In this post:
This is another nerdy gouache post. What else do you expect from me?
Before we dive in, I just want to point out that for the last almost 7 years I’ve been painting with gouache using mostly titanium white as my mixing white because I like the covering power (more on that soon). My go-to white has been Winsor & Newton Designer ‘Primary White.’ It’s cheap and consistent. So if you’ve enjoyed the look of my gouache paintings over the years, keep in mind what I used. But there is not a single white that is “better” – it all depends on how you use it!
What is the Difference between Zinc White and Titanium White Gouache?
The main difference is what type of pigment is used in creating the white color. Zinc White is made up of zinc oxide, the same stuff used in creams and ointments in many countries as well as industrial paints and ceramics. Titanium white is made up of titanium dioxide, the same stuff found in many cosmetics, sunscreen, and industrial paints and ceramics.
Zinc White is usually made up of PW5 (pure zinc oxide) but in the case of Winsor & Newton’s Zinc White you will get PW4 (“Lithopone” which is supposedly a cheaper lower quality version – and yes, the very same color I’ve been using for years).
Titanium White is made with PW6 (pure titanium white).
Zinc White is usually more transparent than Titanium White.
When should you use Zinc White vs. Titanium White?
Zinc White is often referred to as a better “mixing white” because it is more transparent. It does not ‘overpower’ the color as fast as PW6, so it can be used for creating more vivid mixes (more of the color shows through). So in theory you get brighter color, but you sacrifice a bit of opacity. If you need a powerful fully opaque mixture, use Titanium White instead.
This page contains affiliate links. I am not sponsored by any companies, this is all gear I’ve tried and trust and use by my own will. If you decide to purchase one, I get a tiny store credit so I can buy art supplies, so thank you for your support! New Jacksons Art customers will receive a 10% discount on their first order if it is made through any of these links.
White Gouache Comparison Results (5 Brands of Gouache)
Note: I only own one version of Zinc White- made by Winsor & Newton Designer’s Gouache (buy). This appears in the left column.
First (top row) I applied the gouache straight from the tube with a palette knife. This allowed me to see the opacity at its strongest form. Anything thicker and it would be pointless, as gouache will crack when applied too thickly. But I did attempt as thick a layer as possible without cracks forming.
Tested:
- Winsor & Newton Permanent White Gouache (buy)
- Schmincke Horadam Titanium White Gouache (buy)
- Daniel Smith Titanium White Gouache (buy)
- M. Graham & Co. Titanium White Gouache
- Shinhan Designers Primary White Gouache (buy)
Next (bottom row), I applied the gouache with a damp brush. This is more of a real-world test, something you might do in a normal painting session. Most of them performed the same, with only slight differences. In each swatch you can see a small area that is completely opaque and a small area that is more transparent. This reflects the variances that happen when water is involved – a natural result while painting.
Lastly, I mixed watercolor into each brand of white, and the results were similar. Water was involved in order to wet the watercolor, therefor the swatches vary in consistency. Every effort was made to use the same amount of white in each mix, but even then it wasn’t perfect. But the results show that they all performed pretty well, with only a couple of ‘winners’ in my opinion.
What is my Favorite White Gouache?
If I rate the consistency AND the opacity, I would have to choose Winsor & Newton Designers Gouache Primary White (now called Permanent White) as my first favorite, with Schmincke Horadam Titanium White in second place. Tied for third is Daniel Smith Titanium White (which felt slightly thick but still worked well) and in very close fourth place was Shinhan Primary White.
My least favorite was M. Graham because it felt too runny and inconsistent. But this was only by a slight margin.
Adding Zinc White to Watercolor (demo)
I enjoy this process very much, because it takes away the stress of working light-to-dark as you normally need to with watercolor.
My goal as an artist right now is to become more sensitive to the power of grey in a landscape. By working with a limited palette and adding white to all of my mixes, this does some of the work for me and helps me to create those muted tones I love.
I am someone who is very drawn towards vibrant colors and high contrast, so a soft muted painting is a challenge for me. But in studying this way I learn so much about subtle color mixing and atmospheric effects in the landscape.
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