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Titanium White (37ml Watercolours) - The Michael Wilcox School of Color
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Titanium White (37ml Watercolours)

White, Opaque

Many watercolourists are surprised that we offer white in all media, including watercolour. When white is added to any colour it will dull and cool it, producing a range of unique tints which cannot be mixed in any other way. The use of white is essential if the full repertoire of colour is to be exploited. Without it you abandon half of your tints.

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  • The whitest of the whites. Absolutely inert and unaffected by other pigments, light, weak acids or alkalis. Earlier problems of yellowing and chalking were overcome and commercial production had started by 1920. Since then it has become a popular addition to the palette, although not as widely available as Zinc or Chinese White (in watercolors).
  • Possesses excellent light fastness. Rated ASTM 1 (excellent) in all of our media and is on the list of approved pigments. A first class pigment.
  • Titanium White is brilliant, strong and possesses good covering power. Non-metallic preservatives.

 

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Our Paints

As any reader of my books will know, I suggest a limited palette of lightfast colors which will give the maximum possible range of mixes. I do not base any of my suggestions on romantic ideas from the past but solely on the qualities of the pigment used. We now have at our disposal the finest colorants of all time. Unfortunately, there are also many inferior or poorly labeled substances on the market.
As many artists have experienced difficulty in identifying suitable colors, which are also lightfast, I have introduced our own paints. They are intended only for those with a clear understanding of the thinking that is behind them. In other words, they are for use within the School by the discerning colorist requiring the best available materials.
I wanted a limited range of high quality, lightfast colors which would be compatible with each other and give the widest possible range of mixes. The paints are specially produced for the School in small, controlled batches. They are made to my specification and contain only high quality, lightfast, genuine pigments. Readers of my book ‘Blue and Yellow Don’t Make Green’ will have found that six colors are enough for a vast range of mixes. To these six – two reds, two yellows and two blues – I have added Phthalocyanine Green as a clear mid-green; Burnt Sienna to give a neutral transparent orange; Yellow Ochre as a neutral orange-yellow; Phthalocyanine Blue to provide a transparent green-blue; Raw Sienna for a semi-transparent neutral orange-yellow; and White.
I also wanted the same, carefully selected pigments to be used in each media. The same pure Cadmium Red (for example) to be used in the watercolors, oils, acrylics and artists gouache. Never before done.
The more we know about our colors the more versatile they become. I have examined and tested virtually every modern paint in the world as part of my research and genuinely feel that we offer the finest possible range of colors. There are only twelve colors in total. As these twelve can be mixed to give several million other hues, I feel they are more than enough..

Our Labels

The colour name on our labels might seem a little unusual at first. To label a colour as, say, ‘Cerulean Blue’ does not tell us very much. We label the same colour ‘GREEN-BLUE OPAQUE’, followed by the traditional name.

Also included is a colour mixing guide based on our palette. At a glance the user knows (in the case above), that a blue has been selected which can give bright greens and dull violets and will cover previous work well, being opaque..

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