MATERIALS LIST:Waichulis Curriculum:Language of Painting

Core Topics Materials
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Specific Materials used by the Ani Art Academies with the Waichulis Curriculum:Language of Painting.

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1 Palette (Wooden or Melamine) (Item # 03087-2005 )
1 Palette Knife (Item #03107-1003)
1 Art Bin/Box (Item # 03267-2050 )

BRUSHES:

BRISTLE
4 Filbert Bristle Size 2 (Item # 05224-1002)
4 Filbert Bristle Size 4 (Item # 05224-1004)
4 Filbert Bristle Size 6 (Item # 05224-1006)
2 Filbert Bristle Size 8 (Item # 05224-1008)
SYNTHETIC
1 Flat wash ¼” (Item # 05859-4014)
1 Flat Wash ½” (Item # 05859-4012)
1 Flat Wash ¾” (Item # 05859-4034)
2 Flat Wash 1" (Item # 05859-4001)
or Recommended Starter pack: (Item # 05859-0049)
2 Oval Mop, Size 1/2" Extra Short Handle (Item#06363-4012)
2 Oval Mop, Size 3/4" Extra Short Handle (Item#06363-4012)
SABLE/SYNTH
1-2 small (round, filbert, or flat) (Item # 06659-1006 7200 Round, Size 6)
1 Medium (round, filbert, or flat) (Item # 06661-1018 7201 Size 10)
2 Round, Size 4 (Item#06001-1004)
2 Round, Size 6 Item#606001-1006)
1 large (flat) (Item # 06661-1018 7201 Size 18)
DETAIL
Sceptre Gold II Series 101 Sizes (1-0000)
Experimentation with additional brush brands,
shapes, and sizes is encouraged.

Brush Carrier (Item # 06926-1012)

MEDIUMS
1 Bottle Winsor and Newton Liquin Original (Item # 00445-1003)
1 Tube Maroger Italian Medium
(http://www.oldmastersmaroger.com/italianwax.htm)

VARNISHES
Conserv-Art Gloss Varnish (Item # 00446-1004)
Conserv-Art Matte Varnish (Item # 00446-1014)
Gamblin GamVar Varnish (Item # 00456-1115)
Other Varnishes may also be utilized.

PAINT
Winsor&Newton WINTON Oil Colors
Titanium White (Item # 00430-1013)
Naples Yellow (Item # 00430-4243)
Cadmium Yellow Light (Item # 00430-4073)
Cadmium Red Light (Item # 00430-3093)
Cadmium Red Medium (Item # 00430-3103)
Alizarin Crimson (Item # 00430-3063)
Ultramarine Blue (Item # 00430-5273)
Cerulean Blue (Item # 00430-5163)
Permanent Green Light (Item # 00430-7313)
Burnt Sienna (Item # 00430-8043)
Burnt Umber (Item # 00430-8053)
Raw Umber (Item # 00430-8073)
Lamp Black (Item # 00430-2023)
Other colors can be added to this list.
Experimentation with alternate Oil paint brands is encouraged.

SURFACE/PREPARATION
Window Trim Brush 2” to 4”
Liquitex Acrylic Gesso
4 16x20” Panels
Surfaces utilized: (Hardboards) Untempered Masonite, MDF)
Sandpaper (200, 400, 600(+))
Drywall Hand Sander
Newspaper/Brown Paper

MISC.
Paper Towels
Soap (Ivory)
Mahl Stick
Palette Cup (Item # 03017-1001)

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Thank you Anthony. As for the item # 00430-1013 Titanium white from Winton range, i wonder what your thoughts are about its permanency since it contains Zinc Oxide PW4 mixed with Titanium white PW6, also would like to know what you’re using in your palette as white and the basis of oil paints brands selection. Thank you.

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While there are a good number of reasons to avoid any oil paints with zinc oxide (see: (https://www.naturalpigments.com/artist-materials/zinc-white-oil-paint-color/) I am not overly concerned about its inclusion in the Winsor&Newton Titanium Whites. At the risk of sounding like an argumentum ad populum–the majority of white oil paints available today seem to include zinc oxide and the Winsor&Newton Titanium Whites seem to have only zinc in the 5-10%. As such I am not willing to toss out a white paint that provides many advantages that I really enjoy.

In addition, George O’Hanlon states that a number of the early problems he lists in his paper “were primarily observed when zinc white was used alone or in excessive amounts, especially in the grounds of paintings. It appeared that the cracking and embrittlement of dried paint films could be minimized or eliminated when zinc white was mixed with other white pigments or used sparingly*.” (although admittedly there are other problems that he attributes to paints containing only small amounts of zinc.)

Personally, I would be much more concerned about the drying oil that is used. Thankfully, Winsor&Newton Titanium Whites use Safflower Oil which, generally speaking, has been shown to yellow much less than other drying oils.

If you have concerns regarding the zinc oxide in W&N paints then by all means use a different white. There are many out there to choose from and you may end up finding one that is similar to my favorite that you can recommend to me.

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To be honest, i used Winton Titnium white much before i read about its problems, and i recently bought a 200 ml. tube of it that i used a little then omitted using it for painting at any stage hoping that i can order a white that’s easy to work with and overcome problems, if there’s any, including the brittlness one, and survival of paint film for at least longer time, also taking in mind that titanium white does also make brittle paint film, may be better than zinc a little, but when mentioning enjoyment in painitng then Yes,i used lead white but i didn’t like its thick consistency, i wish it works easily with brush like titanium or zinc white. I also used Old Holland 60 ml. tube white that i purchased online but not sure if it’s my favourite, it works fine with brush for smooth brush strokes, and it’s opaque like Winton, may be. But we all have used zinc white :slight_smile: – not? In work, one can’t differentiate between a titanium with zinc and one with no zinc mixed with it. I’m doing a painitng and i used Winton naples yellow as a mixed white :0 by caliberation to my reference, as you know it’s a mixed white with titanium PW6 and other pigments in it but no zinc. because i didn’t want to use the tube of Titanium with zinc in it. But when i reached the areas with higher values white, i now couldn’t resist using it because it’s the only pure white i have. But knowing that you use Winton, i decided to know your thoughts, may be i can have a justification to use it again :smile:

Have you used other whites to select Winton white as a favourite?

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i was under the impression that the brittle nature of zinc in paint isn’t so much the problem as the canvas/panel/support it’s painted on and moreover the stresses it encounters. it’s like saying you should only use metal cups for drinking out of because china or glass can smash - yes, but only in very specific situations.

though there’s an increasingly zealous movement around the archival nature of materials which folk seem to get a little preoccupied with. i’d rather focus on not making a horrible mess of a painting that will last 500 years. if old master works are still around in spite of the rigors of time, rolled, being carried across multiple continents on horseback, unrolled, cut up, etc, and still hold a lot of their charm even with some significant deterioration. i don’t think our work will suffer half the abuse, even if it has a bit of brittleness due to zinc or potentially other modern additives with hidden drawbacks we don’t know about yet.

As an extra note, due to the increase in publicity generated regarding the wariness of zinc white, manufacturers are already choosing to remove it from their paints (except for actual “zinc white” of course) and pre-gessoed surfaces, Michael Harding, Golden, Frederix, and Old Holland I know of are doing this or have already done it, I expect there are more brands to include or on the way. There’s a lot more info about it on the Traditional Oil Painting group (run by Virgil Elliott) on Facebook where they are really hard core on this kind of stuff.

it seems to follow that if you can use a more future-proof white without drawbacks, you probably should.

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Hi Yasser, Absolutely. Over the years I have experimented with many different white paints (I remember Permalba White being popular in the studio for some time quite a few years back) but I have always gravitated back to W&N Titanium whites.

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I thought that was the main issue as well.

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What!? I thought we were going to paint with Langridge, or Rublev or Harding? :grinning:. I was about to rent out a floor in my house to afford them.

But seriously, why Winton?

@AWaichulis what’s your everyday go-to brand(s)?

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My default “go-to” is Winsor&Newton Winton and Artists Oil Colors.

Why Winton?

Winton Oil Colours are considered a high-quality student-grade oil paint, sitting between professional artist-grade and lower-end student paints. When comparing Winton to many artist-grade paints, it’ss important to consider several technical factors:

1. Pigment Load & Quality

Winton uses high-quality pigments, but in lower concentrations than Artist Oil Colours or other high-end professional brands like Old Holland or Michael Harding. To maintain affordability, they use higher levels of extenders (such as aluminum stearate or calcium carbonate) in some colors, which can slightly reduce color saturation. True artist-grade paints prioritize maximum pigment load, often with fewer or no extenders, resulting in richer colors and greater tinting strength.

2. Pigment Substitution & Mixing

Winton uses single-pigment formulas where possible, but some colors substitute expensive pigments with modern alternatives (e.g., synthetic iron oxides replacing genuine earth pigments or hues instead of traditional cadmiums and cobalts). High-end artist paints maintain authentic, single-pigment formulations for superior mixing and color purity.

3. Consistency & Working Properties

Winton colors are designed for even consistency, with a stiffer body than most artist grade brands. This makes it somewhat easier to handle and more conducive to practices that seek to capitalize on dry media skill development. Artist grade brands can have great inconsistencies or disparity across their color line due to the makeup of the paints themselves. In addition, most seek to offer a buttery or soft consistency, as it can be assumed by most that such a consistency is better for blending and impasto techniques, with some brands (like Vasari) hand-milling their paints for ultra-smooth handling.

4. Oil Binder & Drying Time

Winton uses safflower oil in some colors (particularly whites and blues) to reduce yellowing over time but primarily relies on alkali-refined linseed oil, which is stable and dries at a moderate rate. In contrast, some artist grade paints use cold-pressed linseed oil, which enhances drying properties and increases durability.

5. Lightfastness & Permanence

While Winsor & Newton ensures that Winton pigments are all rated for high lightfastness, just as one may expect from their artist grade line. Some artist lines though try maximize high lightfastness, (e.g., Williamsburg, Blockx) by sourcing the purest pigments attainable.

6. Price/Value

Winton is significantly more affordable than artist-grade oils while maintaining a level of quality that is superior to many entry-level brands (e.g., Reeves or Daler-Rowney Georgian).

Artist-grade paints justify their higher price by offering greater pigment concentration, more pure/authentic pigments (which may increase longevity), and fewer to no extenders.

Conclusion:

Winton is an excellent choice for beginners, students, and even professionals. It provides a significant range of colors at a reasonable price. It delivers solid pigment quality, good handling, and reliable permanence. However, compared to many artist-grade paints, Winton lacks the maximum pigment load, “buttery” textural properties, and overall “color brilliance” that some professionals may seek out in premium brands.

For high-chroma works, highly chromatic glazes or a somewhat larger gamut of color mixing, artist-grade paints will outperform Winton. However, for general painting, underpainting, or large-scale works, Winton is a cost-effective, high-quality option that surpasses many student-grade alternatives.

Hope this helps!

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:exploding_head:

Yesterday, I was being really snobbish, looking through reviews of paints, and deciding that I… I will ONLY use the “best” paint. That being the most expensive one, Rublev.

Now that was a waste of time. :sweat_smile:

Thank you for your answer. :+1:. You saved me a lot of money

Have a great day. Over here it’s afternoon.

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