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.

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.

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.

Daniel Smith Oil Paints are made from a range of vibrant, finely-gound pigments and a high-grade alkali-refined linseed oil. This is a 37ml tube of Phthalo Green Yellow Shade (PG 36, Series 4). This green is dark in mass tone, very transparent with strong tinting power for mixing clear colours. Slightly warmer than Phthalo Green (Blue Shade).Lightfastness: III - ExcellentTransparency: Transparent

Warm White: Perfect for painters working in warm light situations, such as painting at sunrise or sunset. Based on our Titanium Zinc White formula, it has a perfect balance of yellow and orange pigments to lighten and warm other colours, while maintaining their hue.

Pigment: Titanium dioxide, arylide yellow, monoacetolone, zinc oxide (PW 6, PY 75, PO 62, PW 4)Vehicle: Safflower oilLightfastness I, Series 1, OPAQUE

pdf=Gamblin Artists Oil Warm White Data Sheet.pdf Gamblin Artists Oil Warm White Data Sheet

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

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

Cadmium Yellow Light: Cadmium Yellow Light is a bright, cool chemically pure Cadmium colour - one step warmer than Gamblin's Cadmium Lemon. Excellent opacityPigment: Concentrated cadmium zinc sulfide (PY 35)Vehicle: Alkali refined linseed oilLightfastness I, Series 4, OPAQUE

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

Caucasian Flesh Tone: Base colour for figure painting, less pink than most flesh tones on the market. To create base for other skin types, consider adding Olive Green, Yellow Ochre, Van Dyke Brown or Venetian Red. Consider using as warm white.Pigment: Titanium dioxide, iron oxide, concentrated cadmium sulfo-selenide (PW 6, PY 43, PR 108)Vehicle: Alkali refined linseed oilLightfastness I, Series 2, OPAQUE

pdf=Gamblin Artists Oil Caucasian Flesh Tone Data Sheet.pdf Gamblin Artists Oil Caucasian Flesh Tone Data Sheet

Mixed metal oxide from the early 19th century with an important place on the mineral palette because blues are rarely shifted to the cool, green side, like this one. Very muted in its tint so most valuable as a pure hue.Pigment: Oxides of cobalt & tin (PB 35)Vehicle: Alkali refined linseed oilLightfastness I, Series 6, OPAQUE

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

Chromium Oxide Green: A muted, earthy, very opaque green used by landscape painters.Pigment: Anhydrous chromium sesquioxide (PG17)Vehicle: Alkali refined linseed oilLightfastness I, Series 3, OPAQUE

pdf=Gamblin Artists Oil Chromium Oxide Green and Viridian Data Sheet.pdf Gamblin Artists Oil Chromium Oxide Green and Viridian Data Sheet

Cobalt Green: An undervalued cool green with moderate masstone and very muted tint. No combination of blue and yellow will yield this unusual colour of the American Southwest.Pigment: Oxides of cobalt and zinc (PG 19)Vehicle: Alkali refined linseed oilLightfastness I, Series 4, SEMI-TRANSPARENT

pdf=Gamblin Artists Oil Cobalt Green Data Sheet.pdf Gamblin Artists Oil Cobalt Green Data Sheet

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

An important colour for painters who prefer the direct painting techniques of the Impressionists. This mixed colour replaces the toxic arsenic-based original.Pigment: Chlorinated and bromated copper phthalocyanine, titanium dioxide, arylide yellow (PG36, PW6, PY74)Vehicle: Alkali refined linseed oilLightfastness I, Series 2, SEMI-TRANSPARENT

pdf=Gamblin Artists Oil Emerald Green Data Sheet.pdf Gamblin Artists Oil Emerald Green Data Sheet

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

Indian Red: Originally a natural, more purple iron oxide imported from India. First synthesized in the 18th century as a "Mars" color, contemporary Indian Red is very dense purplish red with great hiding power.Pigment: Synthetic red iron oxide (bluish shade) (PR 101)Vehicle: Alkali refined linseed oilLightfastness I, Series 1, OPAQUE

pdf=Gamblin Artists Oil Earth Colours Data Sheet.pdf Gamblin Artists Oil Earth Colours Data Sheet

Ivory Black: A good, all-purpose black that's a solid choice for mixing greys, tinting, and mixing with other colors. Slightly warm in its transparency with a weak tinting strength.Pigment: Bone black (PBk 9)Vehicle: Alkali refined linseed oilLightfastness I, Series 1, SEMI-TRANSPARENT

pdf=Gamblin Artists Oil Ivory Black Data Sheet.pdf Gamblin Artists Oil Ivory Black Data Sheet

Mars Black: Slightly warm in its tint, this leanest (more matte) black dries more quickly than Ivory Black. Though not as black as Ivory Black, Mars Black has approximately three times the tinting strength and is very opaque. Cool in its masstone and strong, Mars Black is often the choice of the Neo-Expressionists and others who want to make black opaque marks in thick wet paintings.Pigment: Synthetic black iron oxide (PBk 11)Vehicle: Alkali refined linseed oilLightfastness I, Series 1, OPAQUE

pdf=Gamblin Artists Oil Earth Colours Data Sheet.pdf Gamblin Artists Oil Earth Colours Data Sheet

Napthol Red: Modern organic warm red that closely matches Cadmium Red Medium in masstone. Makes more intense tints, more transparent. Excellent for high key painting.Pigment: Napthol AS-D (PR112)Vehicle: Alkali refined linseed oilLightfastness II, Series 2, SEMI-TRANSPARENT

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

Napthol Scarlet: Intense warm modern red that replaces Vermillion. Consider using Portland Greys instead of white to make tints.Pigment: Napthol AS-OL (PR188)Vehicle: Alkali refined linseed oilLightfastness II, Series 2, SEMI-TRANSPARENT

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

The colour of the first shoots of spring grass-bright and warm.Pigment: Arylide yellow, chlorinated copper phthalocyanine (PY 74, PG 7)Vehicle: Alkali refined linseed oilLightfastness I, Series 2, SEMI-TRANSPARENT

pdf=Gamblin Artists Oil Permanent Green Light, Cadmium Green, Phthalo Green, Sap Green Data Sheet.pdf Gamblin Artists Oil Permanent Green Light, Cadmium Green, Phthalo Green, Sap Green Data Sheet

Permanent Orange: A modern high key color with a pure hue and the same masstone (but more transparent) than Cadmium Orange, and it remains brighter in its tint when mixed with white. Painters cannot mix a secondary with the same purity of this pure hue Orange. When you use it thinly a rich glowing glaze is created. Pigment: Monoacetolone (PO 62)Vehicle: Alkali refined linseed oilLightfastness I, Series 3, SEMI-TRANSPARENT

pdf=Gamblin Artists Oil Permanent Orange Data Sheet.pdf Gamblin Artists Oil Permanent Orange Data Sheet