Quinacridone Red is a cool, lightfast red with a high key tint. More yellow in masstone than Quinacridone Rose.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Quinacridone Rose has a bluish-red mass tone with a distinct blue tint.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

M. Graham's Quinacridone Rust has a deep mahogany masstone and a golden red earthy undertone. A multifaceted glazing color with intense strength and resonance.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Quinacridone Violet is the coolest Quinacridone, more purple than red but redder than Dioxizine Purple. A beautiful violet glazing color with very clean tints.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Subtle and subdued rich earthen yellow with a hint of orange. More opaque than M. Graham's Transparent Yellow Iron Oxide.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Raw Umber is a deep, dark and cool earth color. Dries very rapidly.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Sap Green (Permanent) is a dark green with a yellow glaze tone and fluorescent lime green tint.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

M. Graham's Scarlet Pyrrol is a vivid fiery orange with incredible strength. Useful in both mixing and as a glaze. Its mass tone resembles the old orange vermillion found in 19th century landscapes.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Terra Rose is a cool tinting earth red that compliments the warmth of Burnt Sienna. Exceptional tinting strength and opacity.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

M. Graham's Turquoise has a deep mass tone and a green blue under tone capable of producing gem-like transparent blue glazes.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Ultramarine Purple is a deep red shade violet. Creates gentle grey violets.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Chromatically subtle glazing violet with strong hints of blue. Creates wonderful cool grey.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Zinc White is a semi-opaque tinting and scumbling white. Produces cool tints with excellent resistance to yellowing.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

This range consists of seventy-five carefully crafted colors, all made with Walnut Oil apart from a Fast-drying White, which contains an alkyd resin, and a Titanium White which uses Sunflower Oil.

Most modern paintmakers use Linseed Oil as a binder for their oil paints, occasionally making use of non-yellowing oils such as Safflower or Poppyseed oil for whites and pale colors. M. Graham Artists’ Oil Paints are made with Walnut Oil, a clear, free-flowing, slow-drying and non-yellowing oil which was used extensively by the artists of the European Renaissance. The pure American Walnut Oil used by M. Graham dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

These excellent quality oil paints can be mixed with any other oil paints and mediums (even those that contain alkyd resins), and are all solvent-free. They flow more freely from the tube than most artist oils, and remain wet for longer.

This set includes five M. Graham oil paints in 37ml tubes: Azo Yellow, Ultramarine Blue, Napthol Red, Phthalocyanine Green and Titanium White. Also included are two 59ml M. Graham oil painting mediums: Walnut Oil Medium, a slow-drying oil which increases fat and flow; and Walnut Alkyd Oil Medium, which combines the advantages of Walnut Oil (enhanced flow; a reduction of yellowing) with the quick-drying time of an alkyd oil.

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.

PB27. Very Fast Drying. Transparent. Very Good Lightfastness. High Oil Content. Ferri-ammonium Ferrocyanide, discovered in Berlin in 1704 and introduced through the early 18th century, was one of the first synthetic inorganic pigments and also one of the most controversial. The earlier and less purified versions had a mixed reputation; they were said to fade in hues, or even to migrate or leech through succeeding paint layers. But modern standards of washing have dispensed with the tendency to fade, and the migratory properties ascribed to this colour are no longer reported. At any rate, Prussian Blue, like Alizarin, is one of those colours some painters find essential. Its inky depth when unmixed is belied by a range of uniquely intense blues resulting from hues, particularly with Zinc White. On its own and in more concentrated mixes it exhibits a slight bronzy sheen which can be used almost like a complementary glaze.

PB15.3 & PW4. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

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.

PBk 9 & PB 29 & PY 42. Average Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content.

A blend of Ivory Black, Ultramarine and Iron Oxide Yellow, which gives a markedly cool black substitute. The blue undertones are similar to but much milder than those of Prussian Blue. Some painters prefer this blend for its restrained tint power, and use it in cool reflex tones in flesh painting.

PY 43. Fast drying, semi-transparent.French Yellow Ochre is a glowing natural yellow. Ochre, an iron oxide earth pigment, can be traced back to paintings from the Middle Stone Age. Landscapes painters and portrait painters alike will find uses for this soft, natural yellow pigment.

PY83. Average Drying. Transparent. Very Good Lightfastness. High Oil Content.

Diarylide Yellow HR, a synthetic organic lake which replaces the very organic, legendary, but long obsolete euxanthic acid (made by warming the urine of Indian cows fed on mango leaves). The modern organic equivalent matches the beauty of the colour used for centuries in Mughal miniatures, but has greater tint power and reliability. If brushed thinly over hued backgrounds it presents a uniquely vibrant warm mustard yellow.

PW4, PW6 & PR209. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

PV15. Average Drying. Transparent. Excellent Lightfastness. Average Oil Content.

A variant of Ultramarine pigment, achieved when slightly altering the manufacture of the blue shade, Sodium Sulphosilicate, by heating it with Chloride. The result is a weaker, more violet pigment which has low tint power and a degree of transparency that lends itself to being exploited in glazes or thin bodycolour. In hues it becomes a high-keyed, rather fluffy mauve which landscapists have found apposite for the brighter tones of clear skies and for the modelling of sunlit clouds.

PG7. Fast Drying. Transparent. Excellent Lightfastness. High Oil Content.

Polychloro Copper Phthalocyanine probably ties with Phthalo Blue as the strongest pigment in the range. Atomic tint power, add it with great care! Ferocious acidy blue-green hues and blue undertones which come to prominence in mixes with yellows. In common with the Blue it displays, on drying and when used virtually unmixed, a certain tendency to show surface bronzing.

PG36. Fast Drying. Transparent. Excellent Lightfastness. High Oil Content.

A variant of the Phthalo Green compound with a greater range of gingery yellow undertones which are immediately apparent in hues. This is due to increased numbers of Chlorine and Bromine atoms. The tint power is less than that of straight Phthalo Green but the range of clean, beautiful, pine greens obtainable from it is quite unique.