I have a keen interest in painting traditions from other cultures and times, having specialised in old European master’s techniques (Flemish oil painting and Baroque oil techniques). Since 2005 that I teach painting classes in London for corporations like Enjoy-Work, Saatchi Gallery, Linen Hall, Grosvenor, the architecture offices KPF and Terry Farrell, Hauser & Wirth gallery, etc. I teach occasional lessons at the Victoria & Albert Museum (South Kensington) about 19th century drawing techniques, and team building workshops for several companies including KPMG, UBS Bank, Sainsbury’s, Bank of America Merrill Lynch, Discovery, Paramount, UNICEF, etc.
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@@diamantinopereira6690 olá Diamantino, aulas parecidas a esta estão no meu canal português do RU-vid. Eu não tenho como traduzir estas aulas, pois isso seria um trabalho a tempo inteiro ou teria de pagar muito dinheiro a alguém. Por isso há aulas destas no meu canal português. Um abraço
I’m mesmerised by the drive you have to explore your curiosity on all the materials, history and everything involving art in such minute detail. I don’t have words to express how grateful I am for what you are doing and for sharing it with such dexterity. Thank you so much for sharing your thoughtful personality and enormous knowledge with the world, Nelson.
Indeed, thse papers exist but they are not as archival as the other options mentioned in the video. Best to only use them for colour charts and studies, not for artworks to be sold.
Part of the problem is, in the West, people who used to be a "volk" are now anatomized, regional, tribal, identified by gender types and "race" (a weird concept to begin with), and they lap it all up. What they used to have in common as a People is missing, so anything goes, nothing has any firm meaning, all is fleeting, fashion of the moment, liquid, and neuroticizing. And we call it multiculturalism.
All that performed that best in terms of yellowing were those that contained Zinc. Zinc had always been used to reduce the opacity of titanium and because is decreases yellowing. While this is all good, it comes with a cost. People say zinc cracks, thats the least of our worries. IT DELAMINATES! Titanium is best used without zinc. Sure it wil yellow in the dark but much will reverse in the light. Companies like Natural Pigments/Rublev and Golden/Williamsburg has given great advice about these issues. One of the most useful is the to paint thinly rather than impasto which is why lots of your swatches are so yellow the thicker the paint.
Natural Pigments, Golden etc give excellent advice. If you watch the whole video you’ll see that the one I recommend to paint on panel doesn’t contain zinc. And it didn’t yellow at all.
Interesting experiments, well done. The reason partly that zinc white is added is to reduce the 'chalkiness' of titanium. Recently read that zinc used on a rigid surface with an oil base ground is fairly safe compared to an acrylic gesso ground.
@@SigurdBraathen Yes, frequency matters a lot. But because art is exposed to visible light, what matters the most is the spectrum that we can see as well as UV. Acrylics should darken less than any oil.
Here is what schmincke said : In our colors 10 013 Titanium Opaque White, 11 114 Titanium White and 41 102 Titanium White, we still use a small but necessary proportion (well below 10%) of zinc oxide, as zinc oxide takes on important technical functions. We take advantage of the ability of zinc oxide to increase the surface hardness of the oil films formed in the special formulation of the titanium white oil paints. For all colors in the range, we formulate with combinations of linseed oil, safflower oil and walnut oil for type 10 MUSSINI® or linseed oil and sunflower oil for type 11 Norma®PROFESSIONAL. We make an exception for our white colors. In order to keep yellowing as low as possible, we do not use linseed oil for these colors, but mainly safflower oil (type 10 MUSSINI®) and sunflower oil for type 11 Norma®PROFESSIONAL and type 41 AKADEMIE® oil. In contrast to dried linseed oil films, the dried oil film of safflower and sunflower oil is softer. This softness of the color films formed is compensated for by the zinc oxide. However, it is important to ensure that the concentration of zinc oxide is precisely adjusted to avoid embrittlement of the color films formed. A positive side effect is the additional improvement in yellowing resistance, which is much more noticeable without the presence of zinc oxide. In addition, pure zinc white, which has been used in painting for decades due to its special coloring properties, is an irreplaceable and technically proven color. Without the use of zinc oxide, in the long-standing Kremser white tone, the special properties such as drying, color strength and coloring of real Kremser white could not be achieved. In the colored shades, zinc oxide is used to adjust the color; here, too, as with all colors, the overall recipe must be considered.
It is very sad that companies are misinforming the public like this. It all sounds very romantic but it is a FACT that even 5% of zinc oxide will embritle the paint film. And if the paint is mixed with lead then even 2% is truly bad. It is also a fact that sunflower and safflower oils need siccatives - with even more detrimental effects to the final paint film. We all need to be better informed: justpaint.org/update-on-zinc/
@@nelsonferreirauk this is their labteam. Now why should i trust anyone else before them ? Sure you can say the company is misinforming the public for financial gain which would be pretty dumb considering then all their products would fall apart and they would be DONE. Or maybe they don't care about centuries. I also do not care about a LITTLE embrittlement. I do not work on canvas. I care much more about yellowing. Why would I work with nuanced skillfull color and then just wait for my paintings to get yellow. I am really breaking my brain with thinking about oils lately... You know what I will send them your comment and the link. I asked them a second time and they said again "we don't understand the hysteria our paints have been used a long time without problems". Let's try a third time with your comment and the link. Who is that woman in the link anyways. Starts like a novel. "The cracks were sharp-edged and clean, happening while you carefully bent the paint film across the metal rod, then slowing down once you felt the slightest resistance, until suddenly it would simply snap in two, like a potato chip." Already sounds like hysteria and not like science to me i dislike that start. We also have hundred years old paintings with no cracking and lots of zinc don't we ?
@@nelsonferreirauki think if I would say I use pw7 now instead you would say "well we do not know enough about it"?. What do you think of pw7 ? :) I am thinking to stay clear of oil painting in general (painful) that is how all this is getting on my nerves. I was in the museum lately. The pastels looked like they where just painted yesterday. The oils where yellow and cracked. Which all of them will be in enough time ANYWAYS. So does hundred years more or less even matter... isn't it also true that the scientific method used here should be questioned ? How does bending a paint film over a metal rod compare to a canvas panel or even to canvas and cardboard. 99.9% of paintings will never be bend like that am I wrong ?
@@nelsonferreirauk but hey thanks so much for your video. I am just still confused what to do and wanted to buy oils for two months now and did not. As a figurative artist i always hear lead is so great and zinc keeps the colors better. So can you really not emulate that with titanium ? I don't use glazing. And I warm my tints up with yellows and red. I don't feel my work looks chalky in any way. Ah well my brain is exploding from this zinc thing. Oh and i cannot and would not get lead for multiple reasons. Maybe i should try golden open acrylics.
@@hedonismbot3274PW7 is great, go for it! 15th Primitive Flemish paintings are the oldest oils done in the West and they are still in a great state of preservation. If technique is good, our oil paintings should look just as good 700 years from now. Bending the paint film is a valid method of measuring flexibility levels - directly proportional to the way brittle aged oil paint will crack on a canvas.
Thanks Nelson, very helpful. It's been three years since you've posted it, I wonder how the swatches look right now. Could you please keep us updated with a short new video?
Thanks for this video Nelson, really interesting. I've subscribed. Given that Daniel Smith have discontinued their traditional oils, which titanium white would you recommend for people based in the UK/Europe? Would it be another titanium white from this test, or have you done further 'yellowing' tests since this?
Thank you! That's an excellent question and I must try the Rublev Titanium white and some other brands. Unfortunately, most of the other brands still contain zinc - known for causing cracking. I need to do more tests. Meanwhile, please refer to this chart: www.naturalpigments.com/artist-materials/zinc-white-oil-paint-color
Hi Nelson! Thank you so much for this class. I have a question. Do you have book references about what you said about Charles Bargue and Vincent Van Gogh, and about the metodologys (what you said about the exams, how old, and the type of materials, etc) in the art academys of 19th century? Thank you
Thanks for your message Julian. There is a great book that is a good starting point: The Academy and French Painting in the Nineteenth Century, by Albert Boime. I hope you enjoy it!
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Great video! I wish Daniel Smith didn't discontinue their traditional oil paints! Now they only sell a water-mixable version, so further tests would have to be done to see if it was the same quality. Old Holland uses a ton of zinc in their mixes which I'm a little disappointed by. :( No idea if this is true, but I read that Dark Yellowing is reversible if you stick the painting in sunlight for a few hours (or keep it in normal lighting conditions, presumably with UV light) - in your experience, have you found this to be the case? I've seen so many paintings in museums that *weren't* yellowed that were hundreds of years old, so it's surprising to see on your test strips!
Indeed, sunlight will reverse the yellowing. The problem is when you have a basement studio - all this yellowing becomes a disaster! Thanks for your lovely message.
@@nelsonferreirauk At least it's reversible! If the lack of UV light causes the yellowing, I'd suggest temporarily using UVB bulbs (reptile lights) or even florescent bulbs... but the EU actually just banned these a few months ago so they might be hard to find, lol. I hope you don't have a chameleon! UVB LED lights are coming soon, so maybe that'd be an alternative?
