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Flake White, and hazardous pigments generally
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Message
Posted
A slightly silly question for a Saturday evening - I know that oil painters are in something of a minority on POL, and those who use lead whites are a minority within a minority, but, just to please me..... if you use Flake (or Cremnitz, or Foundation White), I'd be really interested to know why you do. I know why I do - but such is the caution associated with lead these days (meaning that the continued availability of the paint is under some threat) that I fear fewer people will avail themselves of it, to the detriment of their work.
So, if you do - why do you? What does it give you that Titanium, Zinc, or Flake White Hue, don't?
In passing - I am not suggesting that painting schools/art groups should promote lead-based paint; it's for those who have weighed up the risks in an informed way. I feel I should say this before I'm accused of trying to poison the opposition.
If anyone has used Michael Harding's genuine Vermilion, by the way - a really very hazardous pigment - I should also be interested to know whether it gave them a special experience, beyond death, obviously, and if they think this sort of living dangerously can be justified in our present day and age....
(PS: I've just found my tin of Flake White on my dining table - do NOT take me as a reliable guide to health and safety; it's a miracle I'm still alive....)
Posted
I just happen to have a supply of Grumbacher Pre-Tested Zinc and Flake white,150ml. tubes that was given to me by a retiring art teacher. He inherited them from the previous art teacher. They must be over 30 years old, but they have never been opened. I used the few tubes of Titanium white that there was, and they were okay.
I'd be willing to sell these to anyone that is interested. There seem to be a few that still use these types of white.
You can contact me at;
[email protected]
Posted
I have the Michael Harding warm white. There is a subtle difference to my eye between that and titanium white on the palette, but on the canvas it works differently with colours.And that is what I need.
I'm still a newbie, Robert, so many, many years and a lot of knowledge behind you and am not sure my comments are helpful, but it's another viewpoint :)
Mark
Posted
There's an argument for keeping Zinc White in the tube and not using it, but it's a complicated one and the evidence for its delaminating properties is mixed - i.e. there IS evidence that it creates metallic soaps which weaken the paint film; but it seems to be the case that while it can do this, it doesn't always do it. So waddya do? Well, I try to avoid it, but this isn't as easy as it might seem, since it's included in other tube colours, eg Georgian Naples Yellow.... you have to look at the tube information if you want to be sure.
Which takes me to the Grumbacher Flake White - if it's pure lead chromate, and has survived in the tube without hardening, it would be worth having. But lead whites manufactured years ago often contain an amount of Zinc, in order to increase workability and perhaps to make the paint a little more translucent. I don't know if Grumbacher did this; and on 30 year old tubes, I would bet that the information isn't printed on the label. If it is just lead white, with no added Zinc, I would be interested.
Posted
I've never used lead white, but whilst you are talking about white oil paint, I do have a question.:- I rntly posted a painting of the Giant's Causeway (31.1.18), but I'm not satisfied with the lack of spray. I would be happy to use the toothbrush technique with watercolour, but how can I do it with oil paint?
Posted
Mix the oil paint with medium - either straight Linseed Oil or a mix of Low Odour-thinners or Turps (the latter better for the paint, the former better for you!) and Linseed, get a good degree of liquidity, then either use your toothbrush, a stencil brush, or a stiffish hoghair, and do the same with the oil as you would with watercolour or acrylic. Oil paint will thin down a lot, but do have some oil in it not just straight turps, to ensure it stays on the canvas and doesn't rub off (it probably won't, but you can be fairly sure it won't if you add enough Linseed Oil).
I wouldn't have thought you could do this with Liquin, but then I've never tried to.
Practise first!
Posted
No, no, I shall NOT ignore you! This is premium grade oil paint from one of the very best companies in the world. If you've not used their paint before, it can be a little discomforting - they don't add thinners, or Zinc White (ever), or extenders: the paint can be gritty and hard to work with. But - it's great paint. The Supreme Paint Company stocks it, if you'd like to try it.