A Paler Shade of White, Part 2
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- Опубликовано: 5 окт 2024
- Please watch: "Choosing the Best White for Your Oil Painting"
• Choosing the Best Whit... -~-
Natural Pigments presents Part 2 of Artist Materials Advisor, “A Paler Shade of White.” Cohosts Tatiana Zaytseva and George O’Hanlon discuss the drying time, yellowing, and mixing power of Rublev Colours white artist oils: Lead White No. 1, Lead White No. 2, Stack Process Flake White, Barite, Lithopone, and Titanium White.
Learn more about these colors: www.naturalpig...
It is a pleasure when George works the other side of the camera. It isn't just that there are times I can't understand Tatiana because she doesn't use full sentences, but she also uses terms I don't understand. After replaying three times & turning the captions on, I finally figured out she said that Flake white is the steepest (?) no idea what that means... :(
I took the course Painting Best Practices Workshop. It was worth every dime.
I couldn’t thank you enough for your sharing of your knowledge in depth, it’s really generous of you guys. It’s really helpful, important and responsible to understand more of what we are using as an artist. Sending love from the UK❤
Love you guys, learnt heaps and looking forward to getting my hands on that stack lead white.
From the comparison between these whites, it seems that lithopone gives the most " neutral", bright and natural mixes, yet very few people seem to use it regularly..
That's true because only three companies make lithopone as an oil paint.
Great resource. Barrite looks useful for glazing/scumbling. Unfortunately it seems to be difficult to get lead white paint here in the UK.
I think you said that the video of stack lead white that you showed is from an older batch. How does the current batch compare in rheology? Thanks for a very useful video!
J Mcdonald, thank you for asking, I think I forgot to mention. The old batch (one before last) is much stiffer, you saw on the video I squeezed tube with big effort, where the new batch is much more manageable. So far, from all six batches (of Rublev Stack oil paint) we made in the history of Natural Pigments, all of them very different.
As they stopped making it about ten years ago, I feel freer to mention Winsor & Newton's Cremnitz white. When I started painting in the late Eighties I purchased some very old stock W&N cremnitz with 1970's labels. They'd been held at the national supplier and forgotten about or something and then passed on in a clearance sale to my local shop. I didn't know much about what the paint names meant at this point.
"Cremnitz? Never seen that before. Well it's much less than half price. lets buy two or three tubes."
I found it horrible. "Ugh, it's all stringy, runs off the brush forever, and won't dam well flatten!!!"
"Well I'm not going to waste it. I'll use it up anyway."
Eventually, halfway through the first tube, I came to love the weird stuff, and used it's qualities to my advantage. When it came to replacing this cremnitz, which I actually had to get the shop to order in, it was never the same again. Perfectly good paint for the next twenty years, but none of those stack lead like qualities. Which I thought odd as W&N later claimed those effects for this paint. Maybe the basic lead carbonate pigment was different from then on. I never did find out for certain.
@Divertedflight I had that Creminitz white too, way back then. Had the same degree of bewilderment and didn’t use it to best advantage either. On another note, I went right off using WN watercolour after they changed their labels to an indecipherable font size. Talk about pseuds corner…and their oils are far too oily and outrageously expensive. Do believe they’ve successfully trashed their reputation. For me at least.
@@rossmcleod7983 "Lets put the small print on a clear strip over the shiny bare metal. What could possibly be wrong with that?" I think they've now improved the watercolours by putting the colour band at the top, but their other ranges still have the poor design of putting the colour name and (rather small) sample on the bottom of the tube where it will quickly disappear from view as you roll up the tube.
Can you say when lead white will be back in stock in the European shop? 🙏
Tatiana, I asked the question about dilatant whites, and you mentioned that your umbers tend toward dilatant behavior. Can you recommend any particular raw umber and burnt umber pigment that you carry that displays some dilatancy? I have your aged refined linseed oil and find that it minimizes dilatancy. Would a higher acid oil like pale grinder's oil encourage it more, or any other oil you carry? Thank you for your knowledge!
Dilantancy is a factor mostly attributable to the pigment particle size range and morphology, not the oil.
Hello! I have questions about the Lithopone White.
- Is it toxic?
- If it has an ACMI Label, is it "AP" or "CL"?
- Is it carcinogenic?
Lithppone is not considered to be toxic or hazardous.
Don’t take it to heart, because that rude critic doesn’t have any manners.
I use your oil paints, including your different whites.
Thank you! We understand that everyone has an opinion.