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.

Indian Yellow: This color has been prized for hundreds of years. But only now has the color been made with a completely lightfast pigment.Pigment: Diarylide yellow HR70 (PY83)Vehicle: Alkali refined linseed oilLightfastness I, Series 3, TRANSPARENT

pdf=Gamblin Artists Oil Yellow Cadmiums Data Sheet.pdf Gamblin Artists Oil Yellow Cadmiums Data Sheet

PB29 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

This name was given by English manufacturers to Smalt, a Cobalt based pigment which was used in the 16th-17th centuries as a cheaper alternative to Lapis Lazuli. Unfortunately Smalt was very prone to fade into a light grey, as some Veronese skies demonstrate. But the introduction of Ultramarine made it obsolete, and so it can offer a completely reliable substitute blend which evokes the aerial effects of the great Venetian decorators.

Colour: Michael Harding AmethystPigment Index: PR122 PB29 PV23Transparency: TransparentLightfastness: ExcellentPrice Series: 3Amethyst is a mixture of three well known colours that come together to create an extraordinary shade of violet.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.

Series number: 2

Chemical Description: Azomethine copper complex

Color index name: PY129

Color index number: 48042

Permanence rating: A

ASTM Lightfastness Rating: I

Transparency/Opacity: T







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.

Payne's Grey: Coolest Gamblin black. Moderate tinting strength. Excellent match to popular watercolor.Pigment: Complex silicate of sodium & aluminum, bone black with sulfur, synthetic iron oxide (PB 29, PBk 11, PY 42)Vehicle: Alkali refined linseed oilLightfastness I, Series 2, TRANSPARENT

pdf=Gamblin Artists Payne's Grey Data Sheet.pdf Gamblin Artists Payne's Grey Data Sheet

Colour: Michael Harding Neutral GreyPigment Index: PW6 PBk9 PBr6OpaqueLightfastness: ExcellentPrice Series: 1A blend of Ivory Black, Burnt Umber, and Zinc and Titanium Whites makes this paint a markedly cool black substitute.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.

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.

High quality yet economical oil colour

Well-balanced colour spectrum of 48 brilliant colours

High concentration of pigments for an exceptional colour intensity

Excellent lightfastness

25 single-pigment-colours

Use of especially refined linseed oil and sunflower oil (pharmaceutical quality), no tendency of yellowing

Distinctive smooth buttery consistency through the use of bees wax

Surface drying in 2 to 4 days

Traditional production on three roll mills

A spoor (0.5-1.5%) of the finest bees wax as one of the ingredients gives the colour the famous buttery and short consistency and makes the colour-film less brittle for the restorer. The binders are only pure vegetable linseed and sunflower oils in special quality.

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.

PY83. Average Drying. Transparent. Very Good Lightfastness. High Oil Content. Diarylide Yellow HR, a synthetic organic lake which replaces the very organic, legendary, but long obsolete euxanthic acid (made by warming the urine of Indian cows fed on mango leaves). The modern organic equivalent matches the beauty of the colour used for centuries in Mughal miniatures, but has greater tint power and reliability. If brushed thinly over hued backgrounds it presents a uniquely vibrant warm mustard yellow

PBr 7.Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.

One of the fundamental Earths used as an Imprimitura pigment to draught out compositions on a Raw Sienna ground, as many Rubens sketches evidence. Depending on the degree of transparency, it can exhibit red or greenish undertones.

Series number: 4

Chemical Description: Cadmium zinc sulphide

Colour index name: PY35

Colour index number: 77205

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.

In 1985, following extensive research, Old Holland presented a revolutionary range of 168 oil paints, each with the highest degree of lightfastness. Traditional, non-lightfast pigments were replaced with modern lightfast pigments with the same colour characteristics as the traditional ones. Thanks to the highest possible concentration of pigment in each colour, the paint has an unprecedented colour strength. Within the unique range of 168 colours, there is a wide range of opaque and transparent colours, each with the highest possible brilliance (intense) and clarity (clean) characteristics. The only medium used for these oil paints is cold-pressed extra virgin linseed oil, to obtain an optimum oxidisation (drying) of the paint. This increases durability and brushstroke spread. Together, these characteristics result in an oil paint of unequalled quality.

Pigment Classification: Zinc oxide-Titanium dioxide-Natural ochre

Colour Index: PW4-PW6-PY43

Colour index number:77947-77891-77492

Lightfastness: Lightfast pigment according to ASTM category 1 and 2

Opacity/Transparency: Opaque

Shiva Professional Oil Paint Sticks are made with refined linseed oil blended with high-quality pigment and solidified into a convenient stick form. Ideal for sketching and outlining, these sticks are an effective medium to think out shape, composition and colour, without a palette or mixing cup. The Colourless Blender can be used to smooth the outlines and blend the colours. They are also a useful for helping grasp fundamentals of oil painting without messy mixing and clean-up. In most cases, the paint dries in 24 hours. Shiva Professional Oil Paint Sticks can be spread or blended and used in conjunction with conventional oil paints. They are self-sealing, just peel the seal before using. There are no unpleasant odours or fumes, so you can paint anywhere and on almost any surface - from paper to panel to fabric. Thinners, turpentine and linseed oil work as they do with conventional oil paints. Varnishes may be applied to finished paintings after they are completely dry. Available in 51 professional colours, 12 student colours, and 16 iridescent colours.

Cobalt Violet: Deep violet that is cool in its masstone (and less red than Manganese Violet), Cobalt Violet is a pure hue that cannot be mixed from other colours. Although very muted in its tint, it is a marvel as a top coat colour. Cobalt Violet greys down considerably when mixed with white.Pigment: Cobalt phosphate (PV 14)Vehicle: Alkali refined linseed oilLightfastness I, Series 6, SEMI-TRANSPARENT

pdf=Gamblin Artists Oil Violet Cobalts Data Sheet.pdf Gamblin Artists Oil Violet Cobalts Data Sheet

Series number: 1

Chemical Description: Calcined natural iron oxide, Bituminous earth

Colour index name: PBr7, NBr8

Colour index number: 77491, -

Permanence rating: A

ASTM Lightfastness Rating: -

Transparency/Opacity: O

A high level of pigmentation provides good covering power and tinting strength. While it can't match the superior pigment load of Artists' Oil Colour, the Winton range is much stronger than many other artists' quality ranges.The economical cost has been achieved through the use of moderately priced pigments rather than lessening the pigment content to an unacceptable level. Winsor & Newton formulation, manufacture and quality control ensure a product of absolute excellence. The Winton range has a more uniform consistency than Artists' Oil Colour and is slightly stiffer. It offers excellent retention of brush and palette knife strokes.

Michael Harding paints are made by hand, using techniques which date back to the days of the Old Masters. Harding will not claim that his paints will turn you into a great painter, but he does promise they will have a profound effect on your work. Your colors will be stronger and richer, and you will find the texture of the paint incomparable. You will love working with them.

Series number: 4

Chemical Description: Cadmium zinc sulphide

Colour index name: PY35

Colour index number: 77205

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.

PW4, PW6 & PR209. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

Series number: 1

Chemical Description: Synthetic iron oxide

Color index name: PR101

Color index number: 77491

Permanence rating: AA

ASTM Lightfastness Rating: I

Transparency/Opacity: T







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.

PBk 9 & PB 29 & PY 42. Average Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content.

A blend of Ivory Black, Ultramarine and Iron Oxide Yellow, which gives a markedly cool black substitute. The blue undertones are similar to but much milder than those of Prussian Blue. Some painters prefer this blend for its restrained tint power, and use it in cool reflex tones in flesh painting.

Colour: Ivory Black
Pigment Index: PBk9
Colour Lightfastness: Excellent
Colour Transparency: Opaque

Traditionally crafted and triple-milled in England, Georgian Oil Colours provide colour consistency from wet to dry and an even performance and finish across all colours.

With a smooth and buttery consistency, Georgian Oil Colours are ideal for experimenting with different brush and knife techniques. They are intermixable and have high pigment loads, including traditional pigments such as cadmium and cobalt. Georgian Oil Colours generally require very limited quantities of medium, so they can be used straight from the tube. All colours are lightfast and rated as Excellent (****) or Good (***). The surface is typically dry in 4 to 5 days.

Colour: Cadmium Yellow Deep Hue
Pigment Index: PY83 PY3
Colour Lightfastness: Good
Colour Transparency: Transparent

Traditionally crafted and triple-milled in England, Georgian Oil Colours provide colour consistency from wet to dry and an even performance and finish across all colours.

With a smooth and buttery consistency, Georgian Oil Colours are ideal for experimenting with different brush and knife techniques. They are intermixable and have high pigment loads, including traditional pigments such as cadmium and cobalt. Georgian Oil Colours generally require very limited quantities of medium, so they can be used straight from the tube. All colours are lightfast and rated as Excellent (****) or Good (***). The surface is typically dry in 4 to 5 days.

High quality yet economical oil colour

Well-balanced colour spectrum of 48 brilliant colours

High concentration of pigments for an exceptional colour intensity

Excellent lightfastness

25 single-pigment-colours

Use of especially refined linseed oil and sunflower oil (pharmaceutical quality), no tendency of yellowing

Distinctive smooth buttery consistency through the use of bees wax

Surface drying in 2 to 4 days

Traditional production on three roll mills

A spoor (0.5-1.5%) of the finest bees wax as one of the ingredients gives the colour the famous buttery and short consistency and makes the colour-film less brittle for the restorer. The binders are only pure vegetable linseed and sunflower oils in special quality.