Upload new images. The image library for this site will open in a new window.
Upload new documents. The document library for this site will open in a new window.
Show web part zones on the page. Web parts can be added to display dynamic content such as calendars or photo galleries.
Choose between different arrangements of page sections. Page layouts can be changed even after content has been added.
Open the Navigation Management window, which can be used to view the full current branch of the menu tree, and edit it.
Move this whole section down, swapping places with the section below it.
Check for and fix problems in the body text. Text pasted in from other sources may contain malformed HTML which the code cleaner will remove.
Accordion feature turned off, click to turn on.
Accordion featurd turned on, click to turn off.
Change the way the image is cropped for this page layout.
Cycle through size options for this image or video.
Align the media panel to the right/left in this section.
Open the image pane in this body section. Click in the image pane to select an image from the image library.
Open the video pane in this body section. Click in the video pane to embed a video. Click ? for step-by-step instructions.
Remove the image from the media panel. This does not delete the image from the library.
Remove the video from the media panel.
Hello MITRA folks! Can you recommend the best white oil paint (used thinly) for both a straight white Imprimatura and a pale colored Imprimatura? Thin, of course, and non-Zinc. I'm also wondering if a product like Gamblin Ground could be used? Whatever I use needs to be non-yellowing if some areas are left exposed, and also needs to take varnish the same as further layers of oil paint. Hope that's clear. I used to do this with a Zinc-based paint, but apparently that is NOT a viable option anymore. Thanks for your thoughts.
Move this whole section up, swapping places with the section above it.
And, unless I use an oil-based ground like Gamblin Ground for this application, I'd be working without solvents, even in the Imprimatura. Thank you for your suggestions.
There is really no better white than lead white for oil
painting. It is superior in flexibility and permanence. It is, however, less “white”
than zinc and titanium and is both expensive and toxic. It is easy to use lead
white safely but some would prefer to avoid both the expense and issues of toxicity
disposal. So in lieu of lead white you really only have titanium white. Zinc
white has been shown to be very problematic even in small proportion. Other
whites lack the opacity to be used as an all-purpose white (barium sulfate,
etc) Titanium dioxide on its own has issues as well. It tends to make very weak
paint films. Unfortunately, for oil paint, all whites other than lead are a compromise. That is not to say that permanent paintings cannot be made using titanium white, only that it is inferior to lead white.
One could certainly use Gamblin’s ground, which is titanium white and calcium carbonate
in an alkyd binder. It should take varnish in a similar manner as the rest of your painting and should remain white.
Thank you for this very clear and technical answer, Brian. Much appreciated.