yellowcat
A Fixture
- Joined
- May 8, 2009
- Messages
- 998
This may be useful to members painting with oils.
PHYSICAL PROPERTIES OF OIL PAINTS
WHITE COLORS
Flake White: Because of its excellent all-around qualities, it is the most important of all white paints. Its drying capacity is better than that of any other white. The hiding power of flake white is also good, but not as effective as that of Titanium White. Flake white (white lead) blackens in the presence of sulphurated air, when kept away from daylight a white lead will turns yellow; this condition will be aggravated in the presence of moisture. Bleaching of a yellowed paint can be carried out by exposing it to strong daylight for a period of several weeks or shorter exposures to indirect sunlight.
Zinc White: is a zinc oxide. It requires twice the amount of oil that Flake White needs to make it brushable, its covering and drying capacity are inferior to latter color, and the film is less elastic when dry. Brittleness increasing with age.
Titanium White: is a mixture of pure Titanium Oxide, Barium Sulfate, and Zinc White. The drying quality of Titanium Oxide is poor and its dried film is soft, but the addition of Zinc White improves these qualities. The mixture absorbs twice as much as Flake White, and if the paint appears to dry quickly, it is reasonable to assume that it contains dryers. Regardless of its vehicle, this white is absolutely permanent.
Of the above white, Zinc White is a cold (bluish) white often described as snow white, Flake White is a warm milky white; and Titanium White is neutral in color, neither as cold as Zinc White nor as warm as Flake White, but has the greatest opacity of all whites. Grumbacher’s Superba White is the Titanium White of their Finest line of oil colors. It is extremely opaque and almost completely non-yellowing.
BLACK COLORS
Ivory Black: is a pigment made by charring animal bones closed retorts. It has good covering power, tinting strength is also adequate. However, in oil painting it is one of the poorest dryers of all colors. In spite of all its shortcomings, Ivory Black cannot be replaced by any other black color that is made commercially, such as Carbon Black, Lamp Black, and the most excellent Mars Black.
Mars Black: This color does not posses the depth and relative transparency of the indispensable Ivory Black, but it is by far superior to it in point of drying capacity, tinting strength, hiding power, and coarseness of its body.
Lamp Black: A nearly pure carbon obtained from the condensed smoke of burning tar and pitch. It cannot be considered as a substitute of Ivory Black or Mars Black.
Carbon Black: is obtained by burning natural gas. It cannot substitute for Ivory Black or Mars Black and its drying capacity is very poor.
BROWN COLORS
Burnt Sienna: This earth color is prepared by roasting raw sienna. Its drying capacity and tinting strength is considerably enhanced. Burnt Sienna is quite opaque and dull, but when thinned its color attains a fiery tone which makes it most useful for glazing.
Burnt Umber: is an earth color. Because of their high content of maganese dioxide (up to 16%) the umbers are the fastest drying colors on our palette. Its opacity and tinting strength are good. As with all earth color, its permanence can be considered absolute.
Raw Sienna: is a pigment that closely resembles yellow ochre. However its tint is more brownish and its key is lower than that of Yellow Ochre. It is more transparent and, because of its small amount of maganese dioxide content, its drying capacity is better. Raw Sienna is in no way a substitute of Yellow Ochre.
Raw Umber: is an earth color of great permanence. It is a fairly opaque dull, dark brown which has a rather cool tonality. Because it posses a large content of maganese dioxide (8 to 16%) it possess an enormous drying capacity. the slightest admixture of this color will considerably accelerate the drying of other slow-drying colors.
BLUE COLORS
Prussian Blue: is one of the most stable and universally useful synthetic colors. Although Prussian Blue is quite transparent, its tinting strength exceeds that of every color. It is especially useful in obtaining green tints. Its drying capacity is excellent, when mixed with other colors, it materially accelerates their drying time.
Maganese Blue: It is Weak in tinting strength and hiding power. The blue hue can be produced by a mixture of Cobalt Blue, Viridian Green, and White. The only good use of Maganese Blue is by adding it to other light colors in order to speed up their drying.
Ultramarine Blue: is transparent, and the only one possessing a violet hue. Its drying capacity in oil paint is moderate.
Cerulean Blue: is the only opaque blue in our palette. It is a good dryer and, when genuine, its tinting strength is good and its color is useful in painting atmospheric effects.
Cobalt Blue: is a very stable color of moderate opacity and tinting strength, good drying quality, and adaptability to all techniques. Its tone, somewhat sweet, limits its use chiefly to painting sky areas.
RED COLORS
Alizarian Crimson: a brilliant, dark red is a synthetic dyestuff. It belongs with the most transparent colors on the palette and has good tinting strength. In oil paints it is the slowest dryer and its permanence is greater than that of Madder Lake.
Cadmium Red: All cadmium colors are slow dryers. They posses great permanence, good hiding power and tinting strength.
Vermilion: Until the discovery of cadmium red, it was the most widely used brilliant, light red color. Its body and its hiding power are stronger than those of cadmium red. It is a very slow dryer.
Venetian Red: The hue of this color is a bright brick red. Its drying capacity is however only moderate, it is extremely permanent.
Indian Red: is an unspecified designation for a purplish Iron Oxide Red.
YELLOW COLORS
Cadmium Yellow: It posses brilliant hues and is a poor dryer.
Naples Yellow: is a mixture of white and ochre, with or without an addition of red. The hiding power, tinting strength, and drying properties of Naples Yellow are good.
Yellow Ochre: and its varieties Golden Brown Ochre, is a moderately fast drying color. Golden Yellow ochre is more transparent warmer in hue, and weaker in tinting strength than Yellow Ochre. It is generally use for glazing. The hue of Brown Ochre resembles that of Raw Sienna, but the ochre is more opaque and warmer. All ochre possess great permanence.
Chrome Yellow: is an impermanent, obsolete pigment that has been superseded by Cadmium Yellow.
GREEN COLORS
Viridian Green: is a transparent and the most useful green on your palette. It is a moderately strong glazing color and it possess good drying capacity and permanence.
Permanent Green: is a mixture of Prussian Blue and a yellow such as Cadmium Yellow. The opacity and tinting strength of permanent are considerable.
Chrome Green: is an obsolete color, made by mixing Prussian Blue and Chrome Yellow.
PHYSICAL PROPERTIES OF OIL PAINTS
WHITE COLORS
Flake White: Because of its excellent all-around qualities, it is the most important of all white paints. Its drying capacity is better than that of any other white. The hiding power of flake white is also good, but not as effective as that of Titanium White. Flake white (white lead) blackens in the presence of sulphurated air, when kept away from daylight a white lead will turns yellow; this condition will be aggravated in the presence of moisture. Bleaching of a yellowed paint can be carried out by exposing it to strong daylight for a period of several weeks or shorter exposures to indirect sunlight.
Zinc White: is a zinc oxide. It requires twice the amount of oil that Flake White needs to make it brushable, its covering and drying capacity are inferior to latter color, and the film is less elastic when dry. Brittleness increasing with age.
Titanium White: is a mixture of pure Titanium Oxide, Barium Sulfate, and Zinc White. The drying quality of Titanium Oxide is poor and its dried film is soft, but the addition of Zinc White improves these qualities. The mixture absorbs twice as much as Flake White, and if the paint appears to dry quickly, it is reasonable to assume that it contains dryers. Regardless of its vehicle, this white is absolutely permanent.
Of the above white, Zinc White is a cold (bluish) white often described as snow white, Flake White is a warm milky white; and Titanium White is neutral in color, neither as cold as Zinc White nor as warm as Flake White, but has the greatest opacity of all whites. Grumbacher’s Superba White is the Titanium White of their Finest line of oil colors. It is extremely opaque and almost completely non-yellowing.
BLACK COLORS
Ivory Black: is a pigment made by charring animal bones closed retorts. It has good covering power, tinting strength is also adequate. However, in oil painting it is one of the poorest dryers of all colors. In spite of all its shortcomings, Ivory Black cannot be replaced by any other black color that is made commercially, such as Carbon Black, Lamp Black, and the most excellent Mars Black.
Mars Black: This color does not posses the depth and relative transparency of the indispensable Ivory Black, but it is by far superior to it in point of drying capacity, tinting strength, hiding power, and coarseness of its body.
Lamp Black: A nearly pure carbon obtained from the condensed smoke of burning tar and pitch. It cannot be considered as a substitute of Ivory Black or Mars Black.
Carbon Black: is obtained by burning natural gas. It cannot substitute for Ivory Black or Mars Black and its drying capacity is very poor.
BROWN COLORS
Burnt Sienna: This earth color is prepared by roasting raw sienna. Its drying capacity and tinting strength is considerably enhanced. Burnt Sienna is quite opaque and dull, but when thinned its color attains a fiery tone which makes it most useful for glazing.
Burnt Umber: is an earth color. Because of their high content of maganese dioxide (up to 16%) the umbers are the fastest drying colors on our palette. Its opacity and tinting strength are good. As with all earth color, its permanence can be considered absolute.
Raw Sienna: is a pigment that closely resembles yellow ochre. However its tint is more brownish and its key is lower than that of Yellow Ochre. It is more transparent and, because of its small amount of maganese dioxide content, its drying capacity is better. Raw Sienna is in no way a substitute of Yellow Ochre.
Raw Umber: is an earth color of great permanence. It is a fairly opaque dull, dark brown which has a rather cool tonality. Because it posses a large content of maganese dioxide (8 to 16%) it possess an enormous drying capacity. the slightest admixture of this color will considerably accelerate the drying of other slow-drying colors.
BLUE COLORS
Prussian Blue: is one of the most stable and universally useful synthetic colors. Although Prussian Blue is quite transparent, its tinting strength exceeds that of every color. It is especially useful in obtaining green tints. Its drying capacity is excellent, when mixed with other colors, it materially accelerates their drying time.
Maganese Blue: It is Weak in tinting strength and hiding power. The blue hue can be produced by a mixture of Cobalt Blue, Viridian Green, and White. The only good use of Maganese Blue is by adding it to other light colors in order to speed up their drying.
Ultramarine Blue: is transparent, and the only one possessing a violet hue. Its drying capacity in oil paint is moderate.
Cerulean Blue: is the only opaque blue in our palette. It is a good dryer and, when genuine, its tinting strength is good and its color is useful in painting atmospheric effects.
Cobalt Blue: is a very stable color of moderate opacity and tinting strength, good drying quality, and adaptability to all techniques. Its tone, somewhat sweet, limits its use chiefly to painting sky areas.
RED COLORS
Alizarian Crimson: a brilliant, dark red is a synthetic dyestuff. It belongs with the most transparent colors on the palette and has good tinting strength. In oil paints it is the slowest dryer and its permanence is greater than that of Madder Lake.
Cadmium Red: All cadmium colors are slow dryers. They posses great permanence, good hiding power and tinting strength.
Vermilion: Until the discovery of cadmium red, it was the most widely used brilliant, light red color. Its body and its hiding power are stronger than those of cadmium red. It is a very slow dryer.
Venetian Red: The hue of this color is a bright brick red. Its drying capacity is however only moderate, it is extremely permanent.
Indian Red: is an unspecified designation for a purplish Iron Oxide Red.
YELLOW COLORS
Cadmium Yellow: It posses brilliant hues and is a poor dryer.
Naples Yellow: is a mixture of white and ochre, with or without an addition of red. The hiding power, tinting strength, and drying properties of Naples Yellow are good.
Yellow Ochre: and its varieties Golden Brown Ochre, is a moderately fast drying color. Golden Yellow ochre is more transparent warmer in hue, and weaker in tinting strength than Yellow Ochre. It is generally use for glazing. The hue of Brown Ochre resembles that of Raw Sienna, but the ochre is more opaque and warmer. All ochre possess great permanence.
Chrome Yellow: is an impermanent, obsolete pigment that has been superseded by Cadmium Yellow.
GREEN COLORS
Viridian Green: is a transparent and the most useful green on your palette. It is a moderately strong glazing color and it possess good drying capacity and permanence.
Permanent Green: is a mixture of Prussian Blue and a yellow such as Cadmium Yellow. The opacity and tinting strength of permanent are considerable.
Chrome Green: is an obsolete color, made by mixing Prussian Blue and Chrome Yellow.
