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Winsor & Newton Artists' Oil Color - Naples Yellow, 37 ml tube

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Winsor & Newton Artists' Oil Color - Naples Yellow, 37 ml, Swatch with Tube
Winsor & Newton Artists' Oil Color - Naples Yellow, 37 ml, Swatch with Tube
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Products bearing the CL seal of the Art & Creative Materials Institute ("Caution Label") contain ingredients that are toxic or hazardous, but when used in properly supervised and controlled conditions, they can be enjoyed with complete safety.

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Product Details

Color:
Naples Yellow
Description:
Artists' Oil
Size:
37 ml (1.25 oz)
No.
422
Series:
1

Pigment Information

This color contains the following pigments:

PW1-Lead White

PBr24-Chrome Antimony Titanate

PW4-Zinc White


Pigment Name

PW1-Lead White

Pigment Type

Chemical Name

basic lead(II)-carbonate

Chemical Formula

2PbCO3Pb(OH)2 or 4PbCO32Pb(OH)2PbO

Properties

Lead White is a fast drying, heavy consistency, flexible, opaque white with a very subtle reddish-yellow undertone and excellent covering capacity. Most artists stopped using this pigment over the last century because of its toxicity, but its working properties are positive enough to keep some artists using it. It is the most structurally sound white for underpainting. Lead White is quick drying, and it will help accelerate the drying time of any color it is mixed with.

Permanence

Lead White has excellent permanence and lightfastness. However, it may become discolored over long periods of time.

Toxicity

Lead White is highly toxic by both inhalation and ingestion

History

Lead White has historically been the most important of all white pigments. The use of this pigment dates back to the days of the ancient Greeks and Egyptians. It was the only white used in European easel painting until the 19th century, and it is one of the oldest synthetically produced pigments. It has been mostly replaced by Titanium White and Zinc White, depending on the opacity the artist desires.


Pigment Name

PBr24-Chrome Antimony Titanate

Pigment Type

inorganic

Chemical Name

chrome antimony titanate

Chemical Formula

Properties

Chrome Antimony Titanate is a staining, opaque yellowish brown pigment. It is often used to replace the original Naples Yellow or Chrome Yellow, both of which are highly toxic pigments.

Permanence

Chrome Antimony Titanate has excellent lightfastness and weatherfastness.

Toxicity

Chrome Antimony Titanate has negligible acute toxicity. In testing with rabbits, it was shown to be minimally irritating to the skin and eyes. Since it has the hexavalent structure of a chromium yellow, whether Chrome Antimony Titanate is a potential carc

History

Chrome Antimony Titanate is used in ceramics, plastics, and industrial coatings.


Pigment Name

PW4-Zinc White

Pigment Type

inorganic

Chemical Name

zinc(II)-oxide

Chemical Formula

ZnO

Properties

Zinc White is the coolest white, and it has a cold, clean masstone and a slightly bluish tint. It has less hiding power and is more transparent than other whites. It dries slowly and is good for painting wet into wet and for glazing and scumbling. Zinc White is neither as opaque nor as heavy as Lead White, its covering power is not as good, and it takes much longer to dry. However, it does not blacken when exposed to sulfur in the air as Lead White does. It is very valuable for making tints with other colors. Unmixed Zinc White dries to a brittle and dry paint film that may crack over the years, so it is not good for frescoing. It is more transparent in acrylic form than Titanium White and is the most commonly used white with gouache. Chinese White is a version of Zinc White appropriate for opaque watercolor techniques.

Permanence

Zinc White has great permanence and lightfastness.

Toxicity

Zinc White is moderately toxic if ingested and slightly toxic if inhaled.

History

Though historians are divided on who first isolated the element zinc, they agree that it was first suggested as a white pigment in 1782. Zinc White was accepted as a watercolor in 1834 and was called Chinese White due to the popularity of oriental porcelain in Europe at the time. Ten years later, a suitable oil form was produced. By the early 20th century, it had improved to the point where it was an acceptable alternative to Flake White.