Tusc & Pine Oil Color Modern White Collection of 5, 40ml Tubes

Tusc & Pine Oil Color Modern White Collection of 5, 40ml Tubes

• White Collection of 5
• 40ml tubes
• Contains Titanium White (In Linseed), Warm White, Unbleached Titanium White, Titanium White (In Safflower), and Zinc White
• Vehicle: Alkali Refined Linseed Oil
• Mixed and milled in small batches
• No unnecessary additives
• Rich, creamy consistency

Our White Collection offers 5 remarkable whites for painting warm table cloth or the bitter chill of the ice and snow. The set includes Titanium White (In Linseed), Warm White, Unbleached Titanium White, Titanium White (In Safflower), and Zinc White.

Titanium White (in Linseed): Titanium dioxide has twice the covering power of lead white while remaining highly stable and lightfast. Alkaline-refined linseed oil gives the paint its creamy texture and helps prevent yellowing over time.

Titanium White (in Safflower): Titanium dioxide has twice the covering power of lead white while remaining highly stable and lightfast. We used a light-colored, non-yellowing safflower oil as the binder for this pale color.

Unbleached Titanium White: Unbleached Titanium White is a warm, antique white with hints of yellow age. The natural iron oxides in titanium dioxide help create the "unbleached" buff color. Use it to tone an underpainting or to tint other colors.

Warm White: Warm White has the correct amount of orange and yellow to brighten and warm other colors. It is ideal for painting outdoors during sunrise or sunset. The color has an antique-aged quality that is soft and not as harsh as brighter whites.

Zinc White: Zinc White is a highly opaque, cold, flat white often chosen as a mixing white because it complements other colors rather than overpowering them. It is favored by many artists for glazing and alla prima painting. Our Zinc White inhibits the yellowing of artist oils and maintains a bright white color far beyond any other white. It is crucial to note that Zinc Oxide's surface layer and underbelly cure at different rates, heightening the risk of the paint film cracking. To ensure proper curing, artists should follow the fat-over-lean rule and other established oil painting practices.

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