What is the best oil painting white?
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- Опубліковано 17 лют 2023
- If you were to go to an art supply store, or take a painting class, you probably would assume that titanium white was your standard white paint. That wasn't always the case- and for unsatisfying reasons. In this video, we will discuss white oil paints, and I will tell you what I have as my go to white on the palette. I will demonstrate how the most common whites perform when they are mixed with a powerful color, and you will leave this video knowing what the difference is between lead and titanium white.
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If you’re someone who gets paint on themselves while painting or cleaning brushes, it’s just not worth it. I had a professor in college who used to occasionally wipe brushes on his hand, smear paint with his finger, etc. One day his wife found him lying on the floor unconscious. He had a long recovery in the hospital from severe lead poisoning that had built up over time, and permanent memory loss/damage. He told the class that story to let us know what was happening if he randomly passed out. This was years after the first incident.
There are the safest materials, and there are the best materials. Sometimes they fall in alignment with one another. Sometimes they don’t.
You could use gloves and not chew on your brushes. If you can't do that, better not use it.
I don't believe that story!?
My great grandfather was a house painter in the 1920's, made all his paints from raw materials. It is not surprising that he died at the age of 53 from lead poisoning.
@@user-bw8xo5nt9e Are you sure he died from lead poisoning? I was a house painter using lead paint before it was banned! It has been dangerous to little kids. Who have enjested it. I never ate nor drank lead white paint as and I'm 85 years old!
Thank you for the demonstration.
You’re welcome. If there are other demonstrations you’d like to see, please let me know. 🙏
Such a controversial topic and well represented video on the subject.
I find so many people thinking ingestion is only eating it or breathing the dust. One can absorb it over time.
I personally use lead white as my main white, though I may use titanium white. I feel like artists need to see it like a hue rather than just simple white. Use what’s best for you and move on.
Great video!
Thanks Michael.
Yes, it is definitely the “pineapple on pizza” topic of the painting world. Ha!
Love “the dark side”.. made me lol😂Thank you, love these video’s and have learned soooo much!
I’m glad you’re enjoying them and getting value out of them! 🙏
Excellent video and reasoning.
🙏
Thank you!!! No where on the internet you will get this kind of information easily available. Subscribed and liked! :)
🙏 🙏 🙏
I’m delighted that my content is helpful to you! I will continue to provide all I know on my channel, and if there are topics or burning questions you’d like answered, please feel welcome to ask! I am always excited to get to your art needs quickly.
@@OilandEarthStudio I've always wondered which student grade paint is the best bang for the buck. I mostly use daler rowney Georgian oil paint but I see more artists using winsor newton winton. Also I don't get the desired colors with Georgian when mixing, was wondering winton would make a difference
Here are a few videos I’ve made regarding student grade paint:
Student Grade Paint: Cheap Paint or Cost Saver?
ua-cam.com/video/5HwvhWZS0zU/v-deo.html
Three Ways to Improve Student Grade Oil Paint
ua-cam.com/video/1-xG3HONSfg/v-deo.html
Make your student grade paint more saturated
ua-cam.com/video/D9U5s6t5cxg/v-deo.html
If one is to use student grade paint, then the goal is to find either the most pigmented or the cheapest price point. What those are specifically, I’m not entirely sure (they are all relatively similar). The tinting strength is so weak in student grade paint especially when using titanium white. So, if it’s in the coffers an upgrade to something like Utrecht or Gamblin is worth it. They are very cost competitive for artist grade materials.
Thanks!
You’re welcome.
Love the comparison and explanation between the two whites . I abandoned lead white because I was told it's not safe. At one time, I used zinc white. It got pulled off the market entirely. Now, a "safer" version is out. Paints keep changing, and the attitudes about their safety do too. I will add lead white back to my palette.
Zinc white has been getting removed from oil paint lines because it has been found to create very brittle, fast cracking paint films.
The concern about using lead white safely are just. Wearing gloves, thoroughly cleaning surfaces where wet paint is placed, being mindful of paint that creeps up your brush handles, and practical storage of paintings that now have lead white are the major ways in which you can mitigate the risks of using it. (It is actually no different than the same risks presented by cadmium’s, manganese, and cobalts.)
@Oil and Earth Studio I didn't know that about the zinc. Good to know. But the zinc I used was paint with actual zinc made 50 years or so ago. I believe I have one painting left from back then, and knock on wood, no cracking. I, too, still use the cads, magenese, and cobalts.
You made me curious, and I looked up white of the 20th century😄. The article also reminded me of my use of flake white and permalba white. I used the flake mostly for portraits in the 70's. I love the science behind art. Thanks for sharing!
The discoveries in zinc are fairly recent. (What can you do? You live and learn.)
The painting best practices website and Facebook page is a great resource for that kind of stuff. MITRA is also a good technical articles resource.
Great video.! How do you clean up the lead and keep lead soaked rags and paper towels, etc., out of the trash, which would go into landfills? I’d be interesting in trying lead, but I want to do it responsibly. Maybe you could make a video on responsible cleanup? Thanks again!
In every county in the United States, there is a paint and toxic substances disposal facility associated with Hazmat. You can bring your paint, solvents, and other disposal materials there. Another option would be to sign up for a rag service like they do in printmaking studios and mechanic shops.
Such an on point presentation, thank you! I have been painting for years, and read almost everything about the PW1 pigment, and I was obsessed with it, yet never used it. It is impossible to get a tube of it for reasonable price in my country, and It is not available at all! And I will not bother to buy it abroad for loads of money. I could perhaps compare it to PW4 (Zinc white), but we all know what that pigment does even as less than 10 % percent mix in the PW6 (Titanium) white for example! But I've used it sparingly for highlights, and Zinc white is extraordinary in keeping the true chroma of a pigment, almost never yellows, but becomes in two years brittle as glass. I also use cadmiums, love them, but there are times that I get serious smears on my hands, very often I'm afraid. I use Titanium white with a greater load of other pigments. Not comparably with PW1, but will do I guess. You must also know one of Lead white's biggest flaws, and that is blackening over time.
Thanks for the thoughtful comment and the kind words. It is great to see another artist being thoughtful in their materials choices and painting practice. Cheers!
Thanks for the thoughtful comment and the kind words. It is great to see another artist being thoughtful in their materials choices and painting practice. Cheers!
I haven't heard that it blackens over time. It is suprising to hear that because all of the artists pre-20th century used lead white. Titanium was invented in 1910. Those paintings appear to be in good shape, as far as I know.
This is a curious question , for me? It seems to get whiter with time when exposed to sunlight! But in darkness it may get darker or black with time??
Being an artist/painter I agree with your presentation about the superiorty of white lead in paint. But I see the scare about lead as out of reason. When lead paint was more commonly used by the public in the past, any contact is a very slow buildup. And no clear indication of symptoms. Some possible early symptoms include depression, loss of appetite, intermittent abdominal pain, nausea, diarrhea, constipation, muscle pain, malaise, fatigue, decreased libido, and problems with sleep. That's pretty broad, any number of causes can produce those results. I worked with stained glass for 5 years and then electronics for 7 years. I have more lead in me than a whole herd of hungry toddlers. Blood tests need to be performed to check levels in a person. I doubt very few people had tests conducted that confirmed they had lead poisoning. My point is: Yes there are dangers, don't paint cribs with it, and quit worrying about whether your house has toxic levels of the stuff. People: try not being so stupid. Any old paint is treated like it's deadly radiation, a crew of bio-haz people swarm in and strip the surfaces clean. Better to leave any encounters with lead paint alone. Just paint over it, it is a good undercoat/primer. There are far worse toxins to be concerned about . . . like the thousands of square miles of our oceans.
If artists understand what their materials are, and they understand reasonable ways to handle materials safely, then they have everything they need to make the best decision for their practice.
Love this video, ordered lead white already. but I read it can’t be mixed with Sulfide- containing pigments, otherwise will turn black, not sure what colours contain sulfide ..?
My short answer is I do not have personal concern about the potential reactiveness.
There is evidence of sulfide (or forms of sulfur) reacting with lead carbonate. Based on what I’ve read, it sounds inconclusive if sulfide particles bound in linseed oil is sealed off from that reaction. They, being conservators, have seen it happen, but there is not a firm answer as to why it did happen. It doesn’t seem conclusive that the artist choice in materials was entirely to blame.
Lead white is the most commonly used historic pigment. Vermillion is a form of mercuric sulfide and it has been historically used as a red. So, there is a lot of evidence in the form of actual paintings that suggest the longevity of this white. It wasn’t until the 19th and mainly 20th century that any other white was widely used.
If you’re concerned about this topic for your work’s longevity reach out to the technical support at Natural Pigments ( www.naturalpigments.com ). They have done way more extensive research that I would ever be able to do on this topic. They can steer you right chemically, as well as product selection.
I hope this is helpful.
How does lead white react with synthetic, highly staining, transparent pigments like quinacridone rose and thalo or Prussian blue?
Lead white would operate somewhat similarly to titanium with synthetics. Quinacridone would tint towards red violet rather than blue violet. Prussian and pthalo would overpower it but with small amounts, it would have some nice tinting possibilities.
The biggest difference with the synthetics is the tinting strength. They overpower white, lead more so than titanium. Warm colors would have less cooling, bluing effect from lead relative to titanium. However, with the synthetic pigments I’m talking about small nuance. Generally speaking, titanium is going to hold up to the tinting strength of these pigments better.
Can lythopone white, (barium sulfate plus zinc sulfate (not zinc oxide)) be perfect non toxic substitute for lead white?
Zinc sulfate does not have the same issues as zinc oxide, so it’s a perfectly fine white to use. Rublev makes this as an alternative to zinc oxide white, and it likely has more weight (density) than titanium.
If you’re looking for a more transparent white than titanium and do not want to use lead, it’s definitely worth a try.
[Unfortunately, there is no perfect substitute for lead white.]
Interesting video.
If I were to restrict my use of Lead White would it make sense to use it primarily for portrait painting (as opposed to Still Life or Landscapes) because of its transparency?
That is a very sensible approach to utilizing the strengths of your whites. I will often use titanium for a large percentage of my Plein Aire studies because I need to find light chromatic tints fast (and having a “bluer” white lends itself to daylight). Lead white is fantastic for flesh tones.
Thanks for the comment.
Thanks, Trevor. I've read through your responses to comments made. You are respectful, informative, and the content seems common-sensible. This was my first contact with your UA-cam site and I look forward to perusing the other entries. I downloaded your pdf's and trust they'll be useful in teaching myself to oil paint.
@deaconseptember2002 you’re very welcome. I’m glad to be helpful to your painting process. If there are topics you would like to have more information, let me know. I aim to provide as useful of information as I can.
Hello! Getting started with lead white… I just got Williamsburg Flake white.. is it different from the Rublev Lead White #1? I was confused over the different names and stack lead, flake, Cremnitz? Is the Rublev more thixotropic? 🤔
Williamsburg Flake White and Rublev Lead White #1 are very similar paints. The term flake white stems from the old stack flake process of making the pigment. Rublev makes a stack flake white that has very irregular particle sizes. That makes the paint more thixotropic. My understanding is Cremnitz is traditionally a lead zinc white combo. The most important information is the pigment number(s) and whether it is actually made using the stack white process versus commercially available PW1 lead carbonate.
I hope this helps!
I ordered Williamsburg White. It was hard as a rock! After warming it up a bit, I got some out of the tube! It wasn't very white! Very noticeable when compared to other white! Titanium white turns a ochre color when exposed to sunlight - no matter what the medium used!
I recently bought Williamsburg White lead paint! It was terrible! Hard and ochre colored! NOT WHITE! Rublev is much better!
Informative and interesting video. What do you think of Zinc white for mixing compared to lead white?
I personally don’t like using zinc oxide because it is directly linked to paint embrittlement. There are some rare examples of it holding up well, but there is not a good understanding of why that is. Ultimately, the choice of painting surface is of greater importance, however I find using lead and titanium white provides me excellent range.
Zinc is not as good as flake white! While painting with zinc , it is bad for impasto ( thick paint) its much better when painting in glazes! Permaldo is much better for in between paintings.
Lead white has lead in it 😮 and it's a warm white compatwd to titanium white which is a cool.
It’s an awesome color to have on your palette. Just be careful and mindful with handling and clean up.
Cadmium red has cadmium in it
I've used lead white in the past, and (like you said) it has unique properties and is a dream to use. Everyone should use it at least once!
That being said - although the pigment itself is awesome, I found safely handling lead paint so mentally draining that it made it impossible to enjoy. I know it's fairly safe with gloves and an apron, but as soon as that lead paint goes down anything it touches (either on purpose or by accident) is forever contaminated. Cadmiums and Cobalts (in binder, not loose pigment) is a lot easier to handle safely, and solvents are optional and easy to avoid.
Have you checked out Lithopone(PW5), Titanium Buff (PW6:1) or Barite (PW22)? Although there's no replacing lead white, there are lots of different and unique whites out there that are a lot different than straight-up PW6.
I hear you. It’s not for everyone and sometimes the risks outweigh a person’s benefits for use. I am familiar with all the options you mention. Litopone has great transparency, as does barite. You have to be mindful of stronger yellowing potential, particularly with barite. I like titanium buff, and just find it to be different than lead. I think a lithopone/titanium combo or a titanium/titanium buff combo to be worth experimenting with for your personal needs.
@@OilandEarthStudio Thanks so much for replying!
I'll definitely continue messing around with Barite/Lithopone/Titanium Buff/Titanium, and I can probably figure out a favorite recipe eventually. Tbh I don't find Titanium White bad on its own at all, but it's definitely just... different and more overpowering than lead.
If only zinc white behaved as well in oils as it does in other mediums! :(
@centradragon if only. Keep experimenting. Thanks for the conversation on the channel. I appreciate you.
You have been overhyped on the danger of lead white! It is still much safer than cobalt or the cadiums! California is stupid for banning it! POLITICIANS ARE NOT ARTIST ! They have also banned turpentine too! It's one of the reasons that California is going downhill!! Wish we could ban greedy, narcissistic politicians!
I tried switching to lead white ( Rubliev no 1) but found that my mixtures would lighten when dry, and that really threw me off. Have you experienced that? Any idea why that might happen?
I have not experienced this. You may want to contact natural pigments and explain this concern with them. Their technical support is really great.
@@OilandEarthStudio Thank you, good idea, I will contact them
YES! Lead white will actually get whiter with age, especially when exposed to sunlight, unlike titanium white. All the titanium whites I've used will turn a yellowish ochre color over time! No matter what medium is used. Mediums also play a role in yellowing!
@robertchilders8698 here is an article on yellowing.
justpaint.org/on-the-yellowing-of-oils/
Short term yellowing appears to be reversible with sunlight exposure, however long term yellowing is different. You are right that yellowing varies from pigment to pigment.
Ok, I see titanium is more chalky, the chroma is better with the lead white, will try it in the future. Question, how does it look with time, light and the atmosphere, zinc white tends to crack and yellow with time, where titanium less so.
The yellowing of paint has more to do with the color of the oil used and less to do with the pigment. Darker oils appear to yellow more than lighter oils. Appear is the operative work. All oils yellow at about the same rate.
Lead white is less brilliant and less “blue” than titanium, so it will appear to yellow more.
With that said…There is a “fix”!!! Yellowing tends to happen more when paintings are stored in the dark. If you ever notice a painting or a white passage yellowing, you can set the painting in a window to receive sunlight. Indirect and direct sunlight have a reversing effect on the yellowing in oil paint. If a painting has yellowed for a long, long, long time (years) it may not completely reverse, however, it will lessen considerably. Most yellowing on our paintings can be reversed with this quick tip. I can personally attest to this working on lead primed surfaces I’ve had stored in boxes over the years.
Virgil Elliott turned me into this idea. I hope I am recited my understanding of his explanation correctly. I hope this is helpful.
Straight zinc white aplied thickly is what is prone to cracking. When you mix it with other pigments and aply it thinly, I don't believe it cracks.
Titanium white well turn a yellowish ochre when exposed to sunlight! - no matter what the medium is! I prefer zinc white when painting in glazzes! As it is stronger. I still have some paintings that are 70 years old with very little cracking. The surface is very important to paint on ! Don't like canvas anymore! I now paint on 1/8 maple plywood - well sealed. The Mona Lisa is on wood and is over 400 years old?? Much cheaper than canvas and can be hung without the frame!
@@pjjmsnYou are absolutely right!😊❤
I love lead white too. The probles is that is increasingly becoming more difficult to get and and when you do the prices are really crazy (like $120 fo 120ml tube). So we as artisst how can deal with a loved pigment, perhaps the most important pigment in oil painting history, which is dying out in from of us , and as you say because of the industry trend we can do nothing about?
It’s a complex problem. Pertaining to cost, if the pigment is vitally important to your values and approach as an artist, then it almost becomes irrelevant. I say almost because there is a difference between expensive and prohibitively costly. Pertaining to access, it actually is possible to make it yourself, and lead will always be an accessible material because it has functions in larger economies. I offer this idea gently, however, because I very much prefer to not create powdered lead particle myself. It’s a very messy process, and lots of precautions would need to be made. All of this is to say, it is a doable process. Thankfully, companies like Natural Pigments are committed to preserving and providing the pigment to as wide an audience as they can.
What’s your take on Rublev’s lead white alternatives?
I am a big fan of Rublev products. They are one of the leading voices when it comes to better quality products and practices.
I don’t want to put words in their mouth, but I would say they don’t offer lead white alternatives. They have many lead white options, as well as some other whites that historically have had specific purposes. I particularly like their Flemish white, which is a different lead compound than lead carbonate.
If I were not going to use a lead white in my painting practice, then I would use titanium white. There is not going to be an alternative for lead white. There are just other options. Titanium would be that for me.
@@OilandEarthStudio They have a few, Mixing White comes to mind. They’ve mixed Titanium with Barite to add body and transparency.
I have barite and perlite in powder form, and the paint qualities you’re mentioning are definitely present and very appealing.
I haven’t used the specific whites you’ve mentioned, but it’s only because I’m too far gone as a lover of lead white.
I suspect they would be very appealing to paint with, and if you do what I do with the dry pigments, then just using minimal amounts of these pigments is recommended. Barite on its own has a stronger yellowing tendency than titanium or lead.
@@OilandEarthStudio I think there are lead white "hues" out there that mix titanium with zinc and perhaps a touch of orange or yellow to counter the blue of those 2 pigments.
@@pjjmsn there are, but they are just not an apples to apples comparison. If someone is looking for an alternative to
Lead white, I would simply recommend they use titanium and avoid zinc. I don’t have another recommendation personally.
I live in Costa Rica and we don't have access to lead based products. I am seriously thinking about making my own
I empathize with your circumstance. Although titanium isn’t a perfect substitute, it does a very good job relative to lead white.
Were you to make your own, I would explore some of the technical articles at www.naturalpigments.com and contact them. They might have good guidance on the kinds of precautions that should be taken to do that safely.
@@OilandEarthStudio I started using Lithopone white, I am very satisfied with its transparency and no longer thinking about lead white at all. Thanks!
I’m glad to hear you’ve found a white that suits your needs.
I bought cremnitz white from harding when they came in caulking cartridges,, now a 40 ml tuve is 60 bucks
It can be pricey. I personally find it totally worth it.
I only realized recently raw umber has lead in it - i thought it was a an earth color
Raw umber should not have lead in it. It should be Pigment PBr7.
@@OilandEarthStudio Utrecht is that pigment and also says contains leas
Where do you buy your lead white?
Rublev on www.naturalpigments.com or Williamsburg at local supply stores.
@@OilandEarthStudio Thsnks!
A few general points from some of the comments: zinc oxide is problematic in oil paint - not because it's unhealthy for us, but because it dries (very slowly) to a very brittle film, and can cause cracking and delamination. Titanium White is a very useful colour (provided makers don't add zinc oxide to it, which very many do). Lead white, for the reasons shown in this excellent video, is manufactured these days under strictly controlled conditions; the greatest danger from it in normal use arises from inhalation of its flakes and dust; it should be kept away from open wounds and sores; and if you're going to make your own, you need gloves, a mask, and plenty of ventilation.
That said, and as has been demonstrated, it's a vital tool for oil painters: the way it works with other colours has been shown in this video: add to this that it enables paint to be virtually sculpted - in portraiture, it's virtually impossible to replace it with anything remotely as useful; Lucian Freud's portraits would have been very difficult to achieve without it; Rembrandt's would have been impossible (though, being Rembrandt, he'd have found a way: snag is - there are very few artists of his calibre and inventiveness).
I'm not going to try persuading other painters to use lead - it's a choice the individual needs to make, having considered all the evidence; clearly, one contributor here thinks its risks outweigh its benefits - I don't agree with her, but entirely respect her belief. Because Oil and Earth studio probably has more up to date knowledge about the risks of lead paint entering the water supply than I have, I would ask him to make another video addressing those risks, if he hasn't already. Because while I wouldn't encourage people to use materials they fear are dangerous, I would encourage artists to use the best oil paint they can get: in my view, that means lead white, among other pigments. I suggest that those who have fears - and legitimate concerns - about lead entering the water we drink, join the Tradional Oil Painting Facebook page maintained by Virgil Elliott, and acquire his book of the same name, on which his FB page is based; and consult MITRA - based at the University of Delaware, I think - who have undertaken key research in this area. They could buttress what they learn from those sources by reading the Natural Pigments website (the makers of Rublev paint, among many other artists' materials) and speaking to George O'Hanlon and his partner Tatiana Zaetsvaya (relying on my memory there!) about their advocacy of the paint. It'd be a pity to deny oneself the use of a great paint on the basis of information which may not be entirely accurate.
Thank you for the comment. I actually have zero waste going into the water supply with my painting practice. I’ll be sure to share that in a video soon. I’m currently making a permanent move from Colorado to Philadelphia. When the dust settles, I’ll be sure to discuss this.
Again, thank you for the thoughtful and thorough response!
VERY GOOD RUNDOWN!! I think that a zinc based paint is the best for painting in glazzes,! Because it is stronger?
It comes down to personal preference ive tried Lead white, zinc white and T White and personally liked T White over the traditional historical Lead White. T White works for me better. I like using Alz Crimson and you hear people going on and on about how it fades etc etc. You watch the experiments and its in direct hot sunlight for weeks or months or even a year in a hot country (i live in the UK). And they go "look look its faded". When i point out who would realistically put a priced oil painting in direct sunlight - its one of the no no. (But if its a measure of time over years speed up?) Also was the painting varnished? Would that make a difference? Well the usual response is they ignore it or get very defensive lol.l just laugh. Its never stopped me from using it and its a great colour and ive got paintings with it in which are 12yrs old and no issues in fading has occured yet.
That’s ultimately the way to handle these choices. Know your materials. Know what you want to get out of your painting, and choose the materials that best suit your goals. I’ve personally been using a fair amount of titanium and titanium/lead blend white for my Plein Aire painting to get out atmospheric values faster. In the studio, I tend to use more straight lead white. It’s all about intention.
Thanks for the comment!
I love alizerin crimson and can't find anything that substitutes for it and works as well. It has a firey quality that the others that I have tried, don't. I would rather get the best painting I can get now, than get an inferior one that does not fade after I am gone.
I've been painting for over 70 years! I do have an issue with titanium white! I miss my old lead white which has been banned by stupid, greedy politicians!
I used. Alizerin crimson most of my life before I realized it wasn't a red color! Very powerful color, that can overwhelm everything else.
Are Lead white and Zinc white the same thing?
No. Lead white is pigment white (PW) 1: lead carbonate. Zinc white is PW4: zinc oxide. Lead white is a good paint for oil paintings, for several reasons. Zinc oxide has been proven to be a poor choice in oil paint because it greatly increases paint embrittlement.
As I’ve heard from other artists, “friends don’t let friends use zinc white.”
@@OilandEarthStudio Okay, thank you v much.
You’re welcome. Great question! 🙏
If you ever finger paint don't use lead white. Just add calcium carbonate to your titanium white.
This can be done with gloves, as well. It’s a matter of material preference versus safety measures. To each their own.
The lead in the paint makes a much stronger paint film. Titanium white is much more opaque and therefore creates a duller pastier color by blocking the light from passing thru it and reflecting back off of the canvas. Zinc white that has added nanoballs is much stronger and more brilliant. The safety of lead is an issue in that it is treated with little respect. The lead molecule is larger than the opening the skin. It it is on your hands and you eat, drink or smoke in your studio it can easily end up in your mouth. It also is recommended to not snort it. If you work in watercolor the paints are still toxic. Water does not diminish the danger of pigments. Acrylic paint when dry forms a type of plastic and at that point becomes a lot safer.
The safety versus materials choice debate is individualistic and always ongoing. Thanks for watching.
Just use less titanium?
If the goal is to simply mix the same value, yes. The point of emphasis in this video is titanium white has a stronger impact on colors. It cools and pales colors more, and it provides fewer chromatic value steps when tinting other colors. These are the characteristics of titanium dioxide as a pigment.
Other then lead white being more neutral in tone, titanium white beats it out in every other category - even ones you didn’t mention like cost and availability. The fact that lead white has much worse tinting strength and it costs 5X the cost of titanium means it will never be on my palette. I can see it’s use in portrait painting but not really anywhere else.
To each their own.
Don't agree. The high tinting strength of titanium does not reduce costs. It means you have to spend more money on other colours. Also it is not simply that lead has a lower tinting quality -lead is more reflective, meaning that it leaves colours brighter. You cannot get the same effect with titanium or zinc.
All paints become more transparent over time. You are citing some examples of strike through. There is much more at play than just the white being used. Caravaggio. Van Eyck. Titian. Da Vinci. They all used lead white. In fact, titanium is a fairly modern invention to painting. There are countless examples of paintings with lead white that are aging beautifully.
If you don’t want to use it, don’t use it. Every painter can do what they want. However, anecdotal theory about the science of paint is not evidence of bad materials. We have access to lots of scientific information about our materials these days, and lead white has been established to be a unique and strong choice for a painting white should an artist want to use it.
LOVE LEAD WHITE but as white is the most used pigment it has become cost prohibitive for me unfortunately. Loved zinc white as well. There is the titanium/zinc mix that is the most common one sold. Transparent pigment extender fillers might be an option all around. I don’t know…I’m not about making a painting for the rich to get richer…I’m more about doing it for myself and providing the common man the enjoyment of art even though I use the best paints I can afford (gamut larger and little is needed) white is another issue, but I will have Lead white in my arsenal to use when I seem to need it only now, but it can’t be my everyday go to white as I do use 3 premixed neutral value strings (1 NG string, 1 string on the cooler and 1 on the warmer) on my palette- always. I don’t consider the toxicity of lead white an issue either. It’s no more unsafe than most other stuff in my home or my other paints folks…just use common sense. I grew up with tons of others with lead products…never seen it harm anyone. The art world seems to be on a war path like California where everything causes a problem it seems.
Appreciate what you do!
Thanks for the comment. Based on the current science, lead white and titanium white are good choices, and zinc white is not.
As long as I handle the materials thoughtfully, I personally find it easy to use heavy metal paints safely. Lead white is a must on my palette.
For those who have concerns over toxicity, it is very reasonable to use titanium. It doesn’t operate exactly like lead, but it has its own benefits. I often have titanium on my palette for specific functions, also.
@@OilandEarthStudio thanks for the reply. I believe the actual science is that The issue with Zinc white is it’s over usages as a white in large quantities. In small quantities dispersed and encased enough-in order that it cannot form many continuous bonds like a brick wall-it is harmless. So you shouldn’t use it as your standard white throughout your painting or in your mixes as your sole white…that is, of course, you are concerned with archival quality beyond your life time. The standard pigment notation on tubes of paint lists the primary and largest volume of pigment first. Thus, in PW6/PW4, zinc is in smaller quantity dispersed among the titanium like a filler pigment making it less opaque while still actually a white, but harmless. It is still also valued as a mixing white when-and I stress “when” -you need that powerful non chalky touch of increased brilliant value when nothing else will do-not even lead white-which is why zinc white was so popular to portrait painters in the first place. I have works that go back to my childhood still in perfect order and that would be 50 years…even work on ordinary note book paper.
Again, I’m not actually concerned with archival quality beyond my lifetime. I do not want to make the rich richer or hang in a museum of “glory to myself”. I prefer to bring enjoyment to myself and the common people for however long they wish to enjoy it, nor do I wish to hinder the generations who follow in saying, “Hey, you can’t paint that-I own the copyrights.”, or to tell them any such thing as that. What one finds beautiful one finds beautiful and should be allowed to do it AND do whatever they wish with it. Monopolies are evil and is why we have laws against them-even in this free society. To stifle another artist in ANY WAY is simply not in my nature. And if it was my true sole income…so what…competition is good, art is wonderful, so long as it’s not an actual forgery for ill gotten gains-if I were selling prints for 20 years. Besides…I already did it and sold it or gave it away or kept it for myself. If one can do it better…good for them! If an artist set up on my sidewalk and painted my favorite tree because he loved it…it does not mean he owns the rights to what I find beautiful as well. He only owns the rights to a moment in time and his exact outcome of it.
Have a happy 4th of July!
Here is the most recent analysis on the pigment:
justpaint.org/zinc-oxide-warnings-cautions-and-best-practices/
Happy fourth to you, also.
The W&N titanium white has gorgeous workability. You do not need lead white. Lead white is wonderful to work with but the damage you are doing when you wash your brushes is absolutely not worth it. We are on the planet only briefly; we do not need to be putting unnecessary poisons into the environment just because we like the quantities of very toxic pigments. Nope, totally disagree
I can’t even buy flake white any more!
It is becoming a harder pigment to find. If you are in the US or Europe, there are some companies that can provide the pigment. Otherwise, you may reach out to one of those companies to see what kind of options there are for you.
It's not like artists are eating it or rubbing it all over their face.
I can appreciate the comedy.
I think some painters are much messier than others, and the risks with these kinds of materials usually happen from very small exposures over long periods of time.
Follow the money
Money and time are our inescapable confines, my friend.
Zinc white cracks, lead paint is being banned, titanium is very opaque. There arent any options in terms of white to be honest.
I can appreciate the frustration.
Depending on what part of the world you live in, it can be very hard to find options. Even in the States it’s getting harder. With that said, titanium dioxide dominates so many big industries that it will always be available, and titanium white is not a bad white.
If one were to want lead white, the pigment/paint be hard to find, but the raw material will also always be available.
Your wrong. Titanium white is basicly more strong and cleaner. You have to use less of it to get the same tint. Also use a bit yellow to shift it toward the warmer side. Titanium is way better than lead but you need to learn to use it the right way. I made so many tests and i can match the exakt same tint, hue and value of lean white with totanium and a little yellow ochre and a bit zinc white in it.
I disagree with your opinion. A three pigment mixture and a single pigment white may appear similar in tone, but they will not do the same things when mixing nor do they do the same things chemically speaking. Additionally, I do not recommend the use of zinc oxide (PW4). It has been shown to promote cracking and paint embrittlement.
justpaint.org/zinc-oxide-reviewing-the-research/
It's simple, titanium is twice as strong as lead. Problem solved 😃
Specific to tinting strength, that is one way to generally approximate the difference.
Hi there. I have used Lead white and love it however I do not use it. Who am I to believe that my art is so important that I should put lead into the environment when I clean my brushes and palettes? Nope. Very silly to recommend lead white for most painters. If you are one of the top portrait painters in the country painting commissions of very important Big Wigs, and you have some sort of system to keep your lead out of the public water systems, then it is probably best to use lead. Bar such circumstances, use Titanium white.
The W&N titanium white and the Williamsburg Titanium white are both fabulous. This is not just about your health, it is the health of planet and community also
I can appreciate your position on this topic. The science on the longevity of painting and the science on materials safety may not always be in alignment. There are safe ways to handle toxic materials, but I respect if someone does not feel the benefit outweighs the potential risks.
@@OilandEarthStudio it is certainly possible to use lead based paint without poisoning yourself. But the minute you wash your brushes or throw away your painting rags, you are sending the problem “elsewhere”. It does take a lot of practice to control your tints with titanium white, but you can definitely achieve excellent colors and control over your values with it.
Fair. I will make a video explaining how I don’t throw out my waste. I don’t use the sink, and you can discard your paint waste at hazardous waste material sites at no cost (in the USA).
The government don’t care about the environment think about all those lead pipes in poor communities that having been changed out. Than we have that lead water poisoning that happening and they still did nothing to this day and now it look like Ohio getting the taste of them looking the other way. The biggest population on the planet or big companies period. Guess what they have zero plans to stop it but continue. Just put on a face they doing something when they doing very little to nothing. Cash and cheap money to make profits rule this earth period the leaders that can change it are all looking the other way.
The best oil paint white is the one that is use to help the religion of Allah.
My recommendations are based on materials, longevity, access to pigments, and usability.
Lead white is rubbish. It is not very opaque, and it darkens a lot over time (a year or so). Exactly the same handling properties can be obtained from a pile of titanium white, into which half the amount of Liquin has been added. This is brought back to the paint's original consistancy by mixing in a 50/50 mixture of titanium dioxide and calcium carbonate in powder form. This produces a beautiful paint-fast drying, opaque and non-darkening.
Agree to disagree on lead white. To each their own.
I don't understand about you saying that lead white darkens with age?? In my 70± years in painting, I have had just the opposite effect!?