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Arts & Crafts > Fine Art Supplies > Oil Painting
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
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
Perfect transparent marriage of blue and green, this transparent Turquoise has high tinting strength and makes a high key tint. Excellent for painting tropical water.Pigment: Copper phthalocyanine, chlorinated copper phthalocyanine (PB15:2, PG 7)Vehicle: Alkali refined linseed oilLightfastness I, Series 2, TRANSPARENT
Phthalo Emerald (Green Yellow Shade): Had this warm version of Phthalo Green been made first, Phthalo Emerald would be a very popular colour today.Pigment: Chlorinated and bromated copper phthalocyanine (PG 36)Vehicle: Alkali refined linseed oilLightfastness I, Series 2, TRANSPARENT
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
Raw Umber: Vigorous drier due to high manganese content (which also gives Umbers their dark color).Pigment: Natural iron oxide containing manganese (PBr 7)Vehicle: Alkali refined linseed oil Lightfastness I, Series 1, SEMI-TRANSPARENT
Terre Verte: Historically used as a bole for gilding and as underpainting for flesh tones in Medieval painting (verdaccio), Terre Verte, or green earth, was made from volcanic celadonite and/or a mineral of sedimentary origin; Robert Gamblin mixed this color because true natural green earth pigment is unpredictable in colour and availability. Gamblin Terre Verte is an excellent colour for grisaille; it has a weak masstone and very muted tint.Pigment: Natural hydrated iron oxide, hydrated chromium oxide, bone black (PY 43, PG 18, PBk 9)Vehicle: Alkali refined linseed oilLightfastness I, Series 2, TRANSPARENT
Van Dyke Brown: Warmest Gamblin black. Good glazing color and useful for adding "gallery tone." Gamblin Van Dyke Brown, named for the great painter who loved this dark transparent color, matches the 18th c. original in masstone and tint but ours, unlike the peat moss-based original, is a permanent color.Pigment: Bone black, iron oxide (PBk 9, PBr 7)Vehicle: Alkali refined linseed oilLightfastness I, Series 1, SEMI-TRANSPARENT
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
Gamblin Flake White Replacement: The first true nontoxic alternative to Flake White. It's the leanest of the Gamblin whites and a terrific underpainting white. Its beautiful opalescent quality is of special interest to portrait painters. Flake White Replacement has all the working properties of traditional Flake White: long ropey stroke, warm colour, translucency and short brush mark. Not only does our FWR come without the lead but it also doesn't suffer from the fast drying time of traditional formulations, which contributes to the cracking of oil paintings over time.Pigment: Titanium dioxide (PW 6)Vehicle: Alkali refined linseed oilLightfastness I, Series 1, OPAQUE
Radiant RedPigment: Perylene Red, Titanium dioxide, (PR 149, PW 6)Vehicle: Alkali refined linseed oilLightfastness I, Series 2, OPAQUE
Radiant BluePigment: Ultramarine Blue, Titanium dioxide, (PB 29, PW 6)Vehicle: Alkali refined linseed oilLightfastness I, Series 2, OPAQUE
Pigment: Phthalo Green Y. S., Hansa Yellow Light, Titanium dioxide, (PG 36, PY 3, PW 6)Vehicle: Alkali refined linseed oilLightfastness II, Series 2, OPAQUE
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.Radiant White: A good choice where the colour white is critical, Radiant White formulated for painters who want a 'refrigerator white' white. Same tinting strength and opacity as Titanium White. Excellent for abstract paintings. Bright and opaque Titanium Dioxide is bound with safflower oil, the clearest oil binder. Because safflower oil is almost colourless, the bright white of the Titanium pigment shows through Radiant White. Pigment: Titanium Dioxide (PW6)Binder: Safflower oilLightfastness I, Series 2, OPAQUE While most ranges of oil paint contain two or three whites, Gamblin produce ten: nine from their Artist Oil Range plus one FastMatte White Alkyd Oil Paint. For more information about the different white paints produced by Gamblin, please see our comparison article on the Jackson’s Blog. pdf=GamblinArtistsOilRadiantsDataSheet.pdf Gamblin Artists Oil Radiants Data Sheet
Copper: Made from real metal powder and an alkyd resin binder. Copper looks like crushed pennies. Excellent for painting frames. Can be mixed with transparent oil colors or thinned out and used for a sparkling glaze. Thin with a combination of Galkyds and OMS. Do not thin with straight solvent.Pigment: Copper powder(PM 2)Vehicle: Oil Modified Alkyd ResinLightfastness I, Series 4, OPAQUE
Rich Gold: Made from real metal powder and an alkyd resin binder, Rich Gold is rose gold. Use it in place of gold leaf, painted over Venetian Red. Excellent for painting frames. Can be mixed with transparent oil colors or thinned out and used for a sparkling glaze. Thin with a combination of Galkyds and OMS. Do not thin with straight solvent.Pigment: Bronze powder(PM 2)Vehicle: Oil Modified Alkyd ResinLightfastness I, Series 4, 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.
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.
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.
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.
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. |
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