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Artists Quality Pigments Whites

Note on making oil colours. Every pigment requires a different volume of oil to bring it to the desired consistency. This varies enormously so that a pigment like Alizarin, for instance, requires almost twice as much oil by volume as White Lead. In practice, therefore, it is advisable to avoid fast-drying colours in high oil content such as Umbers, Siennas and Cobalt Blues in underpainting unless they are applied thinly or in tints reduced with white. Toxicity Ratings: The Classifications used are based on those intended for guidance of artists’ colour manufacturers where large quantities might be involved. The risk for an artist using small amounts of colour is therefore comparatively small. Dust masks, however, should be worn. Code: A - Non-hazardous. B - Relatively harmless. C - Very low toxic hazard – some precaution necessary. D - Defined physiological hazard – appropriate precautions necessary.

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  1. Titanium White Pigment

    Titanium White Pigment

    Starting at: £4.00

    Titanium White Pigment (PW6). Artificial mineral pigment, titanium dioxide. Opaque, high tinting strength and very lightfast. Stable in all media, but can dry to a brittle film in oil. Slow drying in oil. Dates from 20th century. Learn More
  2. Zinc White Pigment

    Zinc White Pigment

    Starting at: £4.00

    Zinc White Pigment (PW4). Artificial mineral pigment, zinc oxide. Semi-opaque, good tinting strength and very lightfast. Not suitable for mural painting, can dry to a brittle film in oil. Very slow drying in oil. Dates from mid-18th century. Learn More

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