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: Zinc oxide-Titanium dioxide-synthetic ultramarine-Carbon black

Colour Index: PW4-PW6-PB29-PBL7

Colour index number: 77947-77891-77007-77266

Lightfastness: Lightfast pigment according to ASTM

Category 1 and 2

Opacity/Transparency: Opaque

PY3 & PG7. Average Drying. Transparent. Very Good Lightfastness. High Oil Content.

A fruity, shouty, tropical green with exotic undertones, it almost fluoresces on its own, and cuts right into mixes to reveal light sappy yellows.

PBr 7. Very Fast Drying. Transparent. Excellent lightfastness. Average oil Content.

Raw Umber is calcined to make this pigment, and the extent of Manganese Dioxide mixed with the Iron Oxide determines the range of undertones; here much warmer than is usual.

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

A unique shade of Cadmium Sulphide which bridges the yellow/orange frontier with a pigment that seems destined to be mixed with the earths, ochres and mid-reds, and which infuses these with a glow more palpable than that of the organic lake yellows.

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.

Ideal for thin glazes, fine detail and smooth brush work. Mix with oil colour to increase translucency & flow. This product is made up of a blend of resins: stand linseed oil, damar resin, turpentine cobalt driers. Jackson's Glaze Medium has a slower drying than the Jackson's Fast Drying Medium.

It is is advised to store Jackson's Oil Medium at a stable temperature. Storage in an overly hot or cold environment will affect the consistency of the product.

Jackson's Glaze Medium should be quite a fluid medium. If you find it getting too thick, here is a good way to keep it workable:

Maintenance of Alkyd Mediums
Like all alkyd-based mediums, the introduction of air space in the bottle allows for solvent evaporation and drying - even with the lid closed. To compensate, add a little solvent of your choice to the bottle immediately after use and shake it well to maintain the desired thickness of the medium.

Rescuing Thickened Alkyd Medium
If your painting medium has thickened but is still fluid, add in a small amount of solvent and shake thoroughly. Continue adding more solvent and shaking until the medium is close to its original consistency. If a fluid alkyd painting medium has thickened to a gelled consistency, it will no longer help to add solvent - unfortunately it cannot be rescued.

Medium for oil and alkyd colours. Oil modified alkyd resin. Improves flow & transparency for glazes, detail work & smooth brushwork. Good resistance to yellowing. It is is advised to store Jackson's Oil Medium at a stable temperature. Storage in an overly hot or cold environment will affect the consistency of the product. Colour and viscosity may vary in storage.

Pigment classification : Synthetic iron oxide

Colour index : PY42

Colour index number :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.

Pigment Classification: Zinc oxide-Titanium dioxide-Mono.aza-Natural ochre

Colour Index: PW4-PW6-PY74-PY43

Colour index number: 77947-77891-21090-77492

Lightfastness: Lightfast pigment according to ASTM category 1 and 2

Opacity/Transparency: Semi-Opaque

Pigment classification :Cadmium seleno sulphide

Colour index : PR108

Colour index number :77202

Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Opaque

Pigment classification : Quinacridone

Colour index : PV19

Colour index number :73900

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Opaque

Pigment classification : Synthetic ultramarine

Colour index : PB29

Colour index number :77007

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Semi-transparent

Pigment classification : Phthalocyanine

Colour index : PG36

Colour index number :74265

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Semi opaque

Pigment classification : Chromium hydroxide-Monoazo-Natural umber

Colour index : PG18-PY74-PBR7

Colour index number :77289-21090-77492

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : a.s.Opaque

Pigment classification : Natural earth

Colour index : PG23

Colour index number : 77009

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Semi transparent

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: Natural earth-Natural earth

Colour Index: a.s.

Colour index number: a.s.

Lightfastness: Lightfast pigment according to ASTM

Category 1 and 2

Opacity/Transparency: Semi-transparent

Pigment classification : a.s.

Colour index : a.s.

Colour index number : a.s.

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Opaque

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

Pigment classification : Synthetic iron oxide

Colour index : PR101

Colour index number : n.a.

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.

Pigment Classification: Natural ochre

Colour Index: a.s.

Colour index number: a.s.

Lightfastness: Lightfast pigment according to ASTM

Category 1 and 2

Opacity/Transparency: Opaque

PO 73. Average Drying. Semi Opaque. Excellent Lightfastness. High Oil Content. High Tint Power.

This is a powerful, organic, fruity red-orange that has excellent lightfastness (was Orange Lake).

Whatever oil colour technique you choose, this pasty paint gives a beautiful result. Choose from a wide and balanced palette. In addition to the lively colours, you above all opt for the certainty of a good oil paint. The fineness, the colour intensity, the high content of pigment and durability contribute to the ultimate expression of your inspiration. Van Gogh oil colours are available in a wide range of 66 colours in two tube sizes.

PBr 7.Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.

One of the fundamental Earths used as an Imprimitura pigment to draught out compositions on a Raw Sienna ground, as many Rubens sketches evidence. Depending on the degree of transparency, it can exhibit red or greenish undertones.

Duo has taken all the handling qualities and the buttery feel of Holbein Artist Oil Colour and made it safer and easier to use. Duo eliminates the odour of solvents in the studio by allowing you to clean brushes, palette, and workspace with soap and water. Because of it's versatility, the possibilities for special techniques and effects using Duo are limited only by one’s imagination.

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.