Warm White: Perfect for painters working in warm light situations, such as painting at sunrise or sunset. Based on our Titanium Zinc White formula, it has a perfect balance of yellow and orange pigments to lighten and warm other colours, while maintaining their hue.

Pigment: Titanium dioxide, arylide yellow, monoacetolone, zinc oxide (PW 6, PY 75, PO 62, PW 4)Vehicle: Safflower oilLightfastness I, Series 1, OPAQUE

pdf=Gamblin Artists Oil Warm White Data Sheet.pdf Gamblin Artists Oil Warm White Data Sheet

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

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

Indanthrone Blue: An excellent, all-purpose blue with a beautiful, smoky glaze.Pigment: Indanthrone (PB60) Vehicle: Alkali refined linseed oil Lightfastness I, Series 3, SEMI-TRANSPARENT

pdf=Gamblin Artists Oil Indanthrone Blue Data Sheet.pdf Gamblin Artists Oil Indanthrone Blue Data Sheet

Pigment classification : Bone black-Synthetic ultramarine

Colour index : PBL9-PB29

Colour index number :77267-77007

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

PY74. Slow Drying. Transparent. Very Good Lightfastness. High Oil Content.

One of the oldest established organic lakes, Arylide Yellow G, this is a warmer version of Bright Yellow Lake, with similar properties. Deceptively transparent but with strong tint power, it runs through mixes with a milder and more golden range of undertones.

PB29 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

A deeper version of the blend above, useful for such features as architectural modelling in backgrounds.

R&F Pigment Sticks are handmade in small batches, carefully milled and molded. Only the basic traditional materials are used: natural wax, linseed oil, and pigment, and only used with absolute purity. Pigment Sticks are the only brand of oil sticks that employ only natural waxes (beeswax & plant wax). This allows for a minimum amount of wax. This results in softer consistency and greater paint film strength.

Series number: 1

Chemical Description: Complex sodium alumino-silicate, containing sulphur

Colour index name: PB29

Colour index number: 77007

Permanence rating: A(iii)

ASTM Lightfastness Rating: I

Transparency/Opacity: T

A high level of pigmentation provides good covering power and tinting strength. While it can't match the superior pigment load of Artists' Oil Colour, the Winton range is much stronger than many other artists' quality ranges.The economical cost has been achieved through the use of moderately priced pigments rather than lessening the pigment content to an unacceptable level. Winsor & Newton formulation, manufacture and quality control ensure a product of absolute excellence. The Winton range has a more uniform consistency than Artists' Oil Colour and is slightly stiffer. It offers excellent retention of brush and palette knife strokes.

Series number: 2

Chemical Description: Dioxazine violet, Quinacridone red

Colour index name: PV23, PR122

Colour index number: 51319, 73915

Permanence rating: A

ASTM Lightfastness Rating: I

Transparency/Opacity: T





Every Winsor & Newton Artists' Oil Colour is individually formulated to enhance each pigment's natural characteristics and ensure stability of colour. By exercising maximum quality control throughout all stages of manufacture, selecting the most suitable drying oils and method of pigment dispersion, the unique individual properties of each colour are preserved.

Combined with over 170 years of manufacturing and quality control expertise, the formulation of Artist's Oil Colour ensures the best raw materials are made into the world's finest colours.

Artists' Oil Colour uses the highest level of pigmentation consistent with the broadest handling properties. The quantity of pigment used provides covering power and tinting strength.

Series number: 1

Chemical Description: Natural iron oxide

Color index name: PY43

Color index number: 77492

Permanence rating: AA

ASTM Lightfastness Rating: I

Transparency/Opacity: ST







Every Winsor & Newton Artists' Oil Colour is individually formulated to enhance each pigment's natural characteristics and ensure stability of colour. By exercising maximum quality control throughout all stages of manufacture, selecting the most suitable drying oils and method of pigment dispersion, the unique individual properties of each colour are preserved.

Combined with over 170 years of manufacturing and quality control expertise, the formulation of Artist's Oil Colour ensures the best raw materials are made into the world's finest colours.

Artists' Oil Colour uses the highest level of pigmentation consistent with the broadest handling properties. The quantity of pigment used provides covering power and tinting strength.

PW6& PW4. Average Drying. Very Opaque. Lightfastness Excellent. Very Low Oil Content. High tintpower. Non-toxic

This paint is bound with Linseed Oil and contains a 25% addition of Zinc Oxide White in order to avert the tendency of pure Titanium Dioxide pigment to express or exude oil to the surface whilst drying, which then causes a more pronounced appearance of yellowing. Zinc Oxide incorporates this free oil more effectively, as well as adding a cooler brightness to the white. If you want a strong mixer which tends to lighten hues conspicuously, as well as making the Cadmiums rather chalky in appearance, then this is it. The handling qualities are not overly subtle, but this is the white most suitable for a bright and largely cool palette. It forms a strong film when dry.

Series: 1

Raw Sienna: Traditional earth yellow glazing color, originally mined in Tuscany. Consider using Gamblin Transparent Earth Yellow for more transparency.Pigment: Natural iron oxide (PBr 7), Vehicle: Alkali refined linseed oilLightfastness I, Series 1, SEMI-TRANSPARENT

pdf=Gamblin Artists Oil Earth Colours Data Sheet.pdf Gamblin Artists Oil Earth Colours Data Sheet

A final clear, non-yellowing varnish with a gloss finish for the protection of oil, alkyd, and acrylic paintings. Please be aware that there are restrictions on the shipping of aerosols.

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

pdf=Gamblin Artists Oil Earth Colours Data Sheet.pdf Gamblin Artists Oil Earth Colours Data Sheet

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.

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.

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: PV19Opacity: TransparentLightfastness: At least 100 years lightfast under museum conditions

The Oil Stick is a composition of oil paint. A proportion of the oil is substituted with a neutral mineral wax, resulting in the stick appearance.

These colours are of perfect quality: pure pigments are ground into vegetable oils (siccatives), selected for their low degree of yellowing with time. The choice and high concentration of pigments enables excellent light resistance to be achieved. These colours are applied discreetly to conventional oil painting supports (oil-proof or universal) and demand quality background preparation.

Solid oil paint should be applied in a relatively thin film (no more than 1mm). Layers can be overlapped, in the same manner as paste oil paint, and can, if necessary, be thinned with petroleum or turpentine. Before use, the surface film should be removed. This latter will re-form after a few days of non-use. Paint applied dries within 2 to 5 days depending on layer thickness and atmospheric conditions. A clear medium is available allowing transparency and glazing effects to be achieved.

Solid artists' quality colours are available in opaque or transparent shades, depending on the shades of the pigments used. The product may be stored for extended periods of time and requires no special attention, apart from avoiding heat sources that may damage it.

Once dry, the paint may be varnished like conventional oil paint, after a minimum drying period of 6 months, using an oil paint finishing varnish.

Supports: canvas, canvas boards, laminated panels, paper.

There is no water within the formulation of Artisan. The linseed oil and safflower oil vehicles have been modified to allow the colour to accept water, creating a stable emulsion, while retaining the working characteristics of conventional oil colour.

Artisan is ideal for:-

• Oil painters who are sensitive to, or simply want to avoid exposure to solvents such as white spirit (mineral spirits) or turpentine.
• Students and teachers in schools and colleges where the use of oil colour is prohibited because of the solvents.
• Artists working in shared studio space where the build up of solvent levels could lead to a harmful concentration of vapours and a generally an unpleasant odour.
• Artists who work within a small home environment and wish to reduce the odour of oil painting.
• For travel, all Artisan products (Colour & Mediums) can be transported on aeroplanes (subject to the agreement of the airline).
• The range has also been formulated with a high proportion of single pigments for brilliance of colour and clean colour mixing. The most suitable oil and methods for dispersion have been selected to bring out the individual characteristics, from opacity to natural transparency, of each pigment in the Artisan range.

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: PW7Opacity: Semi-opaqueLightfastness: At least 100 years lightfast under museum conditions

The best quality/price ratio on the market. Oil colour with performance superior to price. A fine, appropriate, satisfying investment. Rewarding for the disproportion between qualitative factors and purchase price. A product that repays. Artisanal, frequently used, superfine. Seventy-seven colours, an infinite assortment of yellows, reds, greens and blues. Absolutely no waxes or additives. Perfectly balanced drying times. The ideal combination of modern and traditional pigments, safe and stable.

Dilutes oil colour to create thin, quick-drying washes in the early stages of painting. Also used to clean brushes.

The best quality/price ratio on the market. Oil colour with performance superior to price. A fine, appropriate, satisfying investment. Rewarding for the disproportion between qualitative factors and purchase price. A product that repays. Artisanal, frequently used, superfine. Seventy-seven colours, an infinite assortment of yellows, reds, greens and blues. Absolutely no waxes or additives. Perfectly balanced drying times. The ideal combination of modern and traditional pigments, safe and stable.

Colour: Cadmium Red Light (Hue)
Pigment Index: PO34 PR112
Colour Lightfastness: Good
Colour Transparency: Transparent

Traditionally crafted and triple-milled in England, Georgian Oil Colours provide colour consistency from wet to dry and an even performance and finish across all colours.

With a smooth and buttery consistency, Georgian Oil Colours are ideal for experimenting with different brush and knife techniques. They are intermixable and have high pigment loads, including traditional pigments such as cadmium and cobalt. Georgian Oil Colours generally require very limited quantities of medium, so they can be used straight from the tube. All colours are lightfast and rated as Excellent (****) or Good (***). The surface is typically dry in 4 to 5 days.