Use : glaze, watercolor, oil, egg, lime, acrylic and vinyl binder. Very stable in light and darkness. It's less covering than the white tiona and it's very appreciated for its transparency. Safe for conventional use, it is, however, subjected to labeling and can not be rejected in the nature.
This pigment is in powder. For use in artistic paint, it should be finely ground in a mortar before mixing it with the binder.
Maximum dosage : The maximum dosage is 10% compared to the binder used. Above 10% it is recommended to incorporate fixators and adjuvant (lime use).
Photo on the left : the pigment is mixed in the badisof plus (limewash ready to use which you can find in our decorative range) at the rate of 5% or 50 g of pigment per kilo of whitewash.
Photo on the right : the pigment is mixed in the badisof plus at the rate of 20% or 200 g per kilo of whitewash.
These renderings can be similar for any white base mixed with this pigment. However, differences will be possible for the use of paints more or less loaded with titanium dioxide (white pigment), which will give a final color more or less light.
If you want to lighten a pigment, before coloring a transparent binder (linseed oil, wax, acryling binder, caparol, flour, etc), you can mix it with blanc Tiona 595 (white Tiona).
Color : white slightly bluish and cold. Important quality : it keeps its original whiteness and does not pulling toward the yellow.
This pigment is 100% synthetic.
Made in Netherlands.
History : Also called "white of China". Known since Antiquity, it has been used in medicine as an anti-inflammatory and has been started to use as a pigment in the late eighteenth century, slowly replacing lead oxide, very toxic but cheaper. The impressionists used it more as a brightening agent (Picasso, Manet). Van Gogh also used it a lot in his paintings.
Our packaging :
We use recyclable PET jars, to throw away, cleaned, in the yellow bins ; and glass jar that you can clean and sterilize for other uses even food.