It’s opaque with a high tinting strength. Titanium white is the most widely used and best known of all the whites, both in oils and acrylics and the standard against which other whites are compared. By using a fast-drying white in mixing, the drying time of the entire painting will be sped up. You can mix traditional oil paints with alkyd paints. Quick-drying white oil paints are made with an alkyd resin included. You can speed up the drying time of oil paint by adding an alkyd medium – Galkyd or Liquin are examples. Oil paints made with linseed oil dry faster than those made with safflower or poppy oil. Information is available online on the drying rates of most good quality oil paints. This applies especially to oil painters that paint in layers and not alla prima. For oil painters however, this is an important consideration.īecause of the fat over lean rule, you don’t want to apply a fast-drying paint over a slow-drying layer as cracking may result due to their different drying rates. Drying TimeĪcrylic artists don’t have to worry about this characteristic of white paint as all acrylic paints dry fast. Whites with a low tinting strength are also useful for modifying light while still being able to see the layers below. Similarly, landscape artists painting mist, dust or fog, which require only a slight shift in colour, would find a low-tinting white preferable. Transparent colours when mixed with whites with high tinting strength, lose their translucency, which is why if you paint portraits, you may find a less opaque white with a lower tinting strength more suitable for capturing the translucency of skin tones in the final stages of the portrait than a very opaque titanium white with high tinting strength. This can be seen in the washed-out pastel colours often created when mixing a colour with too much white. Whites with a high tinting strength are inclined to dominate less strong colours and overpower them. If you must add lots of a colour to change the base colour, then the paint has a relatively low tinting strength. If a small amount of paint mixed with a base colour makes a big colour change in the mix, then the paint is said to have a high tinting strength. Tinting strength affects how much a colour will change other colours it is mixed with. “The more opaque the white, the more expensive the paint”, is a general rule of thumb. Later in the painting process you may want to refine colours by subtly lightening the value, then a more transparent white would be the best choice. This is especially important when you start mixing colours for a painting and need to create the most dramatic colour shifts quickly. However, if you want solid coverage then go for the paint that has a high opacity. If you want to create a misty, dusty or smoky effect, or tone down a too-vibrant colour by glazing white over it, a more transparent white is the obvious choice. A less opaque white will allow what’s underneath to show through. How transparent (see through) or opaque (not see through), a particular white is, will affect how it’s best used.Īn opaque white will have excellent covering power, totally blocking out any colour it’s painted over. Examining the characteristics of white paint will help you decide which white to choose.
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