Naples Yellow

[Debra Norton]

Thank you Bianca and Linda, I ended up getting some Michael Harding because we have it at our school store. I've only been using it for a week, so I'm still getting used to it. I plan to try some of the other brands eventually and will keep Vasari and Lefranc in mind.

[ReNae Stueve]

Debra,

I have been using Cennini colors for some time now and the Naples Yellow is outstanding. The consistancy of these paints are perfect.

Over the years I've discovered that in addition to quality of paint the quality of the tube and cap system it comes in should be considered. Cennini has a good sturdy cap with a deep thread to keep the paints fresh.

These can be found at http://studioproducts.com

[Sharon Knettell]

I still have some of the Micheal Harding left. I do Love it.

Is the Studio product lemony or warmer?

I have just ordered their optical white and his Alizarin replacement.

I just got reamed out by Rob on Cennini and my husband a materials scientist for not doing the necessary tests on my materials.

[ReNae Stueve]

Sharon,

It is warmer.

When I need to get close to Naples but more buttery, I use a Cad Yel Light and just a touch of his Orchre. This is transparent, adding another touch of white for opaque.

My daughter is a Molecular Toxicologist. I'm used to such reamings..... It's good to be informed, Cennini fits the model as Ryan would say.

[Claudemir Bonfim]

Hi there,

I suggest you to avoid using Naples yellow because it is very toxic.

[Richard Bingham]

A large part of learning the nature of one's paints has less to do with readily apparent chromatic differences (color, undertone, tinting strength, etc.) than how different pigments can be used in the construction of a sound painting.

Rates of drying, oil absorptive qualities, handling characteristics and relative transparency and opacity then become issues of importance which refines the painter's choice of materials in terms of their technical qualities and a chosen method of procedure.

So a given pigment is toxic? Certainly it's necessary to know this, and handle it accordingly. Portraitists in particular engage in placing small strokes of paint with an accuracy within a few thousandths of an inch to render "likeness". Most adults are quite capable of sitting to a formal dinner without getting food on their hands, faces, clothing, or on the person next to them. To be "safe" at the easel, don't eat the paint, but apply the same sensibilities you use at table, and don't get it all over you.

If the requirements of one's environment prohibit the casual and careless proximity of materials harmful to small children and pets when no semblance of ordered use or restrictions of care are in place, this precludes using all materials and paints associated with oil painting. Ingesting or wallowing in any of them will certainly cause injury.

[Sharon Knettell]

Thank-you Richard!

The only time a family member of mine came close to ingesting paint with abandon was when my very long haired calico cat jumped on my palette fully laden with lead white and cadmiums.

It grabbed her screaming and hissing and dunked her into the bathtub before she could lick herself clean.

If I need it I use it. I do not eat it.