PY3 (but soon to be changed). Slow Drying. Transparent. Very Good Lightfastness. High Oil content.

An Arylide organic lake pigment, of itself very fat and transparent, but which has an enormous tint power, shooting right through mixes with a pervasive range of bottle green undertones. Beginners should handle it with care when adding it to other paints. It can heighten the Phthalo lakes without making them opaque, and when it is made itself opaque with the addition of white the results are almost luminous.

PB29, Average Drying, Semi Transparant, Low Oil Content, Average Tint Power, Non-Toxic There are a few special pigment colours in the range; an example is a genuine Afghan lapis lazuli. The first and most noticeable thing about the lapis lazuli compared to the modern synthetic equivalent ultramarine blue, is the considerably less tinting and covering power and its slightly dirtier colour, though neither of these traits should be seen to detract from the natural beauty.

PV14. Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content.

First made from the rare ore of Cobalt Phosphate in the mid-19th century, this is now a synthetic inorganic pigment, of which the lighter shade is closer to the original, natural version. It has a very delicate shade of violet which appears quite opaque in mass-tone, but which quickly becomes transparent when applied thinly, and when glazed over a white ground, gives a very interesting range of bluish pinks. The hues are equally restrained.

PG19. Fast Drying. Semi-Opaque. Excellent Lightfastness. Low Oil Content.

A heavy, dense blue-green, with low tint power, introduced, with so many inorganic metallic pigments, 1830-40. It is a compound of Cobalt and Zinc Oxides, with grey-blue undertones which do not overturn mixes and form interesting effects when combined with the Yellow Lakes.

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Pigment: DioxazineClassification: Synthetic OrganicColour Index: PV23 (51319)Vehicle: Linseed OilHiding power: TransparentPigment Loading: MediumConsistency: ButteryDrying rate: 2-4 daysASTM: IProduct Code: 0892Series: 4

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Pigment: Cobalt AluminateClassification: Synthetic InorganicColour Index: PB28 (77346)Vehicle: Safflower OilHiding power: Semi-OpaquePigment Loading: MediumConsistency: ButteryDrying rate: 2-4 daysASTM: IProduct Code: 0866Series: 6

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Pigment: Arylide 10G / PhthalocyanineClassification: Synthetic OrganicColour Index: PG7/PY3Vehicle: Linseed OilHiding power: TransparentPigment Loading: MediumConsistency: ButteryDrying rate: 3-6 daysASTM: IProduct Code: 0862Series: 2

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Pigment: Natural Iron OxideClassification: Natural InorganicColour Index: PY43 (77491)Vehicle: Linseed OilHiding power: Semi-OpaquePigment Loading: MediumConsistency: Soft butterDrying rate: 2-4 daysASTM: IProduct Code: 0853Series: 2

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Pigment: Nickel Azo ComplexClassification: Synthetic OrganicColour Index: PY150 (12764)Vehicle: Linseed OilHiding power: TransparentPigment Loading: Medium-HighConsistency: ButteryDrying rate: 2-4 daysASTM: IProduct Code: 0851Series: 4

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Pigment: Nickel Antimony TitanateClassification: Synthetic InorganicColour Index: PY53 (77788)Vehicle: Safflower OilHiding power: OpaquePigment Loading: HighConsistency: StiffDrying rate: 3-6 daysASTM: IProduct Code: 0832Series: 2

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.

Sennelier gathers only the finest natural and inorganic pigments from around the world. The pure pigments are ground very slowly with extreme care to an extra-fine consistency. They are then combined at maximum concentration with an archival safflower oil to yield the highest possible tinting strength and a lustrous satin finish. The sensuous pigments have a unique buttery texture.

The deepest of the Isaro's Cadmium range. This red has a slight hint of violet as an undertone.

Isaro paints are handmade by Isabelle Roelofs in Belgium. She is one of the few, if not the only, color women. The Isaro oil paints which are beautifully packaged, are all made from carefully selected, lightfast pigments and pure linseed oil and are on par with the other professional oil paints available on the current market.
Isabelle has a deep passion for coloring making; when selecting pigments she chooses from both classical pigments (cadmium, cobalt, iron oxide ...) and modern pigments (quinacridones, dioxazine, DPP ...) as well as the historical pigments (cochineal, indigo, smalt, azurite...) to produce these stunning and reliable oil paints with an excellent lightfastness. All the oil colors in the Isaro range are crushed with pure linseed oil because of it’s potential for high saturation and because it produces a protective film (linoxyn) which is very resistant.

This pure and luminous bright red has a strong tinting power. Cadmium Red is obtained by replacing a tiny percentage of sulphur with selenium when combined with cadmium. This red has a very pure hue, if mixed with white the undertone is red and not pink such as with other organic reds.

Isaro paints are handmade by Isabelle Roelofs in Belgium. She is one of the few, if not the only, color women. The Isaro oil paints which are beautifully packaged, are all made from carefully selected, lightfast pigments and pure linseed oil and are on par with the other professional oil paints available on the current market.
Isabelle has a deep passion for coloring making; when selecting pigments she chooses from both classical pigments (cadmium, cobalt, iron oxide ...) and modern pigments (quinacridones, dioxazine, DPP ...) as well as the historical pigments (cochineal, indigo, smalt, azurite...) to produce these stunning and reliable oil paints with an excellent lightfastness. All the oil colors in the Isaro range are crushed with pure linseed oil because of it’s potential for high saturation and because it produces a protective film (linoxyn) which is very resistant.

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

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Please note: Langridge 300ml Oil Colours are provided in a cartridge, not a tube. We recommend using a Cartridge Gun to dispense your paint.Pigment: Calcined Raw SiennaClassification: Natural InorganicColour Index: PBr7 (77491)Vehicle: Linseed OilHiding power: OpaquePigment Loading: NormalConsistency: SoftDrying rate: 2-5 daysASTM: IProduct Code: 0823Series: 2

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.

Zinc White: The most transparent white, Zinc is recommended for glazing, scumbling and alla prima painting. Compared with all other whites, Zinc White has less hiding power. Zinc White dries slowly, so painters who want to paint wet into wet over a long time will find it useful. Because it's brittle, painters should not consider it as a general painting white unless painting on panel.Pigment: Zinc oxide (PW 4)Vehicle: Alkali refined linseed oilLightfastness I, Series 1, SEMI-TRANSPARENT

pdf=Gamblin Artists Oil Whites Data Sheet.pdf Gamblin Artists Oil Whites Data Sheet

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Pigment: Amorphous CarbonClassification: Natural OrganicColour Index: PBk6 (77266)Vehicle: Linseed OilHiding power: Semi-OpaquePigment Loading: LowConsistency: SoftDrying rate: 4-9 daysASTM: IProduct Code: 0803Series: 1

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Pigment: DisazoClassification: Synthetic OrganicColour Index: PY14 (21095)Vehicle: Linseed OilHiding power: TransparentPigment Loading: AverageConsistency: StiffDrying rate: 2-5 daysASTM: IIProduct Code: 8104-4Series: 4

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Pigment: Arylide/ PhthalocyanineClassification: MixtureColour Index: PG7/PY3Vehicle: Linseed OilHiding power: TransparentPigment Loading: AverageConsistency: ButteryDrying rate: 3-6 daysASTM: IProduct Code: 8106-4Series: 2

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities. Developed in consultation with artists, these paints satisfy demands for oil colours that are unadulterated by fillers or modifiers, resulting in a pure, full-strength paint. Constructed with the highest pigment loading they are the world’s first oil paint specifically based on contemporary high-saturation colours. Pigment: Prepared Iron OxideClassification: Synthetic InorganicColour Index: PBr6 / PBk11Vehicle: Linseed OilHiding power: OpaquePigment Loading: MediumConsistency: ButterDrying rate: 2-4 daysASTM: IProduct Code: 0884Series: 1

PB 15.3 & PG7 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

Another blend to supplement the sea-green range, this is a powerful mixer which discloses airy undertones when hued further, and which landscapists find indispensable. The addition of Titanium White and Phthalocyanine Green to the blue hue give it very strong covering power which holds out over large areas of application.

Michael Harding Oil Paints are among the finest oil paints available to artists today. Michael Harding's colours have a high load of top quality pigments, ground in refined cold pressed linseed oil. They are completely free of fillers, extenders or driers, resulting in pure, rich, and vibrant colours that are lightfast and buttery.

First manufactured in 1982, Michael Harding Artists' Oil Paints are of exceptional quality and are made by hand. They are very popular with some of the world's finest artists, including David Hockney, Chris Ofili, and the late Sir Howard Hodgkin. A convenient blend of Phthalo Green and Blue pigments. This is a deep sea-green with a high tinting strength.

Gamblin 1980 Oil Colors are made with the same dedication and pure pigments that go into their Artist Oils'. In addition, they use the same process of mixing, milling, filling, and hand labelling.

To ensure the 1980 colours are affordable, Gamblin formulates them with pure pigments, refined linseed oil and marble dust (calcium carbonate). This is different to many other paint manufacturers who use gels and waxes to stiffen colours, or even replace traditional pigments with less expensive ones.

With 1980 colours, artists can pay less and experience colours that are great quality, without homogenized texture or muddy colour mixtures.