Rublev Lead Whites Part 2- Lead White # 2

Last week I introduced the topic of Rublev Lead White oil colors. Today I will discuss Lead White # 2's characteristics and working properties. Technical info can be found on Natural Pigment's site.

The test samples were painted on canvas toned with Orange Ochre. For the swatches painted with medium I used a low viscosity linseed oil thinned with odorless mineral spirits. This is not the medium I use in my paintings, but a common one used by most oil painters, especially beginners. To test the tinting strength I used it with Venetian Red.

Lead White # 2

This is my favorite lead white of any brand I have used. I first used it in February 2013. Upon receiving it I was amazed by the weight of the 50 ml tube. It was nice and heavy. I was extremely pleased how it felt when manipulated with my brush in combination with my chosen medium of bodied linseed oil and odorless mineral spirits.

Lead White # 2 is made with walnut which gives it the smooth, ropey feel. You can see from this photo how manipulation with a paint knife shows how ropey it is. Last year I gave a demo on oil painting to my 4th/5th grade class and I showed them the difference between M. Graham Titanium white and Rublev's Lead White # 2. Using a paint knife I manipulated both colors. The titanium was short and buttery, not much to get excited about. When I started manipulating the Lead White # 2 one of my students said, "What the heck?". She was intrigued. So basically titanium white= boring and Lead White # 2 is the opposite.

I've tried Lead White # 1 which is ground in linseed oil. It's pretty good, a bit stiffer than Lead White # 2. However I prefer Lead White # 2. I can use it without any medium to create thin stringy effects.

In this photo I painted out some swatches of Lead White # 2. The first swatch is straight from the tube. Using it like this had the feel of using paint with a high viscosity oil meaning that it has some drag as I applied it to the canvas. You can see a ribbon of lead white and the textural possibilities using paint without a medium.

This swatch shows the paint combined with a common medium of low viscosity linseed oil and mineral spirits.

If there is a standard lead white you need for your palette then this is the one. Of course you can try the Lead White # 1 and that may suit you. This lead white is bright, a nice balance between opaque and semi-transparent, and the textural possibilities can be easily explored. So far I haven't had any problems with yellowing because it is ground in walnut oil.

Next time I will discuss Ceruse.