The best quality/price ratio on the market. Oil colour with performance superior to price. A fine, appropriate, satisfying investment. Rewarding for the disproportion between qualitative factors and purchase price. A product that repays. Artisanal, frequently used, superfine. Seventy-seven colours, an infinite assortment of yellows, reds, greens and blues. Absolutely no waxes or additives. Perfectly balanced drying times. The ideal combination of modern and traditional pigments, safe and stable.

PBk 9. Average Drying. Semi-Opaque. Excellent Lightfastness. High oil Content.

An impure amorphous Carbon in Calcium Phosphate, Ivory Black is no longer made from burning ivory scraps, but from charred animal bones. It is denser in shade and cooler than Lamp Black with stronger tint power. The most frequently used black in the range.

PY 43. Fast drying, semi-transparent.French Yellow Ochre is a glowing natural yellow. Ochre, an iron oxide earth pigment, can be traced back to paintings from the Middle Stone Age. Landscapes painters and portrait painters alike will find uses for this soft, natural yellow pigment.

PY35. Fast Drying. Opaque. Excellent lightfastness. Low Oil Content.

Cadmium Sulphide, but with a greater degree of calcination than that used for the Cadmium Lemon Yellow, producing a very dense and lean mid-shade warm yellow which is virtually indispensable as a foundation colour for warm mixes of all kinds.

Jackson's Artist Oil Paints are made in the UK by combining high-quality modern pigments and refined linseed oils to create colours that are permanent and lightfast. These colours are carefully considered to provide a full palette and are made to high standards, ensuring they are luminous, vibrant, and full of character. These intense colours can be squeezed from the tube and used as they are, or mixed with mediums to alter consistency and sheen. Jackson's Artist Oils do not contain metallic stearates, industrial fillers or anti-skinning agents. pdf=JacksonsArtistOilColourChart20. pdf Jackson's Artist Oil Colour Chart.

Jackson's Professional Oil Paints are made by skilled artisans, using only the finest grade pigments and the purest refined oils to create colours that are rich and vibrant. The intense colour saturation and purity of this range is achieved by high pigment loading coupled with our traditional production process. We don't use drying modifiers to even out drying times and so you will find some variation across the range reflecting the natural drying characteristics of each pigment. MEK and MEKO are not used in any Jackson's oil paints.

Daler-Rowney Graduate Oil is an affordable range of oil paints ideal for students and hobbyists looking for reliability and performance. Graduate Oil colours are smooth, easy to use, and mix well together, drying to a low gloss satin sheen within 5 days.

Gamblin 1980 Oil Colors are made with the same dedication and pure pigments that go into their Artist Oils'. In addition, they use the same process of mixing, milling, filling, and hand labelling.

To ensure the 1980 colours are affordable, Gamblin formulates them with pure pigments, refined linseed oil and marble dust (calcium carbonate). This is different to many other paint manufacturers who use gels and waxes to stiffen colours, or even replace traditional pigments with less expensive ones.

With 1980 colours, artists can pay less and experience colours that are great quality, without homogenized texture or muddy colour mixtures.

Series number: 1

Chemical Description: Natural iron oxide

Color index name: PY43

Color index number: 77492

Permanence rating: AA

ASTM Lightfastness Rating: I

Transparency/Opacity: ST







Every Winsor & Newton Artists' Oil Colour is individually formulated to enhance each pigment's natural characteristics and ensure stability of colour. By exercising maximum quality control throughout all stages of manufacture, selecting the most suitable drying oils and method of pigment dispersion, the unique individual properties of each colour are preserved.

Combined with over 170 years of manufacturing and quality control expertise, the formulation of Artist's Oil Colour ensures the best raw materials are made into the world's finest colours.

Artists' Oil Colour uses the highest level of pigmentation consistent with the broadest handling properties. The quantity of pigment used provides covering power and tinting strength.

PW 6 Titanium Dioxide. PW4 Zinc Oxide. Very slow Dryer, Very Opaque, Excellent Lightfastness, High Tint Power, Non-toxic.

Bound with with Safflower oil. Safflower oil dries to a robust film, which means that this paint can be overpainted with a low risk of later cracking. It yellows comparably less to linseed oil, and handles in a similar way. This is the most brilliant non-toxic White in the range, suitable for cool, opaque light hues, and generally as a highly keyed mixer

Series: 1

Jackson's Professional Oil Paints are made by skilled artisans, using only the finest grade pigments and the purest refined oils to create colours that are rich and vibrant. The intense colour saturation and purity of this range is achieved by high pigment loading coupled with our traditional production process. We don't use drying modifiers to even out drying times and so you will find some variation across the range reflecting the natural drying characteristics of each pigment. MEK and MEKO are not used in any Jackson's oil paints.

The key foundation of Bob Ross' wet-on-wet technique, as seen in award-winning 'The Joy of Painting', Liquid White provides a unique base coat to your painting surface and is smooth and slow drying. It allows for the blending and mixing of oil paints directly on the canvas. Importantly, Liquid White does not dilute the intensity of colours and should be applied sparingly. The Bob Ross Wet-on-Wet Technique is a technique that enables an oil painter to work quickly wet-on-wet, much like a watercolour painter would do. You apply the Liquid White medium first to 'wet' the canvas, then follow the demonstration of techniques by Bob Ross to create a representational painting in a short amount of time. Standard sizing and priming is advised before using this product.

PR 83. Slow Drying. Transparent. Good Lightfastness. High Oil Content. The oldest synthetic organic lake, introduced in 1868, and the only one of the coal-tar lake range to have survived in use until the present, the others having been found to be too impermanent for artistic use before the end of the 19th century. Itself a replacement for the somewhat unreliable organic Natural Madder (a dye made from a crushed plant root), Alizarin is frowned upon by certain Americans because its lightfastness (II-III on the ASTM scale), does not match that attained in the more recent organic pigments. But its clarity and subtly beautiful bluish undertones are unique, and, since its introduction, portraitists have greatly prized its range of cool, rather smoky hues, so well suited for rendering facial flesh.

PB15.3 Fast Drying. Transparent. Excellent Lightfastness. High Oil Content.

A Chlorinated Copper invented in 1935, this was one of the first synthetic organic pigments to be accepted as reliably permanent. It is sometimes seen as a modern replacement for Prussian blue, but its unmixed colour is slightly more cyan, and in hues it exhibits a unique range of throbbing, intense, greenish blues which are quite distinct from the latter. Having the most powerful tint power of any colour in my range, this paint will blow any mix apart; if you wish to avoid doing so, add it in tiny quantities and with caution! Its ferrous content makes it a great drier, and like Prussian Blue it shows a tendency to bronze on drying.

PW6& PW4. Average Drying. Very Opaque. Lightfastness Excellent. Very Low Oil Content. High tintpower. Non-toxic

This paint is bound with Linseed Oil and contains a 25% addition of Zinc Oxide White in order to avert the tendency of pure Titanium Dioxide pigment to express or exude oil to the surface whilst drying, which then causes a more pronounced appearance of yellowing. Zinc Oxide incorporates this free oil more effectively, as well as adding a cooler brightness to the white. If you want a strong mixer which tends to lighten hues conspicuously, as well as making the Cadmiums rather chalky in appearance, then this is it. The handling qualities are not overly subtle, but this is the white most suitable for a bright and largely cool palette. It forms a strong film when dry.

Jackson's Artist Oil Paints are made in the UK by combining high-quality modern pigments and refined linseed oils to create colours that are permanent and lightfast. These colours are carefully considered to provide a full palette and are made to high standards, ensuring they are luminous, vibrant, and full of character. These intense colours can be squeezed from the tube and used as they are, or mixed with mediums to alter consistency and sheen. Jackson's Artist Oils do not contain metallic stearates, industrial fillers or anti-skinning agents. pdf=JacksonsArtistOilColourChart20. pdf Jackson's Artist Oil Colour Chart.

Colour: Michael Harding Deep Purple (Dioxazine)Pigment Index: PV23Transparency: TransparentLightfastness: ExcellentPrice Series: 2Deep Purple has tremendous use in all aspects of painting and when combined with whites it produces remarkable shades.Michael Harding Oil Colours are among the finest oil paints available to artists today. Michael Harding's colours have a high load of top quality pigments, ground in refined cold-pressed linseed oil. They are completely free of fillers, extenders, or driers, resulting in pure, rich, and vibrant colours that are lightfast and buttery.First manufactured in 1982, Michael Harding Artists' Oil Colours are exceptional quality and are made by hand. They are very popular with some of the world's finest artists, including David Hockney, Chris Ofili, and the late Sir Howard Hodgkin.pdf=michaelhardincacc.pdf Michael Harding Oil Colour Chart.

Gamblin 1980 Oil Colors are made with the same dedication and pure pigments that go into their Artist Oils'. In addition, they use the same process of mixing, milling, filling, and hand labelling.

To ensure the 1980 colours are affordable, Gamblin formulates them with pure pigments, refined linseed oil and marble dust (calcium carbonate). This is different to many other paint manufacturers who use gels and waxes to stiffen colours, or even replace traditional pigments with less expensive ones.

With 1980 colours, artists can pay less and experience colours that are great quality, without homogenized texture or muddy colour mixtures.

Gamblin 1980 Oil Colors are made with the same dedication and pure pigments that go into their Artist Oils'. In addition, they use the same process of mixing, milling, filling, and hand labelling.

To ensure the 1980 colours are affordable, Gamblin formulates them with pure pigments, refined linseed oil and marble dust (calcium carbonate). This is different to many other paint manufacturers who use gels and waxes to stiffen colours, or even replace traditional pigments with less expensive ones.

With 1980 colours, artists can pay less and experience colours that are great quality, without homogenized texture or muddy colour mixtures.

Series number: 1

Chemical Description: Titanium dioxide, Quinophthalone, Benzimidazalone

Color index name: PW6, PY138, PO62

Color index number: 77891, 56300, -

Permanence rating: A

ASTM Lightfastness Rating: I

Transparency/Opacity: O







Every Winsor & Newton Artists' Oil Colour is individually formulated to enhance each pigment's natural characteristics and ensure stability of colour. By exercising maximum quality control throughout all stages of manufacture, selecting the most suitable drying oils and method of pigment dispersion, the unique individual properties of each colour are preserved.

Combined with over 170 years of manufacturing and quality control expertise, the formulation of Artist's Oil Colour ensures the best raw materials are made into the world's finest colours.

Artists' Oil Colour uses the highest level of pigmentation consistent with the broadest handling properties. The quantity of pigment used provides covering power and tinting strength.

Colour: Michael Harding Warm White (Lead White Alternative)Pigment Index: PY42 PW6OpaqueLightfastness: ExcellentPrice Series: 1This warm and opaque white is excellent for artists who want a lead like paint. Great mixing colour. Michael Harding Oil Colours are among the finest oil paints available to artists today. The colours have a high load of top quality pigments, ground in refined cold-pressed linseed oil. They are completely free of fillers, extenders, or driers, resulting in pure, rich, and vibrant colours that are lightfast and buttery.First manufactured in 1982, Michael Harding Artists' Oil Colours are exceptional quality and are made by hand. They are very popular with some of the world's finest artists, including David Hockney, Chris Ofili, and the late Sir Howard Hodgkin.pdf=michaelhardincacc.pdf Michael Harding Oil Colour Chart.

Asphaltum: A transparent brownish-black. One of the most popular colors of the 18th century recreated by Robert Gamblin, whose version is true to historic working properties - but lightfast and permanent.Pigment: Transparent Mars Red, Bone Black (PR 101, PBk 9)Vehicle: Alkali refined linseed oilLightfastness I, Series 3, TRANSPARENT

pdf=Gamblin Artists Oil Transparent Earth Red and Asphaltum Data Sheet.pdf Gamblin Artists Oil Transparent Earth Red and Asphaltum Data Sheet

PB27. Very Fast Drying. Transparent. Very Good Lightfastness. High Oil Content.

Ferri-ammonium Ferrocyanide, discovered in Berlin in 1704 and introduced through the early 18th century, was one of the first synthetic inorganic pigments and also one of the most controversial. The earlier and less purified versions had a mixed reputation; they were said to fade in hues, or even to migrate or leech through succeeding paint layers. But modern standards of washing have dispensed with the tendency to fade, and the migratory properties ascribed to this colour are no longer reported. At any rate, Prussian Blue, like Alizarin, is one of those colours some painters find essential. Its inky depth when unmixed is belied by a range of uniquely intense blues resulting from hues, particularly with Zinc White. On its own and in more concentrated mixes it exhibits a slight bronzy sheen which can be used almost like a complementary glaze.

PR 108. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content.

A cooler, plummier red in the Cadmium range which yields maroon hues and which can be used to make heavy, greenish blacks when added to the Phthalocyanine Green Lakes, to which it is approximately complimentary.

PY35. Fast Drying. Opaque. Excellent lightfastness. Low Oil Content.

Cadmium Sulphide, but with a greater degree of calcination than that used for the Cadmium Lemon Yellow, producing a very dense and lean mid-shade warm yellow which is virtually indispensable as a foundation colour for warm mixes of all kinds.