Great demo! thankyou! I tried out the transparent white ... its nice, very silky texture. It almost has a slight pearlescent tinge to it straight out of the tube. It was last summer i used it, but I think from what i can remember, that it is quite fumey. But, then again, I am sensitive to all the oil paints anyway (and espec PW4). But I got some good effects with it. I used it for varying shades of blues and greys in portraying the geometric design on a 1960's building. Also bought a burnt sienna rembrant and a raw umber in sennelier .... and found them both to be compatible in consistency.... for anyone experimenting with brands. 🙂
What a coincedance ... only yesterday bought a tube and was worring where I could get info on how to use it ! And there you came along with the answer as allways ! Thanks so much .Daleen
Well thanks for the reminder. I routinely use zinc white in gouache for glazing and mixing, but titanium white for opaque highlight finishing. But in my oils, all is titanium white! A little thought about that seems appropriate. But what about the reverse? Do you, with oils, use eg hansa/winsor yellow being lower cost instead of the more opaque cad yellow? Or similar but in red? Pthalo or cerulean? It's an endless subject! Appreciate your video.
Thanks for your question. Yes it is a constant learning experience. I do use hansa yellow now and then, but I am also hooked on cadmiums. I do look out for specials and try to use colors wisely. You can use less expensive brands and still get excellent results.
Wow, accidentally watched this video, may I ask if it’s toxic? Coz I was thinking about lead white for glazing skin color, but it’s toxic, so if this is safe, I will definitely use it!
Now I have to go out and get a tube of Rembrandt's transparent white. But I'm afraid of using linseed oil for glazing. Would it take a long time to dry? Or maybe turn yellow?
You can use a premixed glazing medium. Or use safflower oil. Linseed oil can yellow with time in a dark room. But expose the painting to sunlight and yellowing goes away. It is not that scary.
is it necessary to use a medium when using transparent white and a colour in order to make a glaze? And ,, if so would liquin light gel work ok as the medium? do u know approx how much medium i should add? thank you!
Yes a medium is always helpful with a glaze. I am not a fan of liquin as it speeds up drying. I prefer either using a glazing medium or an oil like safflower. Then again glazing is not a regular thing for me so please test on scrap or an old painting to assess the result first.
What are your thoughts on cremnitz white(lead white) for glazing/portrait flash tones? I have the transparent white and titanium, but it seems like cremnitz produces even warmer tones than transparent and more durable than zinc. Yet it gets a bad wrap for some reason. It's not that expensive really, aside from Stack Lead White, and it seems to work very well. Thanks!
I'm sure it will work well. I have used lead/flake white and it is very different - warmer, smoother texture etc. Besides health issues it is so different to regular titanium that few want to practice using it.
Yes you can glaze with transparent acrylic colors. Keep white out of it of course. For thinner glazes use an acrylic glaxing medium to help keep the integrity of the paint.
Those mediums are not meant to dilute or desaturate color, within reason of course, but at some point they will impact the opacity of paint color. Would be interesting to compare results - maybe expensive too since those mediums are not cheap.
You're always so calm and soothing. You're like the Zen Buddha Art Teacher lol
😅🙏
I've learned more from your channel than I have from at least a dozen art instruction books on my shelf
That's wonderful to hear, thank you
Great demo! thankyou! I tried out the transparent white ... its nice, very silky texture. It almost has a slight pearlescent tinge to it straight out of the tube. It was last summer i used it, but I think from what i can remember, that it is quite fumey. But, then again, I am sensitive to all the oil paints anyway (and espec PW4). But I got some good effects with it. I used it for varying shades of blues and greys in portraying the geometric design on a 1960's building. Also bought a burnt sienna rembrant and a raw umber in sennelier .... and found them both to be compatible in consistency.... for anyone experimenting with brands. 🙂
Thanks, yes that pearly effect is something I noticed too. Could be great for delicate clothing etc Like JS Sargent's work?
Yes, it really would be lovely for that@@MalcolmDewey
It looks like it would be great for transparent fabrics such as lace or a veil.
What a coincedance ... only yesterday bought a tube and was worring where I could get info on how to use it ! And there you came along with the answer as allways ! Thanks so much .Daleen
Excellent! Let me know how it goes.
Wow very interesting. I didn’t know anyone made a transparent white. Will be trying it. Thanks!
I just spun the wheel-- and was delighted to be able to download your color tips. Thank you so much!
🎉Excellent!
I would love to try it. Thanks
beautiful idea.. thank you so much , Malcolm 👍👍
It's a pleasure, thank you.
Thank you for the painting tips, very helpful indeed.
Thank you!
Found this interesting.
Will definitely try this.
Thank you for sharing your expertise. I just love your paintings and appreciate every video.
Excellent, thank you!
Very helpful thank you!
Thank you!
Well thanks for the reminder. I routinely use zinc white in gouache for glazing and mixing, but titanium white for opaque highlight finishing. But in my oils, all is titanium white! A little thought about that seems appropriate. But what about the reverse? Do you, with oils, use eg hansa/winsor yellow being lower cost instead of the more opaque cad yellow? Or similar but in red? Pthalo or cerulean? It's an endless subject! Appreciate your video.
Thanks for your question. Yes it is a constant learning experience. I do use hansa yellow now and then, but I am also hooked on cadmiums. I do look out for specials and try to use colors wisely. You can use less expensive brands and still get excellent results.
Wow, accidentally watched this video, may I ask if it’s toxic? Coz I was thinking about lead white for glazing skin color, but it’s toxic, so if this is safe, I will definitely use it!
Yes the glazing whites are safe. Lead white is of course toxic, but Rembrandts paints are based on titanium or zinc.
@@MalcolmDewey thank you for your quick reply..! Amazing ..!
Now I have to go out and get a tube of Rembrandt's transparent white. But I'm afraid of using linseed oil for glazing. Would it take a long time to dry? Or maybe turn yellow?
You can use a premixed glazing medium. Or use safflower oil. Linseed oil can yellow with time in a dark room. But expose the painting to sunlight and yellowing goes away. It is not that scary.
👍🖌️🎨🤗 from Frances uk ♥️
Thank you! Cheers!
is it necessary to use a medium when using transparent white and a colour in order to make a glaze? And ,, if so would liquin light gel work ok as the medium? do u know approx how much medium i should add? thank you!
Yes a medium is always helpful with a glaze. I am not a fan of liquin as it speeds up drying. I prefer either using a glazing medium or an oil like safflower. Then again glazing is not a regular thing for me so please test on scrap or an old painting to assess the result first.
What are your thoughts on cremnitz white(lead white) for glazing/portrait flash tones? I have the transparent white and titanium, but it seems like cremnitz produces even warmer tones than transparent and more durable than zinc. Yet it gets a bad wrap for some reason. It's not that expensive really, aside from Stack Lead White, and it seems to work very well. Thanks!
I'm sure it will work well. I have used lead/flake white and it is very different - warmer, smoother texture etc. Besides health issues it is so different to regular titanium that few want to practice using it.
How to prevent white from fading?
Yellowing is possible due to linseed oil. Just put the painting in a room with lots of sunlight and the yellowing disappears.
Can we glaze acrylics?
Yes you can glaze with transparent acrylic colors. Keep white out of it of course. For thinner glazes use an acrylic glaxing medium to help keep the integrity of the paint.
What if you cut an opaque white paint like titanium white with a gel medium / liquin?
Those mediums are not meant to dilute or desaturate color, within reason of course, but at some point they will impact the opacity of paint color. Would be interesting to compare results - maybe expensive too since those mediums are not cheap.
Any concerns about the zink in the transparent white?
Its an excellent brand and I suspect the blend of pigments will ensure a long life to the painting.