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: Complex sodium alumino-silicate containing sulphur

Colour index name: PB29

Colour index number: 77007

Permanence rating: A(iii)

ASTM Lightfastness Rating: I

Transparency/Opacity: T

As with all Winsor & Newton colours, every colour in the range is individually formulated to take advantage of the natural characteristics of each pigment and to ensure the stability of the colour. The vehicle (oil modified alkyd resin) allows the colour to dry quicker whilst retaining the other characteristics of conventional oil colour.Because alkyd resin has physical properties that differ slightly from those of traditional oils, the pigment load is somewhat different as well. Experienced painters will notice slightly greater transparency compared to Artists' Oil Colour. The colour has been formulated to offer the greatest degree of tinting strength possible (consistent with good handling properties), and to take full advantage of the true characteristics of each pigment.

Series: 1 Colour Vehicle: Oil Alkyd resin Lightfastness (ASTM): I Permanence Rating: A Pigment(s): PB29, PB15:1, PBk6As with all Winsor & Newton colours, every colour in the range is individually formulated to take advantage of the natural characteristics of each pigment and to ensure the stability of the colour. The vehicle (oil modified alkyd resin) allows the colour to dry quicker whilst retaining the other characteristics of conventional oil colour.Because alkyd resin has physical properties that differ slightly from those of traditional oils, the pigment load is somewhat different as well. Experienced painters will notice slightly greater transparency compared to Artists' Oil Colour. The colour has been formulated to offer the greatest degree of tinting strength possible (consistent with good handling properties), and to take full advantage of the true characteristics of each pigment.pdf=SDSGriffinAlkyd.pdf Material Safety Data Sheet

Pigment classification : Titanium dioxide-Zinc oxide-Chromium hydroxide-Synthentic ultramarine

Colour index : PW6-PW4-PG48-PV23-PB29

Colour index number :77891-77947-51319-77007

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Opaque

Colour: Michael Harding Pale VioletPigment Index: PB29 PV23 PW6OpaqueLightfastness: ExcellentPrice Series: 2Pale Violet adds vibrancy to any sky and also has a place for still life, room interiors and shadows.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.

There is no water within the formulation of Artisan. The linseed oil and safflower oil vehicles have been modified to allow the colour to accept water, creating a stable emulsion, while retaining the working characteristics of conventional oil colour.Artisan is ideal for:-

Oil painters who are sensitive to, or simply want to avoid exposure to solvents such as white spirit (mineral spirits) or turpentine.

Students and teachers in schools and colleges where the use of oil colour is prohibited because of the solvents.

Artists working in shared studio space where the build up of solvent levels could lead to a harmful concentration of vapours and a generally an unpleasant odour.

Artists who work within a small home environment and wish to reduce the odour of oil painting.

For travel, all Artisan products (Colour & Mediums) can be transported on aeroplanes (subject to the agreement of the airline).

The range has also been formulated with a high proportion of single pigments for brilliance of colour and clean colour mixing. The most suitable oil and methods for dispersion have been selected to bring out the individual characteristics, from opacity to natural transparency, of each pigment in the Artisan range.

Colour: Yellow Green
Pigment Index: PY74 PG17 PW6
Colour Lightfastness: Good
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: Blue Grey
Pigment Index: PB29 PW6 PBk9
Colour Lightfastness: Good
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: Rose Madder (Quin.)
Pigment Index: PV19
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.

Colour: Buff Titanium
Pigment Index: PW6
Colour Lightfastness: Good
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: Zinc White
Pigment Index: PW4
Colour Lightfastness: Good
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.

Tradition. The original formula handed down through generations exactly as it had been conceived. Oil plus pigment, period. Faithfully carrying through time the elements required by master painters united in seeking fine execution and quality mediums. Historic tonalities, unattainable mixtures, tints now impossible to find whose roots are in the Italian painting that the whole world admires and extols. Like a force abiding by transcendent principles, flowing through the ages. Artisti still bears the label of the A series that Gianni Maimeri designed in 1923. One hundred and two colours, in a balanced division. Five differently toned whites. Seventeen natural earth tones. Three chrome yellows. No colours with low light resistance. No substance considered harmful is used.

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.

Each colour is ground to enhance the beauty and luminosity specific to that particular pigment. Some colours will feel slightly gritty; others extremely smooth. Pigments are ground in pure, premium, alkali-refined and PH- balanced linseed oil and made in batches no larger than five gallons at a time. This provides total control over the product, much like the late nineteenth-century French colour makers. All the materials are hand measured, and every ounce of paint is scrutinized. The paint is packed in 37 ml and 150 ml non-reactive aluminum tubes. Larger quantities of paint are packed in aluminium cans using only the purest materials.

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.

Titanium-Zinc White: Most useful all-purpose oil painting white. An excellent mixing white, T-Z White combines the soft texture and opacity of Titanium with the creamy transparency of Zinc for less "chalky" mixtures. Consider using T-Z White for colour-mixing because it takes so much colour to tint Titanium.Pigment: Titanium dioxide, zinc oxide (PW 6, PW 4)Vehicle: Safflower OilLightfastness I, Series 1, OPAQUE

pdf=Gamblin Artists Oil Whites Data Sheet.pdf Gamblin Artists Oil Whites Data Sheet

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

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.

Pigment classification : Natural earth

Colour index : a.s.

Colour index number :a.s.

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Opaque

PG50. Average Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content. A Cobalt Titanate compound made into a spinel by being cooked at high temperature. An unintense blue green which nevertheless is valuable in influencing low hues and blacks. Little tint power in higher keyed mixes.

PB15.3 & PW4. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

Cadmium Red Deep: Darkest Cadmium Red with very muted tint. Consider Perylene Red if you prefer a brighter tint or mix Perylene Red with the tint of Cad Red Deep.Pigment: Concentrated cadmium sulfo-selenide (PR 108)Vehicle: Alkali refined linseed oilLightfastness I, Series 5, OPAQUE

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

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.

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.

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat