Gamvar saturates and gives greater depth to the colours in your painting and gives your work a unified and protective semi-gloss surface. Developed in collaboration with the National Gallery of Art, Gamvar goes on water-clear, stays water-clear and can be easily and safely removed with Gamsol. Gamvar is virtually odourless and ready to apply. Gamvar can be applied when the thickest areas of your painting are thoroughly dry and firm to the touch.

Gamblin Solvent-Free Gel Oil Painting Mediums offer you a range of possibilities without draw backs, it increases the flow of your paint and its transparency. Fast drying time Increased gloss Use in moderation with oil colours, at a ratio of no more than 25% of medium to oil Completely non-toxic, containing no gamsol or petroleum distillates Increased flow and transparency but also holds brush marks Made from safflower oil and alkyd resin.

Gamvar saturates and gives greater depth to the colours in your painting and gives your work a unified and protective semi-gloss surface. Developed in collaboration with the National Gallery of Art, Gamvar goes on water-clear, stays water-clear and can be easily and safely removed with Gamsol. Gamvar is virtually odourless and ready to apply. Gamvar can be applied when the thickest areas of your painting are thoroughly dry and firm to the touch.

Gamvar saturates and gives greater depth to the colours in your painting and gives your work a unified and protective semi-gloss surface. Developed in collaboration with the National Gallery of Art, Gamvar goes on water-clear, stays water-clear and can be easily and safely removed with Gamsol. Gamvar is virtually odourless and ready to apply. Brush apply, do not spray.Gamvar Satin gives your work a unified and protective satin surface. Gamvar Satin saturates colours in your painting, yet dries to a lower gloss level compared to original Gamvar.

Gamsol is the safest solvent that allows oil painters to utilise all traditional painting techniques without compromise.

Primary Uses for Gamsol: Thinning oil colours. A little goes a long way; stiff oil colours relax immediately when a little Gamsol is added. Be careful not to thin oil colours too much with solvent alone, this can compromise the ability of the paint to form a paint film. Modifying painting mediums. Gamblin's Galkyd line of painting mediums is formulated with Gamsol, so they readily accept Gamsol as a thinning agent.

Note: Gamsol should not be added to painting mediums made with natural resins (dammar, copal, mastic). They require strong solvents such as turpentine.

Studio clean up: brushes, palettes, palette knives, etc.

How does Gamsol achieve this level of performance and safety? Most solvents available to artists come from the industrial paint industry where solvent power and cheapness is prized. Gamsol is special: it is made for products and processes that come into more intimate contact with the body such as cosmetics, hand cleaners, and cleaning food service equipment. Gamsol is a petroleum distillate but all the aromatic solvents have been refined out of it, less than .005% remains. Aromatic solvents are the most harmful types of petroleum solvents. These facts are detailed in the MSDS for Gamsol, this document shows that it has an Exposure Limit Value higher than most solvents available to artists. All of these factors have lead to Gamsol being used widely in oil painting classrooms; in those classes there are no solvent odours, only the wonderful smell of oil colours.

Gamblin's Gamvar Varnish Brush is a high-quality synthetic brush designed to work perfectly with Gamblin Gamvar Varnish and other picture varnishes. Designed by Gamblin and made in Germany, this brush has the ideal thickness and stiffness for varnishing. It is soft enough to contour to the texture of your work, yet stiff enough to evenly and thinly varnish your painting. Unlike animal hair bristles that load heavily and break over time, thin-fibre synthetics that "mop" varnish, or single-use sponge brushes that create bubbles, this brush is designed to load and deliver the correct amount of varnish. Works with all varnishes and Gamvar Gloss, Satin, and Matt on oil and acrylic paintings.

Gamblin's Gamvar Varnish Brush is a high-quality synthetic brush designed to work perfectly with Gamblin Gamvar Varnish and other picture varnishes. Designed by Gamblin and made in Germany, this brush has the ideal thickness and stiffness for varnishing. It is soft enough to contour to the texture of your work, yet stiff enough to evenly and thinly varnish your painting. Unlike animal hair bristles that load heavily and break over time, thin-fibre synthetics that "mop" varnish, or single-use sponge brushes that create bubbles, this brush is designed to load and deliver the correct amount of varnish. Works with all varnishes and Gamvar Gloss, Satin, and Matt on oil and acrylic paintings.

Gamvar saturates and gives greater depth to the colours in your painting and gives your work a unified and protective surface. Developed in collaboration with the National Gallery of Art, Gamvar goes on water-clear, stays water-clear and can be easily and safely removed with Gamsol. Gamvar is virtually odourless and ready to apply. Brush apply, do not spray. Gamvar Matte gives your work a unified and protective matte surface. Gamvar Matte reduces surface sheen, while maintaining the deepest values in your painting.

Diluted with distilled water, PVA size is a contemporary size for fabric support. Conservation scientists recommend painters use neutral pH PVA size on linen and canvas instead of rabbit skin glue. PVA provides a good size layer that seals the fabric but does not re-absorb atmospheric moisture, swell and shrink like rabbit skin glue does. There are hundreds of different formulae of PVA. We acknowledge and appreciate the research of the Canadian Conservation Institute that helps painters and conservators identify the best PVA to use. Gamblin PVA Size is made from PVA that has a neutral pH and does not yellow. It also retains its flexibility and does not emit harmful volatiles.

pdf=Gamblin PVA Glue Data Sheet.pdf Gamblin PVA Glue Size Safety Data Sheet

Torrit Grey is a unique colour to Gamblin Artist Colours. Every spring, the Torit® Air Filtration system which is used by Gamblin to filter the air around the areas where dry pigments are handled is cleared and the excess pigment is collected. Rather than discarding the high quality, expensive pigments, Gamblin paint makers recycle them into a paint shade they have named Gamblin Torrit Grey. The mix of pigments differs from year to year depending on the strength of the pigments and what paints sold well the year before and so Torrit Grey is always unique and no two years are ever the same, therefore the colour can never be repeated.Torrit Grey tends to have a greenish tinge because of the great strength of the Phthalo Green pigment, which is a dark bluish green. Torrit Grey varies from a medium dove grey to a dark earthy grey - useful for muting bright tones. It can be mixed with white to produce a pale, neutral grey.This is a 37ml sample of Gamblin Artist Oil Paint in Torrit Grey.

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.

Gamblin Solvent-Free Fluid Safflower-Alkyd Painting Medium offers you a range of possibilities without draw backs, it increases the flow of your paint and their transparency. Increases flow of oil colours Non-toxic Fast drying time Increased gloss Use in moderation with oil colours, at a ratio of no more than 25% of medium to oil Completely non-toxic, containing no gamsol or petroleum distillates Increased flow and transparency but also holds brush marks.

Gamvar saturates and gives greater depth to the colours in your painting and gives your work a unified and protective semi-gloss surface. Developed in collaboration with the National Gallery of Art, Gamvar goes on water-clear, stays water-clear and can be easily and safely removed with Gamsol. Gamvar is virtually odourless and ready to apply.Gamvar Satin gives your work a unified and protective satin surface. Gamvar Satin saturates colours in your painting, yet dries to a lower gloss level compared to original Gamvar. Brush apply, do not spray.pdf=SDSGamvar.pdf Safety Data Sheet

Gamvar saturates and gives greater depth to the colours in your painting and gives your work a unified surface. Developed in collaboration with the National Gallery of Art, Gamvar goes on water-clear, stays water-clear and can be easily and safely removed with Gamsol. Gamvar is virtually odourless and ready to apply. Brush apply, do not spray. Gamvar Matte gives your work a unified and protective matte surface. Gamvar Matte reduces surface sheen, while maintaining the deepest values in your painting.pdf=SDSGamvar.pdf Safety Data Sheet

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.

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. Titanium dioxide gives Gamblin Ground its opacity.

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. More coats can be added for smoother painting surfaces. 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

pdf=Gamblin Ground Data Sheet.pdf Gamblin Ground Safety 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.

Gamblin Solvent-Free Safflower Oil is perfect for cleaning brushes while you're working or using to increase flow and drying time of oil colours. You can then continue to clean the brushes after use with soap and water or Gamsol. A pale, slow drying oil increases flow of colours and slows down drying time. Can be used sparingly or in an equal mix with Gamsol to create a traditional slow-drying, low-viscosity painting medium.

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.

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

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.

Gamblin Reclaimed Earth Colours set is a unique and limited edition product - every pigment particle in these tubes has been painstakingly reclaimed from waters tainted by iron released from mines.

This oil paint set includes Brown Ochre, Rust Red, and Iron Violet. The set includes a primed panel, to be used as a painting surface. It is supplied in sustainable packaging with zero shrink wrap. The sleeve and insert part of the packaging is recyclable.

Created in collaboration with artist John Sabraw and engineer Guy Riefler, the purchase of this oil paint set supports a hard-working team of teachers and students making the Ohio and Mississippi Rivers healthier ecosystems.

Contents:

Alizarin Permanent: Cool, slightly bluish red with smoky glaze. Robert Gamblin has mixed lightfast pigments to form a true replacement for Alizarin Crimson. Slightly less intense in tint, but excellent match in masstone and transparency.Pigment: Anthraquinone Red, Phthalo Emerald, (PR177, PG36)Vehicle: Alkali refined linseed oilLightfastness I, Series 3, TRANSPARENT, MSDS

pdf=Gamblin Artists Oil Alizarin Crimson Data Sheet.pdf Gamblin Artists Oil Alizarin Crimson Data Sheet

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.

When creating their Artists’ Oil Colours, Gamblin were mindful not only of how an artist works, but also of an artist’s working environment. Gamblin Artists’ Oils have the best qualities of traditionally made oils paints, combined with the latest technical innovations, to give the ultimate working properties. The Artists’ Oil range spans from historically accurate paints to modern, synthetically derived hues.Radiant White: A good choice where the colour white is critical, Radiant White formulated for painters who want a 'refrigerator white' white. Same tinting strength and opacity as Titanium White. Excellent for abstract paintings. Bright and opaque Titanium Dioxide is bound with safflower oil, the clearest oil binder. Because safflower oil is almost colourless, the bright white of the Titanium pigment shows through Radiant White. Pigment: Titanium Dioxide (PW6)Binder: Safflower oilLightfastness I, Series 2, OPAQUE While most ranges of oil paint contain two or three whites, Gamblin produce ten: nine from their Artist Oil Range plus one FastMatte White Alkyd Oil Paint. For more information about the different white paints produced by Gamblin, please see our comparison article on the Jackson’s Blog. pdf=GamblinArtistsOilRadiantsDataSheet.pdf Gamblin Artists Oil Radiants Data Sheet