake White" contains both lead carbonate and zinc oxide. The Sennelier "Flake White" has the same pigments as  Blockx "Mixed White," Old Holland "Flake White 1," and Michael Harding "Flake White no. 2."

If I want pure lead carbonate in the Old Holland or the Michael Harding lines, I need to buy the "Cremnitz White." ⁴ If I want it in the Sennelier line, I'm out of luck.  And Gamblin "Flake White Replacement?" No lead carbonate at all, just titanium and zinc. In a later post I will list white paints by brand and content.

In the next post about white pigments, however,  I will address specific uses of the white paints.
 
1. Blick, Dick  http://www.dickblick.com/items/01529-1115/#colorpigments 4/03/10
2. Blick, Dick  http://www.dickblick.com/items/01571-1023/#colorpigments 3/03/10
3. Creevy, Bill The Oil Painting Book, Materials and techniques for today’s artist, 1994, Watson-Guptill, New York
4. Harding, Michael  http://michaelharding.co.uk/colour-info.php?cID=77 3/15/10


Please post your thoughts by clicking 'comments' below.

White Oil Paint Pigments; A White Is A White Is A White...What's The Difference?

Are all white oil paints basically the same?

Nope! There are even variations between brands of whites with the same name as well as similarities between whites of differing names! Over the next few weeks it is my goal to research, pick apart and reassemble this subject. I intend to distill this down to something clear and understandable.

White Oil Painting Pigments
There are essentially three main white pigments that are widely available: Lead White, Titanium White, and Zinc White. Either an individual pigment or a mixture of more than one pigment is combined with a vehicle, such as linseed oil, to make paint. Some companies may add fillers, extenders or dryers as well.

Oil Paint Ingredients
Knowing the properties of these pigments can help determine which white to choose for a specific task. It is important to know which pigment is contained in a tube of white before purchasing it. Believe it or not, a paint called “titanium white” may contain more than the pigment titanium dioxide!  This can be a problem when one wants the most opaque non-toxic white.  If zinc oxide is the additional pigment, this "titanium white" will not only be less opaque, but will also dry more slowly. 

In subsequent posts I will dissect the whites further to clear up the muddle within brands and between brands.