£11.23 £8.42PW 6 Titanium Dioxide. PW4 Zinc Oxide. Very slow Dryer, Very Opaque, Excellent Lightfastness, High Tint Power, Non-toxic.
bound with with Safflower oil.
Safflower oil dries to a robust film, which means that this paint can be overpainted with a low risk of later cracking. It yellows comparably less to linseed oil, and handles in a similar way. This is the most brilliant non-toxic White in the Michael Harding range, suitable for cool, opaque light hues, and generally as a highly keyed mixer
£11.23 £8.42PW6& PW4. Average Drying. Very Opaque. Lightfastness Excellent. Very Low Oil Content. High tintpower. Non-toxic
This paint is bound with Linseed Oil and contains a 25% addition of Zinc Oxide White in order to avert the tendency of pure Titanium Dioxide pigment to express or exude oil to the surface whilst drying, which then causes a more pronounced appearance of yellowing. Zinc Oxide incorporates this free oil more effectively, as well as adding a cooler brightness to the white. If you want a strong mixer which tends to lighten hues conspicuously, as well as making the Cadmiums rather chalky in appearance, then this is it. The handling qualities are not overly subtle, but this is the white most suitable for a bright and largely cool palette. It forms a strong film when dry.
£33.07 £24.80PW6. Fast Drying. Very Opaque. Lightfastness Excellent. Low Oil Content
Titanium White No.3 is special in the way that it, unlike the other colours, contains artificial driers. Except for that this colour is exactly the same formulation as its respective cousin Titanium White no.2 in Linseed oil. This colour is ONLY available in 225ml tubes.
£11.23 £8.42PW 6, PW 4 & PY 42. Average Drying. Opaque. Excellent Lightfastness. Linseed Oil. Oil Content Low. Conforms to ASTM D-4236.
Warm White is perfect for artists who want a lead like paint without the lead content. This warm white is very opaque, has outstanding brushing qualities and mixes well with every colour on the artist’s palette.
£11.23 £8.42 - Sold Out
Perhaps the most under-appreciated of the Whites, Zinc Oxide was first used in 18th century France, and its early misuse as a canvas primer seems to have frightened artists away from examining its unique qualities. It has a cool transparency and a subtle power enabling one to create slightly hued mixes which retain their chromatic intensity and brightness, unlike those made by the blasting strength of the Titanium Whites. The softness of its surface when dry is not a disadvantage when it is used in this way, as the better drying paints will strengthen the mix.