Transparent Earth Orange: A color prized by contemporary masters, this is a truly transparent version of Burnt Sienna. These new hydrated Mars colors give painters more clarity in transparency and higher tinting strength. Excellent for glazing.Pigment: Transparent Mars Yellow, Transparent Mars Red (PY 42, PR 101)Vehicle: Alkali refined linseed oilLightfastness I, Series 3, TRANSPARENT

pdf=Gamblin Artists Oil Transparent Earth Orange Data Sheet.pdf Gamblin Artists Oil Transparent Earth Orange Data Sheet

Gamblin Oil Painting Ground makes a strong, bright, non-absorbent foundation for oil paintings. Formulated from alkyd resin, titanium dioxide, and barium sulfate, Gamblin Ground makes canvas and linen stiffer than acrylic 'gesso' and more flexible than traditional oil primers. Barium sulfate gives Gamblin Ground its tooth, while Titanium dioxide gives Gamblin Ground its opacity.

Because alkyd resin is used instead of linseed oil as the binder, Gamblin Ground is more flexible and dries more quickly than lead/linseed oil grounds. Lead/linseed oil grounds must dry for six months and Gamblin Ground is ready for paint application within a week.Because the percentage of pigments is so much higher than in acrylic 'gesso', painters need only apply two coats of Gamblin Ground instead of the recommended four coats of acrylic.

The first, thin coat should be touch-dry before the second coat is applied; this should normally occur overnight. After the second coat, it is best to wait five days for the primer to dry properly before commencing with your painting. Additional coats can be added for smoother painting surfaces.Please remember that any absorbent substrate such as canvas or paper should be sized before the application of Gamblin Oil Painting Ground. This will seal the surface so that the oil does not leech into it or cause it to rot.

You can use acrylic size, rabbit skin glue, or acrylic primer for this purpose; Gamblin recommend you use the Gamblin PVA size. Wooden supports do not need to be sized before the application of Gamblin Oil Painting Ground.
Please note, Gamsol Odourless Mineral Spirit can be added to thin to the desired consistency.

Pouches are the green way to buy your Jackson's Acrylic Primer. Purchasing a primer in a pouch means less wasteful packaging that can harm the environment. These light bags are also great for easy lifting and pouring. The clear packaging tells you instantly how much primer you have left.

Space saving bags such as these, are excellent for both transportation and storage. The ability to squeeze the air out of your primer pouch for storage between uses, reduces the dried up edges that can crumble in and contaminate the rest of your gesso. Imagine no more dried up lumps in your primer!

A primer of high opacity and an intense white. Suitable for most surfaces including canvas, wood, board, etc. Very flexible and ready for use undiluted. Dries quickly with a matt, slightly textured surface. Suitable for acrylic and oil paintings. No sizing required.

Instructions:
1. Stir contents before use.
2. Surface to be primed should be clean and free of loose particles.
3. Do not size ground before application. When final coat is thoroughly dry, a second may be applied. Ready for use after 24 hours
4. Glossy or smooth surfaces should be slightly roughed to improve adhesion before applying primer.
5. Avoid exposure to frost and do not apply at temperatures below 5C.

Cobra Water Mixable Oil Colours provide a perfect oil paint result with a uniform drying time and degree of gloss. Painting with Cobra paints is much like painting with traditional oils. The paint can be applied using all the usual oil paint techniques. The colour, as well as the brush stroke or applied texture, retains its full expression after the paint has dried; the paint remains as it was when applied.

Pigments: PR264Opacity: Semi-transparentLightfastness: At least 100 years lightfast under museum conditions

Made by Sennelier, Rive Gauche is named after the Left Bank of Paris where Sennelier was founded in 1887. The special property of these oil paints is that they dry to a satin finish, twice as fast as conventional oil paint, while retaining the characteristic buttery texture of fine oil colours. This allows the artist to work twice as fast

High quality yet economical oil colour

Well-balanced colour spectrum of 48 brilliant colours

High concentration of pigments for an exceptional colour intensity

Excellent lightfastness

25 single-pigment-colours

Use of especially refined linseed oil and sunflower oil (pharmaceutical quality), no tendency of yellowing

Distinctive smooth buttery consistency through the use of bees wax

Surface drying in 2 to 4 days

Traditional production on three roll mills

A spoor (0.5-1.5%) of the finest bees wax as one of the ingredients gives the colour the famous buttery and short consistency and makes the colour-film less brittle for the restorer. The binders are only pure vegetable linseed and sunflower oils in special quality.

High quality yet economical oil colour

Well-balanced colour spectrum of 48 brilliant colours

High concentration of pigments for an exceptional colour intensity

Excellent lightfastness

25 single-pigment-colours

Use of especially refined linseed oil and sunflower oil (pharmaceutical quality), no tendency of yellowing

Distinctive smooth buttery consistency through the use of bees wax

Surface drying in 2 to 4 days

Traditional production on three roll mills

A spoor (0.5-1.5%) of the finest bees wax as one of the ingredients gives the colour the famous buttery and short consistency and makes the colour-film less brittle for the restorer. The binders are only pure vegetable linseed and sunflower oils in special quality.

Deep blue with very high tinting power. This colour used to be obtained from the indigo plant or woad; today, indigo is produced by synthetic means.

Pigment: Synthetical indigoCI number: PB 66

Lightfastness: ****

On the basis of many years of scientific experience in the field of artists' colours, Schmincke continues to use a broad and diverse scope of artists' oils, which it combines with the most suitable natural dammar resin from Palembang, Indonesia. The amount of dammar resin which is added in colloidal solution depends on the oil requirements of the pigment concerned. The use of different variants of linseed oil purified by means of highly sophisticated processes also predominates in the Mussini artists' resin-oil-colours.The microscopic evaporation pores enable oxygen to penetrate more effectively into the inner layers, thus providing for more even drying of the surface and inner layers. This, in turn, reduces the danger of wrinkling and surface tension during the drying process.

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.

Imitation of deep cobalt blue with ultramarine. Opaque, with high tinting power, slightly greener and duller.

Pigment: Ultramarine blue-Phthalocyanine blue-Zinc oxideCI number: PB 29/PB 15:6/PW 4

Lightfastness: ****

On the basis of many years of scientific experience in the field of artists' colours, Schmincke continues to use a broad and diverse scope of artists' oils, which it combines with the most suitable natural dammar resin from Palembang, Indonesia. The amount of dammar resin which is added in colloidal solution depends on the oil requirements of the pigment concerned. The use of different variants of linseed oil purified by means of highly sophisticated processes also predominates in the Mussini artists' resin-oil-colours.The microscopic evaporation pores enable oxygen to penetrate more effectively into the inner layers, thus providing for more even drying of the surface and inner layers. This, in turn, reduces the danger of wrinkling and surface tension during the drying process.

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: Azo condensation-pyrazoloquinazalone

Colour Index: PY95-PR251

Colour index number: 20034-12925

Lightfastness: Lightfast pigment according to ASTM

Category 1 and 2

Opacity/Transparency: 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: Synthetic iron oxide

Colour Index: PR101

Colour index number: n.a.

Lightfastness: Lightfast pigment according to ASTM category 1 and 2

Opacity/Transparency: Opaque

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

Pigment classification : Azocondensation-Phthalocyanine-Carbonblack

Colour index : PY95-PG7-PBL7

Colour index number : 20034-74260-77266

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Semi transparent

Pigment classification : Zinc oxide-Titanium dioxide-Phthalocyanine-Phthalocyanine

Colour index : PW4-PW6-PB15-PG7

Colour index number :77947-77891-74160-74260

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Opaque

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.

Pigment classification : Zinc oxide-Titanium dioxide-Synthetic ultramarine

Colour index : PW4-PW6-PB29

Colour index number :77947-77891-77007

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Opaque

Pigment classification : Synthetic ultramarine-Pthalocyanine-Dioxazine

Colour index : PB29-PG7-PV23

Colour index number :77007-74260-51319

Lightfastness : Lightfast pigment according to ASTM category 1 and 2

Opacity/transparency : Opaque

Pigment classification :Pyrozolo chinazolon

Colour index :PO67

Colour index number :12915

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.

Made up of Zinc and Titanium white pigments

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.

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

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.

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.

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.