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1. You just touched on perhaps the single most controversial issue in the history of art materials. I won&#;t go into the decades of drama that surround the recent vilification of zinc white, suffice it to say that it involves espionage, theft of documents, sabotage of clinical tests, corporate conspiracy, propaganda on all sides, and a whole lot of bad blood. What I will say is that it is true that zinc white creates very hard and rigid paint films. Hence, when placed over other softer oil paints or flexible stretched canvas, it has a tendency to crack. This speaks to the whole &#;fat over lean&#; (or, to put it better, flexible over less flexible) rule. Zinc white PW4 was developed in the 19th century as a non toxic alternative to lead white. People still use it for the same reason. Zinc and lead whites share several good characteristics over titanium white, including that they are semi-translucent as opposed to the super opaque titanium. They also mix much warmer and more vibrant tints rather than the cooler and chalkier look of titanium white (this makes them especially good for skin tones). Titanium also has the opposite problem to zinc. It is too soft and flexible, with thick layers of titanium white drying to the consistency of chewing gum. This is the reason that many paint manufacturers add some zinc into their titanium white paints, in order to balance the flexibility. Don&#;t worry, despite the hysteria, zinc white will not cause your painting to spontaneously combust. Thankfully, such a thing is not even physically possible. If you are still worried about the cracking issue (which can be mitigated by adding in more titanium as the layers progress, or even adding the more flexible mediums like stand oil) just paint on panel. That way the whole painting remains rigid.
2. You only need to be careful about faster drying pigments if you are layering them over slower drying ones. Again, it&#;s about the more flexible over less flexible thing. Obviously a paint layer that is already dry is usually much less flexible than one that is still trying to dry properly beneath it. Just make sure the paint underneath is thin and dry before going over with a faster drying pigment. You can always use a technique called oiling out if areas appear too matte/sunken to you.
3. I&#;m with you on the ultramarine. Ultramarine blue-based greens look kind weird and unnatural to me. There are many &#;cooler&#; blues out there. Pthalo blue green shade is a transparent cyan. The red shade is more purplish but still cooler than ultramarine. My favourite for mixing greens and purples is Prussian blue PB27. It is like pthalo but more muted/quirky. There is the more expensive but beautiful cobalt blue as Antonin mentioned. and its cousin Cerulean blue which is great for skies. Indanthrone/ene blue is about the same level of purplishness as ultramarine but is more ink-like somehow, and is also a bit more muted in mixtures.
4. No. You can get transparent earth pigments that are much lower in chroma than many opaque colours. Transparency and chroma are completely different things. It&#;s true that some transparents like pthalos, quinacridones and some transparent yellows produce very high chroma colours when you add white. The end product though is still not necessarily any higher in chroma than opaque cadmiums, cobalts etc. Opacity has nothing whatsoever to do with fat over lean. As mentioned fat over lean is about flexible layers over less flexible ones. More flexible things in oil painting include paint mixed with oil/mediums (hence the word FAT), titanium white, thick paint layers and still wet paint layers. Less flexible things include paint mixed with solvents (hence the word LEAN), Zinc white, thin paint layers and fully dried paint layers. Less flexible things should go on the bottom first. Then more flexible things on top. As such it&#;s fat over lean, thick over thin, slow drying over fast drying etc. All rules that do the same thing. It&#;s actually not too difficult once you get the hang of it.
Never be afraid to ask questions on here. Even if they have (and they usually will have been) asked many times before. Have fun on your journey. : )
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scratch free perfect foam is important for tints&#;pour marks holes will all show badly&#; after stirring the tint well into the the resin strain the resin before adding hardner&#; bad lap cutting will show,straight up and down cutting with blade will score the foam resulting in dirty looking cut .{cut lap not cut foam is the idea hahaah }. side zipper cutting is much harder but so much cleaner . lime green and orange are easy colours if based on yellow&#; just add little blue or red&#;
dark or dirty colours are the hardest&#; rootbeer, marron ,brown,grey
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