Art Spectrum Artists Oil Paints are made in Australia from the finest quality pigments, specially selected for their lightfastness. These pigments are then milled into high-grade Linseed Oil (except for the whites, which are milled in Sunflower Oil, a paler, slower-drying oil which is less prone to yellowing over the centuries). Unique to the range are a series of special hues which are perfect for capturing sun-baked Australian landscapes, including Australian Leaf Green Blue, Australian Leaf Green Light, Pilbara Red and Australian Green Gold. A high proportion of the colours are single pigment colours, which aids clarity in mixing.

Art Spectrum Artists Oil Paints are made in Australia from the finest quality pigments, specially selected for their lightfastness. These pigments are then milled into high-grade Linseed Oil (except for the whites, which are milled in Sunflower Oil, a paler, slower-drying oil which is less prone to yellowing over the centuries). Unique to the range are a series of special hues which are perfect for capturing sun-baked Australian landscapes, including Australian Leaf Green Blue, Australian Leaf Green Light, Pilbara Red and Australian Green Gold. A high proportion of the colours are single pigment colours, which aids clarity in mixing.

Sennelier gathers only the finest natural and inorganic pigments from around the world. The pure pigments are ground very slowly with extreme care to an extra-fine consistency. They are then combined at maximum concentration with an archival safflower oil to yield the highest possible tinting strength and a lustrous satin finish. The sensuous pigments have a unique buttery texture.

Cobalt Green is rich, subtle and opaque, with a touch of yellow.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Sennelier gathers only the finest natural and inorganic pigments from around the world. The pure pigments are ground very slowly with extreme care to an extra-fine consistency. They are then combined at maximum concentration with an archival safflower oil to yield the highest possible tinting strength and a lustrous satin finish. The sensuous pigments have a unique buttery texture.

Sennelier gathers only the finest natural and inorganic pigments from around the world. The pure pigments are ground very slowly with extreme care to an extra-fine consistency. They are then combined at maximum concentration with an archival safflower oil to yield the highest possible tinting strength and a lustrous satin finish. The sensuous pigments have a unique buttery texture.

When creating their Artists’ Oil Colours, Gamblin were mindful not only of how an artist works, but also of an artist’s working environment. Gamblin Artists’ Oils have the best qualities of traditionally made oils paints, combined with the latest technical innovations, to give the ultimate working properties. The Artists’ Oil range spans from historically accurate paints to modern, synthetically derived hues. Gamblin Artists’ Oil paints are made with the finest grades of pigments available and are completely non-toxic. Most of the oils in the range are made with alkali-refined linseed oil binder and the others with a safflower oil binder. Compared with cold press linseed oil (a traditional oil paint binder), alkali-refined linseed oil yellows significantly less whilst also creating a strong, flexible paint film. Not only are both the vegetable oils used in Gamblin Artists’ Oils completely non-toxic, but they are commonly used in health and beauty products, so their safety for use in paints is of no concern. pdf=GamblinArtistsOilColourChart.pdf Gamblin Artists Oil Colour Chart

PR 170. Average Drying. Semi-Opaque. Excellent Lightfastness. High oil Content.

An organic red, Naphthol Red F5RK, which though a lake dye, has a strength appropriate to a granular pigment. It is a strong, slightly bluish red which in small additions can noticeably cut through mixes to yield low, smouldering scarlet undertones. Its hues are strong and cool, almost lipsticky.

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.

PG7. Fast Drying. Transparent. Excellent Lightfastness. High Oil Content.

Polychloro Copper Phthalocyanine probably ties with Phthalo Blue as the strongest pigment in the range. Atomic tint power, add it with great care! Ferocious acidy blue-green hues and blue undertones which come to prominence in mixes with yellows. In common with the Blue it displays, on drying and when used virtually unmixed, a certain tendency to show surface bronzing.

Michael Harding Oil Paints 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 Paints are of 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. An alternative to a pure black. Useful for chromatic shadows and for adjusting blues and greens.

A bright, very luminous yellow with a very pure colour. This warm yellow is essential and very useful in producing warm mixes of all kinds.

Isaro paints are handmade by Isabelle Roelofs in Belgium. She is one of the few, if not the only, color women. The Isaro oil paints which are beautifully packaged, are all made from carefully selected, lightfast pigments and pure linseed oil and are on par with the other professional oil paints available on the current market.
Isabelle has a deep passion for coloring making; when selecting pigments she chooses from both classical pigments (cadmium, cobalt, iron oxide ...) and modern pigments (quinacridones, dioxazine, DPP ...) as well as the historical pigments (cochineal, indigo, smalt, azurite...) to produce these stunning and reliable oil paints with an excellent lightfastness. All the oil colors in the Isaro range are crushed with pure linseed oil because of it’s potential for high saturation and because it produces a protective film (linoxyn) which is very resistant.

Isaro Oil Paint: Phtalo Green
Pigment Index: PG7
Transparency: Transparent
Lightfastness: Excellent

This vivid and strong blueish green is a good staple to produce a large range of greens.

Isaro Oil Paints are handcrafted in Belgium by Isabel Roelofs, who comes from two generations of paintmakers and is a descendant of well-known Belgian artist, Willem Roelofs.

Isaro oil paints are made from carefully selected lightfast pigments. Isabel's rich colourmaking history means she has a fascination with pigments, choosing her range from classical pigments (cadmium, cobalt, iron oxide, etc.), modern pigments (quinacridones, dioxazine, DPP, etc.), and historical pigments (cochineal, indigo, smalt, azurite, etc). Isaro deals directly with pigment manufacturers and requires information on all the characteristics of each selected pigment before they are purchased.

All the oil colours in the Isaro range are made with pure linseed oil. This has been chosen for its high colour saturation and for how it produces a very resistant protective film, called linoxyn.

Isaro Oil Paints are available in 47 colours in 38ml tubes. Titanium White and Zinc White are also available in 56ml tubes.

Isaro Oil Paint: Tangerine Orange
Pigment Index: PO36
Transparency: Transparent
Lightfastness: Excellent

This orange is a useful colour for glazing.

Isaro Oil Paints are handcrafted in Belgium by Isabel Roelofs, who comes from two generations of paintmakers and is a descendant of well-known Belgian artist, Willem Roelofs.

Isaro oil paints are made from carefully selected lightfast pigments. Isabel's rich colourmaking history means she has a fascination with pigments, choosing her range from classical pigments (cadmium, cobalt, iron oxide, etc.), modern pigments (quinacridones, dioxazine, DPP, etc.), and historical pigments (cochineal, indigo, smalt, azurite, etc). Isaro deals directly with pigment manufacturers and requires information on all the characteristics of each selected pigment before they are purchased.

All the oil colours in the Isaro range are made with pure linseed oil. This has been chosen for its high colour saturation and for how it produces a very resistant protective film, called linoxyn.

Isaro Oil Paints are available in 47 colours in 38ml tubes. Titanium White and Zinc White are also available in 56ml tubes.

PR 101. Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.

An Iron Oxide manufactured to such small pigment particle size that it shows, like its Yellow counterpart, almost lake-like characteristics. Terrific tint power which produces wonderful results in mixes with yellows, and which can give gravity to mid-red tones.

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

A warmer version still of Cadmium Yellow Golden, giving a transitional colour more powerful than those obtained by mixing Cadmium Reds and Cadmium Yellows. Often used to warm the mid-tones and lights of some flesh painting.

PR 149 Average Drying. Transparent. Excellent Lightfastness. High Oil Content. Average Tint Power

This is an organic lake which has to be used thinly, or at least with regard to its very high oil content, which forms a slick surface when dry. A very fast drier, makes a great range of strawberry pinks, but I am presently researching a substitute which will upgrade its lightfastness, particularly when it is dispersed in hues.

PG17. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

Another mid-19th century metallic oxide, with covering power but not much tinting strength. It is a heavy, vegetable green which can be surprisingly enlivened by adding yellows. Landscapists find that its range in mixes and hues makes it a staple green. It acts very well as a complementary to active red hues.

Sennelier gathers only the finest natural and inorganic pigments from around the world. The pure pigments are ground very slowly with extreme care to an extra-fine consistency. They are then combined at maximum concentration with an archival safflower oil to yield the highest possible tinting strength and a lustrous satin finish. The sensuous pigments have a unique buttery texture.

Michael Harding Oil Paints 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 Paints are of 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. This vivid inorganic colour is great for landscape, portrait and non figurative painters thanks to its excellent handling and coverage.

PB29, Average Drying, Semi Transparant, Low Oil Content, Average Tint Power, Non-Toxic There are a few special pigment colours in the range; an example is a genuine Afghan lapis lazuli. The first and most noticeable thing about the lapis lazuli compared to the modern synthetic equivalent ultramarine blue, is the considerably less tinting and covering power and its slightly dirtier colour, though neither of these traits should be seen to detract from the natural beauty.

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.

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.

Michael Harding Oil Paints 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 Paints are of 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. A deep and smokey purple that can make some enigmatic neutral tints when mixed with yellow pigments.

PO 20. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content.

A strong, in-your-face deep orange that has high tint power and opacity, yielding surprisingly pinky hues in mixes with Titanium Whites.