Zinc White vs Titanium White vs Flake White (PW4, PW5, PW6)

White paint plays a critical role in colour mixing, tonal control, and surface quality. Not all white pigments behave the same, and choosing the wrong one can unintentionally alter hue, value, or paint handling. The three most common white pigments used in fine art are Titanium White (PW6), Zinc White (PW4), and Flake White (PW5).

Understanding their differences allows artists to maintain colour integrity and structural stability in their work.

Titanium White — PW6

Titanium white (Pigment White 6) is the most widely used white pigment in modern painting. It is extremely opaque, has very high tinting strength, and reflects a large amount of light.

Because of its strength, titanium white dramatically lightens colours and can quickly overpower mixtures. It also tends to cool colours slightly, which can subtly shift hue and saturation.

Best used for:

  • strong highlights
  • covering dark passages
  • high-contrast work
  • acrylic and oil painting

Limitations:

  • easily chalks colours
  • reduces transparency
  • can flatten subtle tonal transitions

Titanium white is powerful but should be used deliberately.

Zinc White — PW4

Zinc white (Pigment White 4) is significantly more transparent than titanium white and has much lower tinting strength. It lightens colours gradually without overwhelming them.

Zinc white is valued for its ability to preserve hue and chroma, making it ideal for glazing, subtle lightening, and delicate transitions. It does not significantly shift colour temperature, which makes it preferable when colour accuracy matters.

Best used for:

  • glazing
  • subtle highlights
  • atmospheric effects
  • colour mixing where hue integrity is critical

Important consideration (oils):
In oil painting, zinc white can become brittle over time if used heavily. Many artists reserve it for thin layers rather than structural passages.

Flake White / Lead White — PW5

Flake white (Pigment White 5), traditionally made from lead carbonate, is one of the oldest white pigments in art history. Modern versions are often lead-free or modified, but the handling characteristics remain similar.

Flake white is semi-opaque, warm in tone, and has moderate tinting strength. It mixes smoothly and creates flexible paint films, which is why it was historically favoured in oil painting.

Best used for:

  • oil painting
  • flesh tones
  • flexible underpainting
  • subtle lightening without chalkiness

Safety note:
Traditional lead-based flake white is toxic and should only be used with proper precautions. Many artists now use lead-free alternatives that mimic its behaviour.

Which White Changes Hue the Least?

  • Least hue shift: Zinc White (PW4)
  • Moderate shift: Flake White (PW5)
  • Most shift: Titanium White (PW6)

Artists who want to maintain colour temperature and saturation often prefer zinc white for mixing, reserving titanium white for highlights only.

Choosing the Right White

Many professional palettes include more than one white, each serving a different purpose:

  • Titanium white for coverage and contrast
  • Zinc white for glazing and subtlety
  • Flake white (or alternatives) for oil handling and flexibility

White paint is not neutral by default — pigment choice matters.

Understanding white pigments improves colour control, prevents muddy mixtures, and leads to more intentional painting decisions.