Click swatches below to enlarge.
Tint = Color + Titanium Zinc White
Tone = Color + Portland Grey Medium
Shade = Color + Chromatic Black
Glaze = Color + Galkyd Medium
Click swatches below to enlarge.
Tint = Color + Titanium Zinc White
Tone = Color + Portland Grey Medium
Shade = Color + Chromatic Black
Glaze = Color + Galkyd Medium
The color yellow appears to advance. It has the highest reflectivity of any color.
Today hearing “yellow” many painters will think of Cadmium Yellow – brilliant and opaque. Cadmium Yellow replaced toxic chrome (lead) yellows. Although more expensive than Chrome Yellow, Cadmium Yellow was used by landscape painters, including Claude Monet, because of its higher chroma and its greater purity of color.
Painters today can choose from among the cadmium yellows of the impressionists as well as the modern and more transparent hansa yellows. Hansa yellows retain their intensity in tints and make beautiful glazes. Hansa Yellows can boost cadmiums in mixes; enabling brighter secondaries. Indian Yellow has been prized for hundreds of years and is ideally suited for glazing. In its transparency, it makes a glowing warm yellow—as if a painting were suddenly lit with summer sunshine.
Before the Industrial Revolution, painters used Yellow Ochres or Orpiment (sulfide of arsenic). Occasionally painters found some Gamboge, a strongly colored secretion from trees that resembles amber. Gamboge was used for glazing before Indian Yellow became available in the middle of the 19th century. To make Indian Yellow, cows were force fed mango leaves and given no water. Their urine was collected in dirt balls and sold as “pigment.” The resulting artists’ color was a warm transparent glazing yellow. But Indian Yellow was lost somewhere between the decline of cruelty to animals and the rise of manufactured pigments.
In the 20th century, the most transparent of the yellows that we at Gamblin call “Indian Yellow” is a light stable diarylide pigment. In its transparency, it makes a glowing warm yellow—as if a painting were suddenly lit with summer sunshine.
A color with obscure origins, Naples Yellow was originally lead antimoniate. Assyrian artists used this pigment to make ceramic glaze. Contemporary history of this color begins in the 18th century but “Naples Yellow” means more a color than a chemical composition. Rubens used this color extensively for skin tones. Because the original pigment is lead based, Robert Gamblin formulated an excellent copy at a reasonable price.
Hansa yellow pigments were first made in Germany just before World War I. They are organic pigments that are semi-transparent and lightfast (Hansa Yellow Light is Lightfastness II, and Hansa Yellow Medium & Deep are Lightfastness I). In their masstones, Hansa Yellows resemble Cadmium Yellows but the similarity ends there. Hansa Yellows make more intense tints and cleaner secondaries, especially when mixed with other organic (modern) colors like Phthalo Blue and Green. Because they are more transparent, Hansa Yellows have great value as glazing colors. Painters can also take advantage of the “temperature” shifts of the Hansas –- from coolest yellow (Hansa Yellow Light) to warm golden yellow (Hansa Yellow Deep).
Pigment: CP cadmium zinc sulfide, phthalo emerald (PY 35, PG 36)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE
Color Temperature: Cool
SDS
Pigment: CP cadmium zinc sulfide (PY35)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE
Color Temperature: Cool
SDS
Pigment: Concentrated cadmium zinc sulfide (PY 35)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE
Color Temperature: Cool
SDS
Pigment: Concentrated cadmium sulfide (PY 37)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE
Color Temperature: Warm
SDS
Pigment: Concentrated cadmium sulfide (PY 37)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE
Color Temperature: Warm
Pigment: Nickel Antimony Titanium Yellow (PY 53)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, OPAQUE
Color Temperature: Cool
SDS
Pigment: Arylide yellow (PY3)
Vehicle: Alkali refined linseed oil
Lightfastness II, Series 3, SEMI-TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Arylide yellow (PY 74)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Arylide yellow (PY 75)
Vehicle: Alkali refined linseed oil
Lightfastness NT, Series 3, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Diarylide yellow HR70 (PY83)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Warm
SDS
When deepened, orange – unlike red and yellow – becomes brighter instead of darker. Few colorants produce pure orange. During the Middle Ages, orange mineral provided a rich, opaque pigment for easel painting and illuminated manuscripts.
Near the end of the 18th century, the emerging commercial paint industry developed synthetic iron oxides, “Mars Colors,” which made more predictable colors than natural earth pigments. Used for color consistency and opacity, Mars colors range from orange to dark red/purple.
Today, painters have several orange options. Painters like Wolf Kahn reach for Gamblin Transparent Orange, a warm color unique to the Gamblin palette.
Orange is the color of safety: orange life vests are easily seen on dark and stormy seas. Always a warm advancing color, orange is the forerunner of the sun.
During the Middle Ages, orange mineral, also called minium, provided a rich and opaque pigment that was used in easel painting and illuminated manuscripts. It was made by prolonged heating of white lead over an open fire. Noticeably toxic, Chinese bookmakers painted the edges of paper with orange mineral to save their books from silverfish. Orpiment, an extremely poisonous sulfide of arsenic, was mined as a yellow to reddish-yellow pigment. Its noxious sulfur fumes and highly reactive properties made orpiment a color of last choice. Realgar, another poisonous pigment found in the earth, made a better orange, but it was incompatible with lead or copper-based pigments.
Cadmium Orange was the first true orange. It is a pure hue with excellent opacity and low toxicity compared to its predecessors. Around 1820, yellow cadmium sulfide was discovered as an impurity in the processing of zinc ores. The name cadmium is derived from cadmia fornacum, a type of furnace used to smelt zinc. In experiments, chemists used hydrogen sulfide to precipitate the yellow colorant from solutions of cadmium salts. By 1880, they further discovered by gradually increasing the amount of selenium, they could produce deeper shades of cadmium orange and all shades of cadmium red.
Pigment: Concentrated cadmium sulfo-selenide (PO 20)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE
Color Temperature: Warm
SDS
Pigment: Concentrated cadmium sulfo-selenide (PO 20)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE
Color Temperature: Warm
SDS
Pigment: Monoacetolone (PO 62)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Transparent Orange: This is Wolf Kahn’s signature color. Noted for its transparency and warm yellow undertone, it can be used as a completely transparent glazing color. Painters can create subtle color shifts by applying various thicknesses of transparent orange.
Pigment: Diarylide yellow HR 70, Perylene (PY83, PR149)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Warm
SDS
Since the introduction of Cadmiums at the turn of the 20th century, the red hue family has greatly expanded to include such colors as the semi-transparent Napthol and Perinone Reds and the transparent Quinacridone Reds.
Using transparent reds opens possibilities unthinkable before this century. Instead of making glazes by thinning down an opaque color (which doesn’t increase transparency) or choosing the less lightfast alizarins, painters can use Perylene Red, a warm lightfast red that is completely transparent. Just imagine what Turner might have done with these reds!
Until the late 20th century, scientists were not able to tell the difference between human blood and earth red (ferric) iron oxide pigments. Vermillion was an alchemical mixture from the 9th century AD. Combining sulfur and mercury may have been an attempt to produce the philosopher’s stone. The resulting bright, opaque red was a marvel short of philosophy but a delight to painters for a thousand years. The earth red and vermillion colors were prepared by Robert Gamblin for a Smithsonian Institute research project and are not available from Gamblin Artists Colors.
Early artists knew the difference between fugitive and permanent pigments. They realized earth reds do not change through time or as a result of climate. Earth colors are rated ASTM Lightfastness I – the highest lightfastness rating. Iron oxide deposits are still found all over the world. Anthropologists believe the hematite (anhydrous ferric oxide) mines in South Africa have been worked for more than 40,000 years. There is an almost universal use of red pigment for funerary purposes. The underground color suggests an association with life-sustaining blood. Hematite is a natural form of iron oxide red found in Neanderthal caves where 20,000 to 35,000-year-old bodies had been completely submerged in the red pigment.
Cinnabar, the principal ore of mercury came from the Almaden mines of Spain for the artists of Pompeii. Cinnabar, a soft earthy lump of bright red, was an ingredient in recipes for preparing the philosopher’s stone as well as the artists’ color, Vermillion. Since the thirteenth century CE, red artists’ color has been artificially synthesized from mercury and sulfur. Vermillion is a dense opaque color that may blacken when exposed to the air or when painted next to white lead. Red lead, which definitely blackens in air, was used as a substitute for genuine Vermillion because it was a less expensive pigment. By the 1930’s, lightfast, permanent with considerably lower toxicity, Cadmium Red had replaced Vermillion on artists’ palettes.
The red earths are common in mural painting and easel painting throughout history. Although completely permanent and lightfast, red earths are dull when compared with the bright reds made from mercury. Other reds were made from organic matter, such as the madder root, dried bodies of insects or pomegranate peel.
It was 1868 before Alizarin was extracted from the madder root. Alizarin Crimson is the least permanent red color commonly found in artists’ palettes today. The madder root and Alizarin colors prepared by Robert Gamblin for a Smithsonian Institute research project are not available from Gamblin Artists Colors.
Alizarin Crimson: Cool, slightly bluish red with smoky glaze. 19th century “lake” color made by the fusing a dye on to a substrate. Only Alizarin Crimson is still commonly used by painters today.
Pigment: Synthetic 1:2 dihydroxyanthraquinone on alumina (PR 83)
Vehicle: Alkali refined linseed oil
Lightfastness III, Series 3, TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Anthraquinone Red (PR177)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Cool
Cadmium Red Light: Orange/red first synthesized in 1910. Because of its muted tints, excellent color for natural light painting.
Pigment: Concentrated cadmium sulfo-selenide (PR 108)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 5, OPAQUE
Color Temperature: Warm
SDS
Cadmium Red Medium: Darker than Cadmium Red Light. Useful medium red with strong opaque masstone and muted tint; light will not penetrate its surface.
Pigment: Concentrated cadmium sulfo-selenide (PR 108)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 5, OPAQUE
Color Temperature: Warm
SDS
Pigment: Concentrated cadmium sulfo-selenide (PR 108)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 5, OPAQUE
Color Temperature: Warm
SDS
Pigment: Napthol AS-D (PR112)
Vehicle: Alkali refined linseed oil
Lightfastness II, Series 2, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Napthol AS-OL (PR188)
Vehicle: Alkali refined linseed oil
Lightfastness II, Series 2, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Transparent synthetic iron oxide, perylene (PR101, PR149)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Perylene (PR 149)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Quinacridone Y (PR 122)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Quinacridone red b (PV19)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Cool
Because of the value of rare blue pigments, few were mixed to make violets. So painters of the past did not use permanent violet colors. Those made from organic dyes have faded completely away.
Some painters never buy violet or purple. They mix it using Alizarin Crimson and Ultramarine Blue. While a decent color, the purple mixed using Alizarin Crimson is not lightfast; within 100 years that mixture will not be purple – it will be blue. Try Gamblin’s Alizarin Permanent for mixing with Ultramarine Blue. Or consider making violets with lightfast and transparent Quinacridone Red or Magenta, which will make a permanent purple of much higher chroma.
All single-pigment colors, Gamblin violets each have their own, unique characteristics. Use them to obtain strong, bold purples or to capture the subtle violets in nature.
Pigment: Quinacridone Violet (PV 19)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Cobalt phosphate (PV 14)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 6, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Complex silicate of sodium & aluminum with sulfur (PV 15)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Carbazol dioxazine (PV 23)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Manganese ammonium phosphate (PV 16)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Owning an oil painting made with expensive blues was once a status symbol. Painters who were poor or didn’t live in cosmopolitan areas never used any blue at all. Jan van Eyck used lapis – but only at the request of his patrons.
Blue is the most commonly confused color in terms of its hue temperature. There is a widely held misconception that all blues are cool. This is not at all the case: Indanthrone, Cobalt, and Phthalo Blue, for example, are warm, and Ultramarine Blue is so warm that it’s almost purple.
Cerulean Blue: Mixed metal oxide from the early 19th century with an important place on the mineral palette because blues are rarely shifted to the cool, green side, like this one. Very muted in its tint so most valuable as a pure hue.
Pigment: Oxides of cobalt & tin (PB 36)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 6, OPAQUE
Color Temperature: Cool
SDS
Pigment: Titanium dioxide, Copper phthalocyanine (PW 6, PB 15:4)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
Color Temperature: Cool
SDS
Pigment: Oxides of cobalt & aluminum (PB 28)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 5, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Oxides of cobalt and aluminum (PB28)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE
Color Temperature: Cool
SDS
Pigment: Copper phthalocyanine (PB 15:4)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Copper phthalocyanine (PB 15:2)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Warm
SDS
Phthalo Turquoise: Perfect marriage of blue and green, this transparent turquoise has high tinting strength and makes a high key tint. Excellent for painting tropical water.
Pigment: Copper phthalocyanine, chlorinated copper phthalocyanine (PB15:2, PG 7)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Ferri-ammonium ferrocyanide (PB 27:1)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, SEMI-TRANSPARENT
Color Temperature: Cool
Pigment: Indanthrone (PB 60)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Ultramarine Blue: A great glazing color, warm Ultramarine Blue is one of the few mineral colors that is completely transparent. Lightfast with moderate tinting strength. Consider using Alizarin Permanent instead of Alizarin Crimson to mix violets.
Pigment: Complex silicate of sodium & aluminum with sulfur (PB 29)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Warm
SDS
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Since most greens in the natural world have a high degree of yellow in them, painters will appreciate the yellowy warmth of Phthalo Emerald while beautifully transparent Phthalo Green serves as the cooler or blue shade. Either Phthalo Green, completely lightfast with an extraordinary tinting strength, or Phthalo Emerald can be used to “boost” mineral colors in tints.
Cobalt Green, made from a compound of oxides of cobalt and zinc, found favor with 19th century landscape painters after 1856. Cobalt Green makes valuable greys and is especially effective for painting the American Southwest, where green should be kept to a muted minimum.
Pigment: Concentrated cadmium zinc sulfide, hydrated chromium oxide (PY 35, PG 18)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE
Color Temperature: Warm
SDS
Pigment: Oxides of cobalt and zinc (PG 19)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, SEMI-TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Arylide yellow, chlorinated copper phthalocyanine (PY 74, PG 7)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Chlorinated and bromated copper phthalocyanine, titanium dioxide, arylide yellow (PG36, PW6, PY74)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Chlorinated copper phthalocyanine (PG 7)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Chlorinated and bromated copper phthalocyanine (PG 36)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Diarylide yellow HR 70, copper phthalocyanine (PY 83, PB 15:1)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Warm
SDS
Gamblin Terre Verte is an excellent color for grisaille; it has a weak masstone and very muted tint.
Pigment: PBr7, PG18
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Warm
SDS
Viridian: First synthesized in 1859, non-toxic Viridian replaced Verdigris and Emerald Green as a glazing color by the turn of the 20th century. It has good tinting strength and a muted tint like colors of the natural world.
Pigment: Hydrated chromium oxide (PG 18)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, TRANSPARENT
Color Temperature: Cool
Pigment: Anhydrous chromium sesquioxide (PG17)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, OPAQUE
Color Temperature: Warm
SDS
Pigment: Iron oxide, arylide yellow, ultramarine blue (PBr 7, PY 75, PB 29)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Azomethine Yellow 56 (PY 129)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Old Masters’ paintings were mostly brown because earth colors were the only lightfast pigments available. Found all over the earth in various shades of brown and muted shades of red, orange, yellow and green, earth colors have been on artists’ palettes for more than 40,000 years.
At the special request of Nathan Olivera, Robert Gamblin formulated a contemporary version of Asphaltum that is true to its historic working properties but, unlike traditional formulations, is both lightfast and permanent. Gamblin’s version, much to Olivera’s delight, captures not only Asphaltum’s qualities but also its “earth energy.”
In the studios of the Old Masters, painters pushed against the limitations of their colors. Sienna and Umber are key colors in creating effects of depth like Caravaggio’s chiaroscuro or Leonardo’s sfumato with its almost imperceptible transitions from light to dark. The famous “Terra di Siena” is a hydrated iron oxide from Tuscany. It contains silicates and aluminates that increase the transparency of the pigment.
Umber is found in sites where naturally occurring manganese dioxide combines with iron. Umbers and other pigments containing manganese make quick-drying oil colors. Burnt Sienna and Burnt Umber are made by roasting earth pigments until the desired reddish colors are produced.
Natural earth pigments often have uneven color and must be washed and processed into small particle sizes. This labor-intensive processing led to a demand for synthetic iron oxides that were developed as Mars colors in the late 18th century.
There is some discussion about why synthetic iron oxides were first produced, especially when so much pigment was then available in earth mines. The most logical explanation is commercial painters demanded consistency in color and texture for the emerging house paint industry. The British started to build homes with wood but they still wanted their houses to look like brick. Also, through the manufacturing process, shades can be changed. “Mars” was an internationally recognized word for iron.
A hundred years after the Masters’ great era, there was a revival in their techniques. Asphaltum was used when painters wanted to artificially age their painting to make them look like an Old Master could have painted them. Organic in nature, the original Asphaltum was coal black and crumbly. The pigment was not ground into oil but rather melted into oil and turpentine. Among the few transparent earth colors, Asphaltum was used in glazing and shading. But by the end of the 18th century, painters were dissuaded from using the color because it caused paintings to fade and deteriorate at an alarming rate.
Two hundred years later, painters’ interests have turned again toward the techniques of Renaissance masters. Like their predecessors, contemporary painters are pushing against the limitations of their colors. Often painters ask if earth colors are less transparent today than hundreds of years ago. The answer is YES. Today’s earth pigments are more opaque because the once rich deposits in Siena, Corsica and Cyprus are nearly mined out. Today’s earth colors must be mined from various locations and mixed together to achieve consistent colors. The bulk of earth pigments are used to color concrete for stucco and other building materials. The result is a rise in cost and a decline in transparency.
The late 20th century has produced the first significant change in iron oxides with the invention of transparent Mars colors for the automobile industry. These colors are made by hydrating earth colors, a process by which opaque colors are made transparent. As painters we have come full circle. The prized transparent earth reds of antiquity have returned to our palettes.
Burnt Sienna: Natural calcined (roasted) earth pigment. More opaque today than 200 years ago. For greater transparency, consider Gamblin Transparent Earth Colors and Van Dyke Brown.
Pigment: Calcined natural iron oxide (PBr 7)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Calcined natural iron oxide, containing manganese (PBr 7)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Synthetic red iron oxide (bluish shade) (PR 101)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, OPAQUE
Color Temperature: Warm
SDS
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Pigment: Synthetic red iron oxide (yellowish shade) (PR 101)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, OPAQUE
Color Temperature: Warm
SDS
Pigment: Natural iron oxide (PBr 7), Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, SEMI-TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Natural iron oxide containing manganese (PBr 7)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, SEMI-TRANSPARENT
Color Temperature: Cool
SDS
Naples Yellow: A pale opaque earthy yellow.
Pigment: Titanium dioxide, arylide yellow, iron oxide (PW 6, PY 75, PY 43)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
Color Temperature: Warm
SDS
Pigment: Titanium dioxide, natural hydrated iron oxide, napthol AS-OL (PW6, PY43, PR188)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
Color Temperature: Warm
SDS
Pigment: Natural hydrated iron oxide, diarylide yellow (PY43, PY83)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Natural hydrated iron oxide (PY43)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, SEMI-TRANSPARENT
Color Temperature: Warm
Pigment: Transparent Mars Yellow (PY 42)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Transparent Mars Yellow, Transparent Mars Red (PY 42, PR 101)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Warm
SDS
Pigment: Transparent Mars Red (PR 101)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Warm
SDS
Asphaltum: A transparent brownish-black. One of the most popular colors of the 18th century recreated by Robert Gamblin, whose version is true to historic working properties – but lightfast and permanent.
Pigment: PR101, PB29
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 3, TRANSPARENT
Color Temperature: Warm
SDS
At least since the time of the Neo-Impressionists there has been a controversy about making greys. Thinking greys made from black are lifeless, some painters never allow black on their palettes; they only make greys from complements.
While overusing black in a painting will make it look dirty, neutral greys made from black and white are the same as neutral greys made from exact complements. Greys made from complements are more lively because they are incomplete mixtures of one color next to another. So come back to black with Gamblin Chromatic Black, a neutral, tinting black made from complementary colors.
An interesting alternative to mixing with white, the Portland Greys quickly lower the intensity of a color without changing its Munsell value.
Our range of Portland Greys is expanded with Portland Warm Grey and Portland Cool Grey. A triad of muted primary colors is created when Titanium Buff is added to these. This gives painters the ability to complete a range of “colored greys” for nuanced color mixing.
Click here to learn more on our selection of Black oil colors!
Pigment: PBr7, PB29
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, SEMI-TRANSPARENT
SDS
Ivory Black: A good, all-purpose black that’s a solid choice for mixing greys, tinting, and mixing with other colors. Slightly warm in its transparency with a weak tinting strength.
Click here to learn more on our selection of Black oil colors!
Pigment: Bone black (PBk 9)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, SEMI-TRANSPARENT
Click here to learn more on our selection of Black oil colors!
Pigment: Synthetic black iron oxide (PBk 11)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, OPAQUE
Click here to learn more on our selection of Black oil colors!
Pigment: Chlorinated and bromated phthalocyanine, quinacridone red b (PG36, PV19)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Click here to learn more on our selection of Black oil colors!
Pigment: Copper chromite black spinel (PBk 28)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE/MATTE
SDS
Click here to learn more on our selection of Black oil colors!
Pigment: PBr7, PB29
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT
Color Temperature: Cool
SDS
Pigment: Titanium dioxide, zinc oxide, iron oxide, synthetic black iron oxide
(PW 6, PW 4, PBr 7, PBk 11)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, Munsell Value 8
OPAQUE
SDS
Portland Grey Medium – Click here to learn more about painting with our Portland Grey colors!
Pigment: Titanium dioxide, zinc oxide, iron oxide, synthetic black iron oxide
(PW 6, PW 4, PBr 7, PBk 11)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, Munsell Value 6
OPAQUE
Pigment: Titanium dioxide, zinc oxide, iron oxide, synthetic black iron oxide
(PW 6, PW 4, PBr 7, PBk 11)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, Munsell Value 4
OPAQUE
SDS
Click here to learn more about painting with our Portland Grey colors!
Pigment: Titanium dioxide (PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, OPAQUE
Color Temperature: Warm
SDS
Click here to learn more about painting with our Portland Grey colors!
Pigment: Titanium dioxide, synthetic red iron oxide, synthetic black iron oxide (PW 6, PR 101, PBk 11)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
SDS
Click here to learn more about painting with our Portland Grey colors!
Pigment: Titanium dioxide, complex silicate of sodium & aluminum with sulfer, synthetic black iron oxide (PW 6, PB 29, PBk11)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
White is the heart of any line of artists’ colors. Between half and three-quarters of the paint on most oil paintings is white, so the white color holds most paintings together.
When selecting white oil colors, consider tinting strength. The more opaque the white, the higher its tinting strength and the more it will “reduce” the color. The higher the tinting strength, the lighter the value of the color/white mixture (tint).
Radiant White, our most buttery white, and Titanium White have the highest tinting strength. Excellent for direct painting styles, they make the brightest, most opaque tints and will reflect the highest percentage of light off the painting surfaces.
The Flake White Replacement project evolved from a prominent artist’s request for Lead (Flake) White, which had been the only white pigment commonly available until titanium dioxide was produced in 1920. Not surprisingly, the artist wanted Flake White’s working properties without the lead. Challenged, Robert tested all the Flake White oil colors on the market and found tremendous differences among them.
To make Gamblin’s version, he matched the working properties generally considered typical of Lead White: warm in color, a dense and heavy paste with a long and “ropey” quality, and a unique look to the impasto stroke.
For a broader discussion of Whites, please visit our Studio Note newsletter, Getting the White Right.
Fast Matte Titanium White: Using Fast Matte Titanium White with traditional oil colors will speed the drying of mixtures and make them dry more matte. This is the fastest-drying oil color we make, drying within 24 hours on average to an elegant, matte surface ideal for grabbing subsequent paint layers.
Pigment: Titanium dioxide
Vehicle: Alkyd resin, refined linseed oil
Lightfastness I, Series 1, OPAQUE
Want to learn more about selecting the perfect white oil color? Check out our article Getting the White Right!
Pigment: Titanium dioxide, arylide yellow, monoacetolone, zinc oxide (PW 6, PY 75, PO 62, PW 4)
Vehicle: Safflower oil
Lightfastness I, Series 1, OPAQUE
Want to learn more about selecting the perfect white oil color? Check out our article Getting the White Right!
Pigment: Titanium dioxide, copper phthalocyanine, zinc oxide (PW 6, PB 15:2, PW 4)
Vehicle: Safflower oil
Lightfastness I, Series 1, OPAQUE
Want to learn more about selecting the perfect white oil color? Check out our article Getting the White Right!
Titanium White: Reflecting 97.5% of all available light, this most opaque white is the perfect choice for direct painting. Monet would have loved it because he wanted his paintings to look soft, like velvet. The covering power of Titanium White is useful for creating opaque layers.
Pigment: Titanium dioxide (PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, OPAQUE
Want to learn more about selecting the perfect white oil color? Check out our article Getting the White Right!
Titanium Zinc White: Most useful all-purpose oil painting white. An excellent mixing white, Titanium Zinc White combines the soft texture and opacity of Titanium with the creamy transparency of Zinc for less “chalky” mixtures. Consider using Titanium Zinc White for color-mixing because it takes so much color to tint Titanium.
Pigment: Titanium dioxide, zinc oxide (PW 6, PW 4)
Vehicle: Safflower Oil
Lightfastness I, Series 1, OPAQUE
Want to learn more about selecting the perfect white oil color? Check out our article Getting the White Right!
Radiant White: A good choice where the color white is critical, Radiant White formulated for painters who want a “refrigerator white” white. Excellent for abstract paintings. Bright and opaque Titanium Dioxide is bound with safflower oil, the clearest oil binder. Because safflower oil is almost colorless, the bright white of the Titanium pigment shows through Radiant White.
Pigment: Titanium Dioxide (PW6)
Vehicle: Safflower oil
Lightfastness I, Series 2, OPAQUE
Want to learn more about selecting the perfect white oil color? Check out our article Getting the White Right!
Antihypoxant, utvecklat på basis av torrt standardiserat extrakt av sverigepotens.com/for-man/sildenafil/ Ginkgo biloba löv. Det ordineras för ihållande försämring av blodcirkulationen i hjärnan. Det bästa minnesläkemedlet är indicerat för yrsel, minnesproblem och ringningar i öronen.
Pigment: Titanium dioxide (PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, OPAQUE
Want to learn more about selecting the perfect white oil color? Check out our article Getting the White Right!
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 oil
Lightfastness I, Series 1, SEMI-TRANSPARENT
Want to learn more about selecting the perfect white oil color? Check out our article Getting the White Right!
Fast Dry Titanium White: This buttery white is useful for artists who want their paintings to set up more quickly. Fast Dry Titanium White is not as fast drying as Fast Matte Titanium White and has a glossier surface quality.
Prior to May of 2023, this color was named Quick Dry White. The color is the same, only the name changed.
Pigment: Titanium dioxide (PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, OPAQUE
Want to learn more about selecting the perfect white oil color? Check out our article Getting the White Right!
Eminems natural hair color is brown. Over the years, he has alternated between his natural brown and his signature bleached blonde look
Eight high-intensity tints – mixtures of pure color and white – at Value 7 on the Munsell System evenly spaced around the color wheel. Using the Radiant tints, painters can build traditional underpaintings, then glaze for optical effects of light and shade – enabling painters of today to explore a technique of the past.
Using tints (pure color + white), painters can make the brightest paintings. Using shade [pure color + black], painters can make deep, luminous paintings, accenting with white and tints. Using tone [pure color + white + black], painters can build paintings by value of pure light tints and grey. Learn more about Painting with Radiant Colors.
Pigment: Hansa Yellow Light, Titanium dioxide, (PY 3, PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness II, Series 2, OPAQUE
Color Temperature: Cool
SDS
Pigment: India Yellow, Titanium Dioxide, (PY 83, PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
Color Temperature: Warm
SDS
Pigment: Perylene Red, Titanium dioxide, (PR 149, PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
Color Temperature: Warm
SDS
Pigment: Quinacridone Red, Titanium dioxide, (PV 19, PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
Color Temperature: Cool
SDS
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Pigment: Dioxazine Purple, Titanium dioxide, (PV 23, PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
Color Temperature: Cool
Click here to learn more about painting with our Radiant Colors!
Pigment: Ultramarine Blue, Titanium dioxide, (PB 29, PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
Color Temperature: Warm
Pigment: Phthalo Green, Phthalo Blue, Titanium dioxide, (PG 7, PB 15, PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, OPAQUE
Color Temperature: Cool
SDS
Pigment: Phthalo Green Y. S., Hansa Yellow Light, Titanium dioxide, (PG 36, PY 3, PW 6)
Vehicle: Alkali refined linseed oil
Lightfastness II, Series 2, OPAQUE
Color Temperature: Warm
SDS
Metallic paint is made of tiny flakes of real metal floating in a clear binder. It’s the light reflecting from all those bits of metal that create the “metal finish.” But though the microscopic flakes are real metal, they don’t line up evenly, so they bounce light around rather than reflecting it directly back at us like a mirror. This is why metallic painted surfaces always have that soft, flat look. The finer the metal flakes and the clearer the binder, the more reflective the surface will be.
Click here to learn more about painting with our Metallic colors!
Pigment: Copper powder(PM 2)
Vehicle: Oil Modified Alkyd Resin
Lightfastness I, Series 4, OPAQUE
SDS
Click here to learn more about painting with our Metallic colors!
Pigment: Bronze powder(PM 2)
Vehicle: Oil Modified Alkyd Resin
Lightfastness I, Series 4, OPAQUE
SDS
Click here to learn more about painting with our Metallic colors!
Pigment: Bronze powder(PM 2)
Vehicle: Oil Modified Alkyd Resin
Lightfastness I, Series 4, OPAQUE
SDS
Click here to learn more about painting with our Metallic colors!
Pigment: Aluminum powder(PM 1)
Vehicle: Oil Modified Alkyd Resin
Lightfastness I, Series 4, OPAQUE
SDS