That's your wonderful laws in Europe!

In the U.S. and Canada, you can order them.

You're so welcome!

Pale Drying Oil contains driers, so it will dry very fast, whereas Epoxide Oil is faster drying than linseed oil but is not a fast-drying oil like Pale Drying Oil and produces a slightly different visual effect.

@@RublevColours Brilliant!! Much appreciated. Thank you.

Glad it was helpful!

Great point!

Velazquez Medium makes paint "longer", which helps to make fine details with brush.

Thanks

Thank you for your patronaage.

You can order lead white from Natural Pigments in Europe,

Animal collagen glue does not 'melt,' but it softens due to moisture absorption from high humidity. There is no way to prevent this from occurring.;

@@RublevColours By usuing one layer of burnt umber oil paint over the priming of rabit skin glue can I make my wood canvas permanently protected from weather?

@@sohelpervas4821 No, this does not make canvas protected from the environment.

@@RublevColours what should I do to protect painting and wood canvas permenently form environment

@@sohelpervas4821 Nothing permanently protects canvas and wood from the environment except maintaining these paintings in a controlled environment, use protective backings and apply varnish to the painting.

Thanks for the heads up. We've corrected it.

Chalk is not hydrophobic but it can present challenges when adding to a paint medium.

You can use pigment dispersions to add your your PVA ground.

Hi!

Tha really depends on the lead ground.

Applying formaldehyde to the reverse side of the canvas will do little to reduce the hygroscopicity of animal glue. Adding alum to the animal glue mixture will reduce it slightly but also make it more brittle. In the end, there is no evidence we can find to say if it will help or not.

You are so welcome!

It cannot be clear if it contains calcium carbonate or any inert filler.

@@RublevColours I have a pot of W&N's 'Clear Gesso' whatever it contains, and it's not just acrylic medium, it's white in a wet state but dries to highly transparent slightly milky course film. "Completely clear when dry." Ink lines, even pencil lines on under layers of acrylic white gesso are clearly visible under this. I used it for a short while for depicting the structure of buildings with Indian ink but later thought what the hell; just paint it. I also wondered if oil from the paint could more visibly darken it with time. I've heard of some artists using it to thinly coat underpaintings of acrylic before finishing a work in oil. This with the intention to remove dangers of delamination from the acrylic paint. Of course, they also then have to deal with a fractional lightening effect this product brings. Yet others add a small amount of acrylic colour to it to make a transparent coloured acrylic gesso on top of a standard white acrylic gesso.

As far as we know today it is only ziinc oxide and zinc stearate.

@@RublevColours. So I imagine that the zinc sulfide in Lithopane will not cause problematic issues over time ?

@@RublevColours Thanks for your reply

@@phillipmurphy842 That's correct!

@@Divertedflight You're welcome.

Then you have the wrong ACM. Shop around, or go to artefex.biz

@@RublevColours Thank you for the link.

Thanks for sharing!

Subtitles in English are available. You can turn them in KZbin.

🤣

Genuine and historical Naples Yellow is not a mix of pigments, but a single pigment: lead antimoniate.

Yes, my tube from Gamblin is a mix of Titanium White and Hansa Yellow pigment. So it's in my Reject Bin. It seems like a lot of noobs are going to be confused coming to this video out of context on KZbin.

The international standard for testing the lightfastness of artist colors was established in the 1980s in cooperation with the American Society of Testing Materials (ASTM). The standards use two sources of lighting: Xenon arc lamps and sunlight. This is an accelerated test that is very harsh.

@@RublevColours I see, then LED would practically have no effect. Thanks! Btw, I was very happy to find your European store a couple of months back. I have already bought a whole range of 20 Rublev paint tubes. I really love them. Thank you from Tony in Sweden!

@@Algabatz@Algabatz Tony, LED lights will have an effect on the properties of pigments, but this depends on the spectrum of light and the total amount of radiation. ASTM uses Xenon lamps, and sunlight because these are standard methods used for many other products. Thank you for your patronage.

All of the color names are in the video. Which ones did you not see?

@@RublevColours I meant through the video not just at the beginning

Glad you liked it!

Thank you!

I think so too!

It is good for adding bulk to tube paint, extending colors, and making colors 'longer.'

Why would you use lead white for restoring paintings? Is that what you referred to when you wrote "conservation practice?" The decision is not about toxicity but what is reversible and safe for the painting.

@@RublevColours The reversibility factor is not about the pigment but the vehicle. As long as the vehicle is reversible then it's OK to use in conservation. So to answer my own question, I use other toxic pigments, all the cadmiums, so I suppose there's nothing in principle why I couldn't use lead white as well.

@@chicagofineart9546@chicagofineart9546 While it is true that reversibility is about the binder, there is some chemical interaction between the binder and pigment, and this is particularly true with lead white, so the choice should also be made with that in mind.

The reversibility factor is not about the pigment but the vehicle. As long as the vehicle is reversible then it's OK to use in conservation. So to answer my own question, I use other toxic pigments, all the cadmiums, so I suppose there's nothing in principle why I couldn't use lead white as well.

@@RublevColours So, that's absolutely true. And my aversion to any use of white lead pigment was informed by. having to remove overpaint of white lead and let me tell you, it's virtually impossible. There overpaintings were of course not conservation standard but just plain out of the tube white lead, so some kind of oxidized stand oil was doubtless used as the vehicle. When I saw that lovely warm white lead tone I was momentarily seduced to see if I can use it but now the glow is gone and I've talked my way out of it but I'll ask someone higher up on the conservation ladder what they think. Using an acrylic non-crosslink vehicle is standard but why take the chance.

Shiny?

Yes, and the second comment?