I’m glad. Let me know what other topics would be helpful to you. I’m always looking for new content that’s solving problems.

Companies like Natural Pigments, Williamsburg (Golden Colors), Old Holland, and Michael Harding may have good information on how to get lead white where you live. These companies actively make and promote the use of this pigment. I don’t know if it’s possible to get it in your area, but they would have good information regarding distribution.

You’re right. It should be labeled on the tube as PW4. It’s possible that it is not, so here’s what I do. Call or email the customer service of the paint company. Tell them: “I purchased a tube of your titanium white oil paint. While I understand that your recipe is your proprietary property, I need to know if it has zinc oxide (PW4) in it. Does it contain any amount of PW4 pigment?” They should be able to answer that simply, and many companies do. If they do not, or are unwilling to answer, I always take that as a yes. I hope this helps.

You’re paying for the dirt. That’s one of the more inexpensive pigments.

These are the kinds of brushes I am talking about. You might want to check out your local hardware store to compare prices. a.co/d/7gBh1Lk

I can’t arbitrarily say yea or nay. It depends on so many factors of your specific painting process/materials/surface/climate/etc. The short answer is it’s always better to wait. [Also, all varnishes are permeable and “breathe.”] I am going to make a video that gives artists a calculus to figure out what is best for you as a working artist.

@@OilandEarthStudio thank you for answer!

@user-bw5dz1ef1h glad to be helpful.

To each their own. Lead and titanium are distinctly different pigments.

And your value will be darker. Do what you’d like. The fact of the matter is titanium is a more aggressive tinting agent that will pale and shift colors more towards blue. Lead will allow more range in tinting colors true to the hue. It’s just the nature of the pigments.

Quality of products and techniques are topics for object permanent e and longevity. I’m glad you found a product that gives you the painting results you are looking for.

www.oldholland.com/?cn-reloaded=1 Their claim is they use the historical recipes for colors dating back to the guild of St. Luke. I’m comfortable taking their word for it. It does not change my opinion of the quality of their paint. I am a fan.

Good on you. That is a messy, albeit very cool, process!

@@OilandEarthStudio Messy - too true. Grinding the stuff is also a chore. Ever tried a ball mill? The Old Masters used a porphyry slab as the stone. Check out the one in Rembrandt`s studio perched precariously on a wooden log; it is absolutely massive!

I like to think of white as a very light blue. Different whites have stronger blue affect than others with titanium being the strongest. If you know it, then lead makes sense, and it also is easier to use titanium effectively.

It is exactly the same process. I would recommend that the pigment powder and oil be initially combined in a sandblasting box, or in some kind of environment that contains the pigment. Once it is a chunky paste is much safer to handle and mull. That is a pigment we don’t want to ingest in any way shape or form.

I’m happy to be helpful.

To each their own.

This would be my thought process. 1. If the painting sold, is there a way for me to offer a varnishing afterwards. [I understand that may not be available or the best option.] 2. If I don’t varnish how does the painting look? Would it benefit from a varnish in terms of consistency, color, richness in the darks, etc. 3. If the painting needs a varnish then I look at my own painting style. Do I paint thick or thin. Lots of layers or one/few layers. Absorbent surface of nonabsorbent surface? If my painting process includes lots of thick layers on a nonabsorbent surface, then it would need a lot longer to varnish. Thinner and fewer layers requires less time relative to the thick paint. 4. If I determine that I paint in a manner that requires less time relative to other manners, then the calculus begins. In this circumstance, I personally would not varnish less than 4-6 weeks. Ideally I would wait at least three months. But this is a matter of risk for each individual. If you wait six months, you make it very unlikely that the varnish will cause a problem down the road. If you varnish after a month it is theoretically possible that the varnish will cause a problem, but you increase the odds that something could happen between the paint and the varnish. The longer you wait, the more you lower the risk. By how much do you lower risk at 1 month, versus 3 months, versus 6, versus 12? There’s no consistent science. It takes an honest assessment of your painting style, the hardness of the paint film, and a number of other variables to come up with your best business/art science practice.

@@OilandEarthStudio I understand, I’m planning to do commissions (mostly small- medium sized) so I was just thinking if the painting would be damaged while shipping it after it’s only dry to touch and without varnish coating, if you have any advices or suggestions please do help me with that and THANK YOU SO MUCH for answering my questions 🩶🩶🩶

@JumanaAli-kc2fu if I understand you correctly, a varnish layer would not speed up drying time or prevent the kind of damage you are describing. A painting typically needs a minimum of two weeks before the paint film is hard dry. A varnish absolutely should not be put on before that. After a month, a vast majority of the autoxidation typically occurs. Autoxidation is what encourages cross linking because it is the most volatile change in the paint layer. My personal recommendation is wait the 6 months if you can. If you feel you must rush it, use this information (as well as information from others: natural pigments, ani art academy, Gamblin, blick/utrecht, golden artist colors, etc.) and try to make the best calculated decision you can. I hope this is helpful.

I’m glad you found this useful. At least something of benefit came of that yellow “varnish” layer. 🤣

You’re welcome! I’m glad to be helpful for any of your painting questions.

I do not add filler. A filler effectively cuts the pigment load and makes the paint less saturated. The paint will store for years because it is oxygen that makes it cure, or “dry.” As long as you remove air pockets while filling the tube, securely crimp and seal the tube, and keep the cap on and tight, the paint stores perfectly.

@@OilandEarthStudio Thank you so much

Thanks so much!

Can’t say I’ve heard that one.

Rublev does a waitlist for some of their harder to make/rarer colors. If you want to go MH lapis, you may want to contact them directly and ask if you can be the first to know when it’s available. They may be able to work with you on that.

I have a small 40ml tube of MH Lapis Lazuli, although it is a beautiful colour (I am British) it has next to no tinting power, so is only really useful as a glaze, it is also incredibly expensive, once I have used my tube up I don't think I will be buying it again.

Michael Harding is a solid brand for paint. I love lapis as a color, and you are correct that it is a fairly odd color in the modern palette. It is a subtlety color and when layered, particularly upon itself, its brilliance is fantastic (the Giotto chapel in Padua is mind blowing in person!). They say that synthetic ultramarine blue (also PB29) is a replacement to traditional lapis. It’s really an entirely different blue in my mind. For the curious and historic painters, I think it’s worth a try at least once. Thanks for the conversation!

Absolutely! Thanks for the additional information. Appreciate it.

You’re welcome. Glad to be helpful.

It’s called editing for viewer retention. If it makes you feel like a better painter, I’ll just do it again.

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.

Thank you for the kind words. Out of curiosity, why can’t you use Old Holland? I generally like Vasari. In the past I had a hard time getting information about any additives in the paint tubes I had, so I moved on to companies with what I considered better customer service. I would be pleasantly surprised if that’s different now.

This is a complex problem. Without knowing how you painted specifically, I would say there are generally three outcomes that can happen here. Worse case: the painting was a great experiment and learning opportunity. I’ve had plenty of big and pain staking “failed” paintings myself. That would be a total bummer. Better case: you might be able to fix the overall gloss/sheen of the varnish with another varnish that has a different molecular weight. For example, some artists use Lorapol A81 first to level the sheen and then use Regalrez 1094 (Gamvar is an example of this varnish) to finish the varnish of the painting. Perhaps there is a chance to do this. Call W&N technical support for guidance. [unfortunately the bumps are something that would need to be handled by sanding or some other mechanical means.] Best case: Call Windsor Newton and ask for the exact solvent that is best to remove the varnish. The longer it’s on, the harder it is to get it off. If it’s relatively new, then you might be able to remove it, paint into any damaged areas. Let it thoroughly cure. Apply a new varnish strategy, and perhaps a new varnish selection, without pouring it on. I hope this can help you.

Thanks for the comment! Polyester has been shown to be a great choice for painting canvas. I’ve experimented with polyester and just have a preference for linen personally.

Raw umber should not have lead in it. It should be Pigment PBr7.

@@OilandEarthStudio Utrecht is that pigment and also says contains leas

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.

The operative words are more likely and less likely. The science is not 100%, but it’s sound and it gives you the rules of the road for any accelerated gambling. You do you. 🙏

🙏

It can be pricey. I personally find it totally worth it.

You’re so welcome. I’m happy to be helpful.

To each their own.

I am very cautious about using the term replacement. There are alternatives to lead if toxicity is of primary concern. There is no replacement for what lead carbonate chemically does in linseed oil. If you don’t want to use lead white, then just don’t use it. They seem like an interesting paint line to explore. If I were to buy, I would want to know all additives in the paint.

@@OilandEarthStudio Art Treehouse did a good job to recreate the rheology of high quality Lead white oil paint in their lead-free whites. They did "short" paint, "long" paint and "ropey" quality paint. Bill Martin said, that high quality Lead White is always superb, but Art Treehouse whites have almost the same quality and they are excellent whites.

@@OilandEarthStudio "Treehouse White, made with walnut oil, is formulated in response to common problems that artist whites have. In addition, we have included the following… 1) Purified Calcium Carbonate - basically marble dust, used for millennia in art. Smoothes the brush stroke and helps balance opacity. A favorite of Rembrandt & Velasquez. Our calcium carbonate is not gritty under the palette knife. 2) Permanent White (Blanc Fixe) commonly used in artist paints for color stability and balance of consistency. A recent study showed that white paints using Permanent White yellow less over time."

Thanks Michael. Yes, it is definitely the “pineapple on pizza” topic of the painting world. Ha!

I am careful with the term pure pigment and paint consistency. Paint consistency can always be manipulated with just oil. Just because a paint is buttery does not guarantee it is pure pigment and oil. Anything that is less than 3% of the pigment load is an additive that does not actually have to be listed on the tube. I know that Rembrandt is not an additive free paint. I am unfamiliar with Mamieri. Whenever I try a new paint line, I will call them and ask about what is or isn’t in the tube in my hand. They should be able to provide information without giving away their proprietary property, and there response is always telling. There are very few additive free paint lines.

Additive in paint are not inherently bad, but it’s always good to know what exactly is in the tube. I am a big proponent of this because we are responsible for what happens with the tube, even if it is product failure.

I’ll keep you updated on other brush lines that are willing to forgive.

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.

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/

Student grade paints have higher concentrations of additive (typically aluminum stearate) and often extender pigments. This usually makes colors a little more pale, and it makes them weaker when white is added. If they work for you great. If you are finding your colors a little chalky, or just not very “punchy,” then an artist grade paint could be the solution.

Try adding higher quality colors from the basics that are important to you (eg magenta, something cadmium, cobalt) to your student colors. They will be able to improve your palette.

I love the advice. I’ve always advocated that the best way to upgrade is a tube at a time, whether you buy a new color or replace an empty one.

Here is an article that discusses reasons why a painting may have an uneven varnish. www.naturalpigments.com/artist-materials/irregular-gloss-oil-paint-varnish Now, what would I do? 1. I would first try to apply a second thin coat of varnish. When doing this you have to use a very soft brush and soft touch because the solvent in the varnish just reactivates the first layer of varnish and you may end up just moving the varnish layer around, creating the same result. 2. If I was convinced that applying a second layer wasn’t going to help, then I would remove the varnish (gamvar you can use gamsol, for example). Every varnish has a solvent to do this. I would clean the painting with a lint free cloth. I may use a damp cloth and allot the painting to air dry for some days. If I suspected the painting was dirty from sitting for years then I would attempt to reapply the same varnish after I cleaned the painting well and let it air out for some days. 3. If I was convinced that the 2 varnish layers wasn’t going to work and the painting was totally clean before I put the first varnish on, then I would remove the varnish and apply a dual varnish approach. I would apply an isolating varnish (Laropal A81) and then apply a final varnish the next day (Gamvar or Natural Pigments Conservar- both are a Regalrez 1094). I would experiment on a smaller less important painting to you personally in the group first to design a strategy for all of them. I hope this is helpful.

@@OilandEarthStudio Thank you very much sir. 👍🙏

Sir, I read the article and understood the sinking thing. If I use stand oil, it dries very fast because I live in hot weather region. And actually I have never find out what should be used as medium. Could you suggest me something? Thank you, Sir! 🙏😊

I tend to avoid mediums. That said, I will sometimes use stand oil premixed into my colors. I will sometimes use Velasquez medium, either homemade or made by Rublev. I will sometimes use oleogel by Rublev.

@@OilandEarthStudio thank you sir, but I can’t find here those things. I can find Windsor Newton materials only here. Thanks Sir!

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.

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.

You’re welcome. If there are other demonstrations you’d like to see, please let me know. 🙏