Sunday, November 20, 2011
Using a Second White
Recently I have found a second white appearing on my palette. Most of the time I use Titanium White. In the last couple of years I have explored a number of Titanium Whites. I like Gamblin, Rembrandt, and of course Old Holland. For value I have used a lot of LeFranc. During this exploration I also delved into Lead White. I really like it, but I find I don't prefer it in all applications. It is fantastic in places I want a warm white, in impasto, and in places where I want an unpredictable outcome. It tends to come off the brush stringy and wobley. If I whip it, it gets more viscous and ropey. Great under the palette knife.
Titanium Above, Lead Below
OK, it is only a picture, so difficult for you to see the hue difference.
Titanium Under The Brush
Then, carefully trying to do the same with the lead white;
Juicy, Gooey, Lead White
I used LeFranc Titanium White and RGH Lead White. If you want to buy RGH, call them first and order over the phone. Old Holland's Lead is fantastic but expensive. I have been using Flake White Replacement by Gamblin. It has maybe 80% of the properties and none of the lead. Good news for those who like to suck their brush. I have found RGH Extra Fine Lead White and Blue Ridge Flemish White to be interesting as well. Both come out of the tube loose and very smooth. Both whip into a viscous pile for less control or more impasto. Thixotropic me thinks. Store these tubes upside down to eliminate oil separation.
Yesterday I used Lead white and Ultramarine Blue for some sky work (Below). Just mixing on the palette gave me a look that is out of the ordinary. It looked translucent and warmer than the usual and the ropeyness gives almost a two tone effect if applied with that in mind. I usually mix in another pigment but not with this. Its not for everyone.
The Creperie, Pont Audemer