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I need to respectively and gently disagree with some of Brian's comments and would like to put forward some different thoughts around this.
Deciding what paints are fat or lean based on oil absorption rates is generally misleading and leads to wildly wrong classifications of colors. The reason is that this is always reported as a weight ratio - how many grams of oil needed to 100 grams of pigment - rather than what one usually is thinking about, which is what percentage of oil vs pigment is in a tube of paint. I wrote an article on just this issue which is worth reading:
Volume, Weight, and Pigment to Oil Ratios
Some of the surprises that this shows is that Prussian Blue, for example, is EXTREMELY lean, while lead white - often thought to be super lean - is only middle of the road. In fact not much above Alizarin Crimson, often thought - mistakenly - to be particularly oily. How can this be? In the case of lead white, it is simply that lead is so dense that its reported oil absorption of 10-15% oil is misleading. Yes, by weight the oil is a very small amount of the mix. By volume, however, it is a very different story. Below I reproduce two of the relevant tables from the article:
Other surprises include that Titanium and Zinc White, as well as Ultramarine Blue, edge out Lead in leanness and that at least some common organics - such as the Phthalos - are not particularly high in oil as well.We think in many ways the 'fat over lean' rule has been a well-intentioned but confusing and likely out lived rule-of-thumb that smooths over many critical issues and doesn't take into account the plethora of exceptions. We agree with folks like George O'Hanlon that the concept is CPVC, or Critical Pigment Volume Concentration, is a more valuable and accurate one to base things on. By using that as a starting point, one can essentially consider any well-made paint as being 'lean' when squuezed out of a tube - since it is at the optimal ratio of binder and pigment - and see 'fatness' as referring to the amount of any medium being added afterwards. This relieves the painter of having to track down oil absorption rates - which are fairly useless for this area anyway - and allows them to concentrate on what we think are the more critical factors: dry time and the inherent film qualities that the pigment provides, such as flexibility. Anyway, those are a few thoughts to add to the conversation and to help correct what we think is a wide misunderstanding of 'fat over lean' as a handed down adage.Sarah SandsSenior Technical SpecialistGolden Artist Colors