Indanthrone Blue: An excellent, all-purpose blue with a beautiful, smoky glaze.Pigment: Indanthrone (PB60) Vehicle: Alkali refined linseed oil Lightfastness I, Series 3, SEMI-TRANSPARENT

pdf=Gamblin Artists Oil Indanthrone Blue Data Sheet.pdf Gamblin Artists Oil Indanthrone Blue Data Sheet

Colour name: Cadmium Yellow Light Hue Colour number/code: 113 Series number: 2 Chemical description: Cadmium zinc sulphide Colour index name: PY35 Colour index number: 77205 Permanence rating: A ASTM lightfastness rating: I Transparency/Opacity: OAs 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

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: 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.

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.

Series number: 1

Chemical Description: Arylide yellow, Benzimidazolone orange

Colour index name: PY74, PO62

Colour index number: 11741, 11775

Permanence rating: A

ASTM Lightfastness Rating: I

Transparency/Opacity: SO



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: Vandyke Brown Hue
Pigment Index: PBr7 PBk9 PR170
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: Naples Yellow
Pigment Index: PW4 PY83 PR9 PY42 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: Flesh Tint
Pigment Index: PW4 PR101 PY42 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: Primary Magenta
Pigment Index: PV23
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.

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.

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.

PY74. Slow Drying. Transparent. Very Good Lightfastness. High Oil Content.

One of the oldest established organic lakes, Arylide Yellow G, this is a warmer version of Bright Yellow Lake, with similar properties. Deceptively transparent but with strong tint power, it runs through mixes with a milder and more golden range of undertones.

PY3 & PG7 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

Another blend of organic lake colours ( Arylide yellow and Phthalo Green) with the two whites to give a safe and permanent substitute for the original Emerald Green, the notorious Copper Aceto-Arsenite, a brilliant green introduced circa 1810 and long since abandoned as being impermanent, highly reactive with other pigments and highly poisonous. Some artists detest this uniquely strident colour, others love its acerbic tang, which invites an almost Fauve series of related mixes.

Pigment classification : Naphtol AS-Synthetic iron oxide-Natural ochre

Colour index : PR112-PY42

Colour index number : 12370-77492

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Opaque

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.

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.

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

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.

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.

Brown Red:Transparency: Transparent Lightfastness: ExcellentPigment Index: PBr25ShinHan Oil Colours are carefully formulated to provide a rich, creamy consistency and a high degree of luminosity. Each colour within the range is refined according to the international colour system of Munsell, Ostwald, and the Natural Colour System. The range consists of 109 colours, many of which are single pigmented. This ensures clean mixing and the resulting hues will be bright and vivid. All ShinHan art materials carry the AP Non-Toxic and CL health label and are in full compliance with ASTM D-4236 standards. Colours that may be harmful are clearly identified for the safety of the artist. High quality artists' pigments and refined oils A high degree of lightfastness 109 brilliant colours Please note: due to trading agreements we are unable to ship ShinHan products to Russia.

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 I can offer a completely reliable substitute blend which evokes the aerial effects of the great Venetian decorators.

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.

Pigment Classification: Condensed azo

Colour Index: PR214

Colour index number: 200660

Lightfastness: Lightfast pigment according to ASTM

Category 1 and 2

Opacity/Transparency: Opaque

Hansa Yellow Deep: While this colour has not been tested for Lightfastness by ASTM, it is being used to paint the yellow stripe on city streets! Golden yellow, warmest of the Gamblin Hansas.Pigment: Arylide yellow (PY 75)Vehicle: Alkali refined linseed oilLightfastness NT, Series 3, SEMI-TRANSPARENT