What Unbleached Titanium Can Add to Your Palette

Launched to artists paints within the Nineteen Sixties, Unbleached Titanium (pigment index quantity PW6 or PW6:1) is a shade of yellow-grey that may be described as being like parchment, suede, or sand. As its title and pigment index quantity suggests, it’s carefully associated to Titanium White. Nevertheless, its traits are very completely different and the chances it affords in color mixing are in contrast to some other pigment. This text explores its historical past, distinctive traits, and the way its color mixing capabilities can enrich any painter’s palette.


Unbleached Titanium mixtures

Unbleached Titanium watercolour mixtures


The Historical past of Titanium White and Unbleached Titanium

In an effort to perceive the historical past and properties of Unbleached Titanium, you need to look first at Titanium White. Titanium White is a white pigment composed largely of titanium dioxide. In nature, this compound is discovered most abundantly in minerals like ilmenite or rutile, from which high-purity titanium dioxide may be extracted or synthesised. By the top of the nineteenth century, titanium dioxide was already getting used as an acid-resistant agent in ceramic glazes and enamels, however from 1908 researchers in Norway and the US started exploring the compound’s potential as a white pigment as a result of its excessive opacity.

Nevertheless, the search for a pure-white pigment was not a straightforward one– alongside titanium dioxide, ilmenite incorporates iron-oxides, metallic compounds that give earth pigments their color. Due to remaining iron-oxide impurities, the primary experimental batches of Titanium White ranged from off-white to reddish-yellow. Even by 1927 the pigment was nonetheless described as being barely yellow in hue. This may very well be improved by utilizing components like calcium phosphate and barium sulphate, however these compromised the opacity of the pure titanium dioxide. The method of creating a vibrant Titanium White pigment with excessive opacity was refined and perfected over the primary half of the twentieth century, and the pigment was regularly taken up by artist-paint producers within the Thirties.

Titanium White paint

Williamsburg Titanium White Oil Paint, an opaque vibrant white pigment


Whereas builders of Titanium White labored onerous to take away iron-oxides from the white pigment, it’s the pure incidence of iron-oxides with titanium dioxide that provides us the ‘unbleached’ number of Titanium White. Nevertheless, slightly than being really ‘unbleached’ (Titanium White pigment will not be bleached within the first place), the pigment is a titanium dioxide pigment that’s formulated in order that it nonetheless incorporates round 1.5% iron-oxide, giving it a attribute buff color. The primary firm to supply it in an artist paint was Bocour, an organization co-founded by Sam Golden who would go on to determine Golden Artist Colors. Within the Nineteen Sixties, they purchased what they thought was Titanium White pigment, however it turned out to be an off-spec titanium dioxide that was sandy-beige in color. Not eager to let the pigment go to waste, they made a paint with it that they known as ‘Unbleached Titanium’, a reputation that sums up its uncommon hue. The color proved to be standard amongst artists, and right this moment the color is included in lots of artist paint ranges. Many nonetheless use this unique title, whereas others use ‘Buff Titanium’ or ‘Titanium Buff’.


Titanium White vs. Unbleached Titanium

Williamsburg Unbleached Titanium Pale Oil Paint, which seems to be sandy-beige subsequent to Titanium White


The Properties of Unbleached Titanium

It shares many properties with Titanium White, resembling its extraordinarily excessive opacity and excessive refractive index, however there are some notable variations. Titanium White pigment has very small pigment particles (normally lower than 0.4µm), whereas the ‘unbleached’ selection measures round 1µm. Moreover, in oil paint it dries a lot sooner than common Titanium White as a result of it requires solely a small quantity of oil to grind it right into a usable paint. This makes it a helpful underpainting color. There’s a specific amount of variation between manufacturers, with some being barely pink and others extra yellow or orange in hue. These variations are because of the precise composition of every pigment and the quantity of iron-oxide it incorporates.



Color Mixing with Unbleached Titanium

Used by itself, it won’t appear to be probably the most thrilling color. It’s slightly uninteresting and dense, and any shade that may be described as ‘beige’ won’t be instantly inspiring. Nevertheless, it’s a colour-mixing powerhouse that may add texture and ambiance to many various palettes. Evaluate, for instance, how in another way Titanium White and Unbleached Titanium modify Ultramarine Blue. The Titanium White lightens it to a vibrant, main blue, whereas the ‘unbleached’ various lends a bit green-ness, making extra muted and atmospheric blues.


Titanium White vs Unbleached Titanium in mixtures with Ultramarine Blue

Ultramarine Blue in incremental mixtures with Titanium White (high row) and Unbleached Titanium (backside row)


Titanium White is commonly the go-to white for a lot of artists, however its brightness can seem scientific when one thing extra delicate is required. For instance, if you happen to use earth colors in your work, Unbleached Titanium may very well be a more sensible choice for lightening their worth whereas sustaining their earthy-quality.


Unbleached Titanium with earth pigments

Unbleached Titanium oil paint in incremental mixtures with (from high to backside): Jackson’s Uncooked Sienna (PBr7), Michael Harding Uncooked Umber (PBr7), Williamsburg Pompeii Pink (PR102), Williamsburg Lemon Ochre (PY43), Jackson’s Burnt Sienna (PBr7)

When combined with pinks and purple pinks, it makes a spread of velvety, delicate pinks that might be at house in botanical and portrait palettes.


Unbleached Titanium in mixtures with pinks and purples

Unbleached Titanium watercolour in mixtures with (from high to backside): Jackson’s Quinacridone Purple (PR122), Sennelier Cobalt Violet Gentle Hue (PR122, PV16, PW6), Jackson’s Cobalt Violet Deep Hue (PR122, PV16)


Unbleached Titanium’s yellow-bias must be taken under consideration when utilizing it in color mixing. It signifies that it makes a pure mixing accomplice to quite a lot of greens, including an earthy softness and better opacity to them.


The identical is true for blues that lean in the direction of inexperienced. Within the combination beneath, it enhances the green-ness of Cobalt Teal:



Because of its giant and irregular pigment particles, Unbleached Titanium is a granulating pigment in watercolour. These extremely granulating properties may be exploited to make some gorgeously textural washes, significantly when paired with different very granulating pigments. Even including only a small quantity to a different color lends it a velvety texture:


Unbleached Titanium with Cerulean Blue and Potter's Pink

Unbleached Titanium watercolour with Michael Harding Cerulean Blue (PB36) and Maimeri Blu Potters Pink (PR233)


As proven within the color mixes above, the delicate and velvety high quality of Unbleached Titanium may be helpful for imparting a muted earthiness to pigments which might be in any other case very vibrant and vibrant. If there are any mixtures you take pleasure in utilizing, then please tell us by leaving a remark beneath.


Additional Studying

Granulation in Watercolours: What’s it and Use it?

Black Pigments and Getting the Most Out of Utilizing Black in Your Palette

Color Mixing: The Atmospheric High quality of Cool Color Palettes

Pigment Tales: Quinacridone Pigments


Store Unbleached Titanium on jacksonsart.com


Evie Hatch

Evie’s pursuits lie within the historical past and traits of artist colors and supplies. This analysis performs a big half in her artwork observe; she loves investigating conventional methods and makes her personal watercolour and oil paints. Evie graduated in 2016 from Camberwell Faculty of Artwork with a level in Drawing. She is at the moment learning Artwork Historical past on the Courtauld Institute, London.