It has a medium to low tinting strength, which allows mixtures to maintain their color identity without washing them out. Made with linseed oil, it has a warm color quality that is off-white from the tube and provides a sun soaked, natural warmth to color mixtures. The saturation of the red indicates less tinting strength than Titanium White.įlake White – PW 1 Basic Lead Carbonate pigment, Semi-Opaque, Medium drying 2-7 days, Lightfastness Iįlake White is our most dense white. Right: One to one ratio with Flake White and Permanent Crimson, also semi-opaque revealing the black and white of the underlying card. This white is semi-opaque, allowing the black and white to show through. Left: 6 mil drawdown of Flake White over a black and white laminated card. HERE is a link to additional information about Williamsburg safflower oil-based colors. One of the main reasons to use this color is to make white passages or high key mixtures in the upper layers where a bright white will be most noticeable and where less yellowing is desired. This means it is best used thinly and/or in the upper layers of a painting where its bright white color will be most appreciated. While similar in feel and tinting strength to its linseed counterpart, it should be noted that safflower oil is a less durable binder than linseed oil. SF Titanium White is noticeably brighter and slightly cooler than our linseed oil Titanium when squeezed from the tube. Colors ground in safflower oil are known to yellow less over the long-term than linseed oil-based colors. These colors also have a black ring around the label stating that they are a safflower oil-based color. Williamsburg safflower oil-based colors are designated with a light blue, translucent “SF” behind the color name on the label and a “SF” before the name on the color chart. SF Titanium White – PW 6 Titanium Dioxide Rutile pigment, Opaque, Medium drying 2-7 days, Lightfastness I The strong tinting strength creates a light pink. This tinted color becomes opaque with the addition of SF Titanium and completely covers the black and white of the laminated card. Right: One to one ratio with SF Titanium White and Permanent Crimson. This white is totally opaque and covers the black. Left: 6mil drawdown of SF Titanium White over black and white laminated card. We use Titanium Dioxide pigment (rutile) in all of our Williamsburg blends that contain white. A very versatile white, it can be used for underpainting, alla prima works or in the medium rich, upper layers of a painting. Titanium will add opacity when combined with other colors. While a strong tinting strength is not a negative attribute, it does affect how much white can be added to a mixture if there is a desire for strong color saturation. It has very strong tinting strength, which when added in higher ratios can cause color mixtures to become milky or creamy looking and in extreme cases, washed out. Our most popular white, Titanium has a buttery feel and a bright white color that is slightly warm when squeezed from tube. Williamsburg Titanium White is made with an alkali refined linseed oil binder. Titanium White – PW 6 Titanium Dioxide Rutile pigment, Opaque, Fast drying 1-2 days, Lightfastness I This tinted color becomes opaque with the addition of Titanium and completely covers the black and white of the laminated card. The strong tinting strength creates a light pink. ![]() Right: one to one ratio with Titanium White and Permanent Crimson. Left: 6mil drawdown of Titanium White over black and white laminated card. This article will look at all seven of these whites and their functional characteristics of tinting strength, color temperature and feel. Among them are Titanium White, traditional Flake White, and a safflower oil-based white called Porcelain White, made with a lesser known pigment called Lithopone. Williamsburg has seven whites to choose from, including four linseed oil and three safflower oil-based whites. We thought it might be valuable to share an overview of the many whites that are on the palette of Williamsburg Oils. Not only is it a critical component coloristically, but understanding the whites in your oil painting will also aid the structural integrity of your painting. Used for grounds, for opacifying, for lightening or brightening deep colors, its importance cannot be overlooked. ![]() White is often thought to be as much as 20% of a typical painting.
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