I think the key here is the word "contibutes." Obviously there are many contibuting factors. Also there are many conservators out there. Since there are many factors involved in the cracking of paint, I'm quite sure that any type of white would crack if unsound practices were followed.

Robert Gamblin is not an unbiased source of information. I think that he produces many fine products, in particular Gamsol and Gamvar. However, I feel that the use of Alkyd mediums which many manufacurers promote will prove far more disasterous to oil paintings in the long run than will flake white used intelligently.

Michele,

Try Vasari flake white and/or Ozog flake white.
http://www.studiomaterials.com/
http://www.shopvasaricolors.com/default.asp

Both are traditional flake whites.
Buttery and ropey.


Bill

Thanks, Bill, I'll check them out. So nice to see you on the forum again. I hope all is well with you and your painting projects.

As I look back on my work over this past year I see a definite turning point in the quality of what I've painted since about May. And, gee, wasn't there a workshop taught in Phoenix by a guy named Bill Whitaker who looks a lot like you that I attended around that time frame....? I tell people that I hear your wise voice in my ear every day, reminding me about something I should or shouldn't be doing on whatever painting I'm working on. Thanks again!

Have to confess that "ropey" is a new one, and I not only don't know what it could mean, but I don't know if it's a good thing or a bad thing. (It "sounds" bad but seems to have been posited as good.)

Enlightenment solicited.

Ropey
 

I suspect Bill means the paint will hold together when you pull it out. Some colors (and some brands) will break off quickly and some hold together and string out.

If you put out pure paint on your palette, then take the tip of your knife, dip it into the pile of paint and slowly pull to the side-you can see this effect. Paint behaves uniquely.