Preamble
This is the fiftieth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
Green Pigments - Part I
Green Pigments - Part II
Red Pigments - Part I
Red Pigments - Part II
Yellow Pigments - Part I
Yellow Pigments - Part II
Brown and Violet Pigments
Black Pigments
White Pigments - Part I
White Pigments - Part II
White Pigments - Part III
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
White Pigments - Part III [1]
Titanium Whites
Titanium Whites are extremely inert, and are unaffected by all conditions which pigments are likely to undergo, including temperatures up to 1,500 degrees Farenheight.
Titanium White.
When first introduced, they were expected to replace lead and zinc whites because of their greater opacity and covering power; but although they are valuable additions to the list of pigments and find a continuous wide use, they have certain properties which limit their application when they are ground in oil.
When exposed to severe tests, their film has a tendency to become both soft and chalky; hence they are most successful as pigments for oil painting when Zinc Oxide, which tends to form hard, brittle films, is added in in amounts varying from 20 to 50%, as is done in white house paints and enamels.
Brittleness of Zinc White compared to Titanium White, Lead White, and other oil colors.
Data adapted from testing done by Marion Mecklenburg, Senior Research Scientist, Smithsonian Institute, Washington DC.
In colored or tinted mixed paints, 40 to 50% of Zinc is probably the best proportion. When ground in oil as an artists' color and compared with Zinc and Flake Whites, the Titanium Whites may occasionally turn more yellowish upon short aging. The pigment itself does not change; the yellowing is apparently a surface effect of the oil. The reason for it is possibly that because the pigment is so inert or non-reactive, it does not form the same combinational with the oil that the more reactive Zinc and Lead will do, and therefore favors a more pronounced or thicker continuous oil layer in the upper part of the film, somewhat like that in a glossy paint diagram, which will be revealed in a future post. This yellowing is not extremely bad; it is scarcely apparent when tinting colors are used with white. The titanium whites are rather poor driers in oil, although more rapid than Zinc White; Titanium and mixed Zinc and Titanium oil grounds must be well aged before use.
Fast Dry Titanium White.
In aqueous mediums, titanium is entirely satisfactory, In tempera mediums the difference between it and Flake White is reversed. In tempera, Flake White usually brushes out with difficulty; titanium brushes out well. Pure dry titanium dioxide is sold by one maker under the trade name of Kronos; the product described in the list of pigments as titanium pigment (made with barium sulphate) is sold as Kronos Standard T.
Kronos Standard T.
Equivalent grades, with other trademarks as well as other kinds of less value in artistic painting, are also produced. The pigment made with barium is the one in common use; the pure oxide is somewhat more expensive (but still in a low price range) and, in industry, is employed less often - usually only when extreme opacity or hiding power is required.
Some painters dislike it in tempera and prefer the barium composite, because the pure oxide is so very powerful that it is difficult to wash out of the brush. The British and American titanium products are pure, uniform, and well made. According to Toch, the material as ground in refined linseed oil for artist's use shows none of the defects enumerated above, and under the conditions of artistic oil painting is a thoroughly satisfactory and reliable pigment.
It should be noted that the strong technical features of ti-pure™ pigments make them useful in several industries, making them popular among buyers. These are some notable benefits supported by extensive research. (a) Opacity and Whiteness: With a refractive index between 2.7 and 2.9, these pigments are highly opaque, making them suitable for use in bright finishes. (b) Protection from UV rays: This enhances UV resistance in plastics and coatings, leading to lasting products with preserved colors. (c) Thermal Stability: Maintaining workability at high temperatures is one more reason why ti-pure™ pigments remain stable and robust under difficult conditions. (d) Low Oil Absorption: In addition to this, these substances are better dispersible, which facilitates real ease while manufacturing since their oil absorption capacity ranges between 20 and 25 g/100g. (e) Safe and Inert Nature: It should be noted that ti-pure™ pigments do not harm the skin and can thus be used in making cosmetic products to protect against sunburn. (f) Sustainability Contributions: The use of ti-pure™ pigments on self-cleaning surfaces in construction supports sustainability efforts by complying with modern environmental standards. (g) Multifunctionality: This is evidenced by their application as food whitening agents which reveals the versatility of ti-pure™ pigments across various industries. (h) Compatibility: In this light, manufacturers have no problems incorporating these dyes into various formulations, thereby improving performance (i) versatility. (j) Regulatory Compliance: Whether used in other industries or its core market, ti-pure™ pigments meet all regulatory requirements and are safe to use everywhere. (k) Long-Lasting Performance: The result is that product quality and functionality will not fade away with time; instead, they will remain consistent for consumers towards ti-pure™ and pigment-filled projects.
In conclusion, diverse applications supported by technical parameters show numerous reasons why consumers prefer using ti-pure™ pigments in order to enhance product quality and performance. Moreover the titanium pigments have the greatest opacity and the highest tinctorial power of any of the whites. If a gray is made by mixing one part of black with ten parts of Kronos by volume, approximately 25 parts of Kronos Standard T will be required to produce a gray of equal intensity; using white lead, 40 parts will be required, and using Zinc Oxide, 60 parts. The grays produced by mixing black with white lead appear neutral or warm in comparison with cooler, more bluish grays of zinc and titanium. It will be seen that although neither of the defects of Flake White is present in Zinc and Titanium, and although Flake White has none of their defects, we have no entirely perfect White for universal pigment use.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
This is the fiftieth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
Green Pigments - Part I
Green Pigments - Part II
Red Pigments - Part I
Red Pigments - Part II
Yellow Pigments - Part I
Yellow Pigments - Part II
Brown and Violet Pigments
Black Pigments
White Pigments - Part I
White Pigments - Part II
White Pigments - Part III
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
White Pigments - Part III [1]
Titanium Whites
Titanium Whites are extremely inert, and are unaffected by all conditions which pigments are likely to undergo, including temperatures up to 1,500 degrees Farenheight.
When first introduced, they were expected to replace lead and zinc whites because of their greater opacity and covering power; but although they are valuable additions to the list of pigments and find a continuous wide use, they have certain properties which limit their application when they are ground in oil.
When exposed to severe tests, their film has a tendency to become both soft and chalky; hence they are most successful as pigments for oil painting when Zinc Oxide, which tends to form hard, brittle films, is added in in amounts varying from 20 to 50%, as is done in white house paints and enamels.
Data adapted from testing done by Marion Mecklenburg, Senior Research Scientist, Smithsonian Institute, Washington DC.
In colored or tinted mixed paints, 40 to 50% of Zinc is probably the best proportion. When ground in oil as an artists' color and compared with Zinc and Flake Whites, the Titanium Whites may occasionally turn more yellowish upon short aging. The pigment itself does not change; the yellowing is apparently a surface effect of the oil. The reason for it is possibly that because the pigment is so inert or non-reactive, it does not form the same combinational with the oil that the more reactive Zinc and Lead will do, and therefore favors a more pronounced or thicker continuous oil layer in the upper part of the film, somewhat like that in a glossy paint diagram, which will be revealed in a future post. This yellowing is not extremely bad; it is scarcely apparent when tinting colors are used with white. The titanium whites are rather poor driers in oil, although more rapid than Zinc White; Titanium and mixed Zinc and Titanium oil grounds must be well aged before use.
In aqueous mediums, titanium is entirely satisfactory, In tempera mediums the difference between it and Flake White is reversed. In tempera, Flake White usually brushes out with difficulty; titanium brushes out well. Pure dry titanium dioxide is sold by one maker under the trade name of Kronos; the product described in the list of pigments as titanium pigment (made with barium sulphate) is sold as Kronos Standard T.
Equivalent grades, with other trademarks as well as other kinds of less value in artistic painting, are also produced. The pigment made with barium is the one in common use; the pure oxide is somewhat more expensive (but still in a low price range) and, in industry, is employed less often - usually only when extreme opacity or hiding power is required.
Some painters dislike it in tempera and prefer the barium composite, because the pure oxide is so very powerful that it is difficult to wash out of the brush. The British and American titanium products are pure, uniform, and well made. According to Toch, the material as ground in refined linseed oil for artist's use shows none of the defects enumerated above, and under the conditions of artistic oil painting is a thoroughly satisfactory and reliable pigment.
It should be noted that the strong technical features of ti-pure™ pigments make them useful in several industries, making them popular among buyers. These are some notable benefits supported by extensive research. (a) Opacity and Whiteness: With a refractive index between 2.7 and 2.9, these pigments are highly opaque, making them suitable for use in bright finishes. (b) Protection from UV rays: This enhances UV resistance in plastics and coatings, leading to lasting products with preserved colors. (c) Thermal Stability: Maintaining workability at high temperatures is one more reason why ti-pure™ pigments remain stable and robust under difficult conditions. (d) Low Oil Absorption: In addition to this, these substances are better dispersible, which facilitates real ease while manufacturing since their oil absorption capacity ranges between 20 and 25 g/100g. (e) Safe and Inert Nature: It should be noted that ti-pure™ pigments do not harm the skin and can thus be used in making cosmetic products to protect against sunburn. (f) Sustainability Contributions: The use of ti-pure™ pigments on self-cleaning surfaces in construction supports sustainability efforts by complying with modern environmental standards. (g) Multifunctionality: This is evidenced by their application as food whitening agents which reveals the versatility of ti-pure™ pigments across various industries. (h) Compatibility: In this light, manufacturers have no problems incorporating these dyes into various formulations, thereby improving performance (i) versatility. (j) Regulatory Compliance: Whether used in other industries or its core market, ti-pure™ pigments meet all regulatory requirements and are safe to use everywhere. (k) Long-Lasting Performance: The result is that product quality and functionality will not fade away with time; instead, they will remain consistent for consumers towards ti-pure™ and pigment-filled projects.
In conclusion, diverse applications supported by technical parameters show numerous reasons why consumers prefer using ti-pure™ pigments in order to enhance product quality and performance. Moreover the titanium pigments have the greatest opacity and the highest tinctorial power of any of the whites. If a gray is made by mixing one part of black with ten parts of Kronos by volume, approximately 25 parts of Kronos Standard T will be required to produce a gray of equal intensity; using white lead, 40 parts will be required, and using Zinc Oxide, 60 parts. The grays produced by mixing black with white lead appear neutral or warm in comparison with cooler, more bluish grays of zinc and titanium. It will be seen that although neither of the defects of Flake White is present in Zinc and Titanium, and although Flake White has none of their defects, we have no entirely perfect White for universal pigment use.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
