Oil Paint 

Oil Paint

Many artists today consider oil painting to be the fundamental art medium; something that a student should learn to appreciate, because of its properties and use in previous, very popular artwork. Typical qualities of oil paint include a long "open time," which means that the paint does not dry quickly. Oil paints take several weeks to dry, this...

Many artists today consider oil painting to be the fundamental art medium; something that a student should learn to appreciate, because of its properties and use in previous, very popular artwork. Typical qualities of oil paint include a long "open time," which means that the paint does not dry quickly. Oil paints take several weeks to dry, this allows the artist to work on a painting for many sessions. Oil paint also has a propensity to blend into surrounding paint allowing very subtle blending of colors. This medium also produced vivid color with a natural sheen and distinct contrast. Oil paints have a surface translucency similar to human skin, making it an ideal medium for portraits.

The color of oil paint derives from the small particles mixed with the carrier. Common pigment types include mineral salts such as white oxides: lead, now most often replaced by less toxic zinc and titanium, and the red to yellow cadmium pigments. Another class consists of earth types, e.g. sienna or umber. Synthetic pigments are also now available. Natural pigments have the advantage of being well understood through centuries of use but synthetics have greatly increased the spectrum available, and many are tested well for their lightfastness.

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Subcategories

Gamblin Artist Oil

Robert Gamblin organized our palette into Mineral and Modern color groupings to help artists easily choose a palette of colors that best matches their artistic intent. Our colors are also grouped by eras of pigment history: Classical, Impressionist, and 20th Century. Throughout the history of art, paintings have always been a reflection of the materials that were available to artists.

Mineral Colors The Mineral side of the color chart includes those colors made from inorganic pigments, that is, metal ores dug from the earth. For many of these pigments, their color is developed in ovens at very high heat. At the bottom of the Mineral side of the chart is the group of earth colors that made up the heart of painters’ palettes during the Classical Era. This group of pigments, which has its origins in cave painting and antiquity, was central to the oil painter’s palette from the Renaissance through the Classical Era. From this limited range of earth colors, painters depicted form by drawing large contrasts between the darkest darks and the lightest lights, creating the chiaroscuro (literally, “light/dark”) effect so characteristic of classical paintings.

During the Industrial Revolution, a whole new array of inorganic pigments was developed from compounds of minerals, such as cobalt, cadmium and manganese. Their intense mass tones complemented earth colors on painters’ palettes and replaced paints made from expensive semi-precious stones, fugitive colors, or highly toxic compounds. This full spectrum of pigments, packaged for the first time as oil colors in tubes, expressed the Impressionists’ interest in pure color.

Mineral Colors grey down when mixed with white, which is perfect for capturing the colors of the natural world. Mineral-based pigments have larger pigment sizes and lower tinting strengths than modern colors. They are leaner and naturally more matte. Mineral colors are mostly opaque. Ultramarine Blue and Viridian, which are transparent, are exceptions. Mineral colors have a Lightfastness rating of Excellent (I).

Modern Colors Modern organic pigments are carbon-based. Most modern colors, including Quinacridone, Phthalo, and Perylene, are transparent. Hansa and Napthol are semi-transparent. Because of their small particle sizes and higher oil absorption (fatter), modern pigments make colors of very high tinting strengths that are naturally more glossy.

When mixed with white, modern colors make incredibly intense tints. They stay high key in mixtures unless a complement is added. Rather than shifting from light to dark, a family of modern colors shifts from warm (Phthalo Emerald) to cool (Phthalo Green). Modern colors have a Lightfastness rating of Excellent (I), with the exception of Hansa Yellow Light and Napthol pigments, which are rated as Very Good (II). Each tube of artist’s grade oil color is marked with a Lightfastness rating. Mineral and Modern colors are completely compatible with each other. Painters can use the characteristics of each color group described above to create their own personalized color palette.

Radiants Gamblin Radiant Colors offer painters eight intense tints – mixtures of pure color and white – at Value 7 on the Munsell® System. Using these Radiant tints, painters can build high key underpaintings and then glaze to achieve optical effects of light and shade.

White, Grey & Black The most important color choice we make is the white we bring to our work. There are nine different Gamblin Whites to give artists a range of working properties, temperatures, drying rates and opacity. Please refer to our Studio Notes Newsletter, Getting the White Right, on our website for more information on selecting the right white for your work.

Gamblin Portland Greys (Light, Medium, and Deep) can mute the high key tints of the modern colors to make more naturallooking mixtures. Named for the city where they are made and its characteristic grey skies, the Portland Greys are formulated for painters who work with value. Our range of the neutral 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.”

Gamblin Chromatic Black gives painters a neutral, tinting black with energy that doesn’t muddy and flatten the colors the way traditional blacks do. Because Chromatic Black is made from two colors that are perfect complements, Quinacridone Red and Phthalo Emerald, it gives painters a dead-center black with life to it and a clean transparency

Gamblin FastMatte Alkyd Oil

With Gamblin FastMatte Alkyd Oil Colors, oil painters can take their paintings further, faster than ever before.

  • Thin layers will be touch-dry and ready to be painted over in 24-hours
  • Colors dry to a matte surface with a beautiful tooth and deep, soft luster
  • FastMatte colors are compatible with our painting mediums and traditional oil colors

24-Hour Dry Time

The fast drying rate means painters can stay in the flow of their painting session longer with layering and mark-making possibilities beyond traditional oils. The consistent drying rate of FastMatte colors means painters can return to a dry surface the following day.

Matte Surface

The matte surface gives colors a deep, soft luster that speaks directly to the viewer. Never before have oil painters been able to create a consistent, matte surface with such ease. The matte surface gives dry paint layers a subtle tooth which beautifully grabs paint from the brush or knife.

Compatibility

FastMatte colors are compatible with Gamblin painting mediums and our traditional oil colors. For thinning FastMatte colors, we recommend a 50/50 mixture of Galkyd and Gamsol. This mixture, used in moderation, thins colors without slowing dry-times or significantly increasing gloss. Gamvar Picture Varnish may be applied to saturate colors and impart a uniform satin or gloss surface to your finished work.

The 24-hour dry time, matte surface and compatibility make FastMatte colors ideal for underpainting.

The balanced color palette of earth, mineral, and modern pigments was chosen for its mixing capabilities in all oil painting techniques and styles.

Grumbacher Academy Oil

The European Renaissance was a period of artistic and scientific exploration and invention. It is no wonder that the world's favorite art medium - oil paint - was introduced to a vast population of artists during this time in history. The combination of refined oils, such as linseed oil, was added to the finely ground pigments traditionally used in European paints. The oil trapped and suspended the pigments and resulted in a highly brilliant, translucent paint that has set the standard in art media for centuries.

Grumbacher has continued to produce quality oil paint in the tradition of the old masters. Superior quality pigments are combined with highly refined oils in our perfected paint formulas. Grumbacher is one of the only brands of paint to be produced within the United States. Our highly controlled facilities allow us to personally test our paints for a plethora of attributes such as purity and brilliance.

With a wide range of rich, vibrant colors, Grumbacher's lines of oil paints have been popular with artists generation after generation. This time tested brand of oil color allows painters to experiment with the comfort of knowing that their pieces will leave a legacy.

Grumbacher Academy oil colors offer a quality line of 30 color paints at an affordable price. Only finely ground pigments are used in making this smooth, rich paint. Either straight from the tube or when mixed with our mediums, colors remain rich and vibrant.

Gamblin 1980 Oil

True color. Real value.

Gamblin 1980 Oil Colors are made with the same dedication and pure pigments that go into our Artist’s Oils. In addition, we use the same process of mixing, milling, filling, and hand labeling.

In order to reduce the cost of oil colors, some manufacturers use gels and waxes to stiffen colors and replace traditional pigments with less expensive ones.

Our approach is different. 1980 colors are formulated with pure pigments, the finest refined linseed oil and marble dust (calcium carbonate). More affordable colors have been made with these three ingredients since oil painting began.

With 1980 colors, artists experience colors that are true, without homogenized texture or muddy color mixtures. Our approach of using both traditional raw materials and processes ensures that artists experience the luscious working properties that they expect from their oil colors.

Jack Richeson Shiva Oil

Richeson Oils

Originally marketed and sold as Shiva Signature Oils, these paints were created by an artist out of personal need and passion. Ramon Shiva was interested in making a fine paint for himself and his friends in the late 1920s. Ramon's son-in-law saw the potential of this paint and encouraged him to make a real business of it. During this time, Shiva had a sixteen-year-old errand boy by the name of Jack Richeson, who made deliveries to the factory and was fascinated by the paint making process.

The paint took off: during the 1940s through the 1950s, Shiva became the leading oil paint manufacturer in the United States, and also led the world in bringing back casein, a paint from antiquity. During the late sixties, the company was sold and the drive seemed to be lost. The quest for purity and quality, once so proudly held by Ramon, was replaced by efficiency and price control brought on by the new owners' financial administrators. In the year 2002, a lifelong dream of Jack Richeson's came true. Today Jack Richeson & Company has gone back to all the old formulas of the 1950s that made Shiva oil the top brand in the United States.

Lukas 1862 Oil
For LUKAS 1862 Finest artist oil paint, the most precious, selected pigments from the tradition of old masters (eg genuine cobalt or cadmium pigments) are used exclusively pure and uncut. Approximately 60% of the shades are ideal as a 1 - pigment tone ideal for the clean mixing of further luminous color variations. A trace (0.5-1.5%) of the finest bleached beeswax as a component of the consistency agent gives the color the buttery, short consistency desired by the painter and makes the color film less brittle for the restorer. The binders are pure, vegetable linseed and sunflower oils in pharmaceutical grade.
L&B Louvre Oil
L&B Louvre Oil
Lukas Studio Oil

High Quality, Professional Oil Paint At A Reasonable Value!

Working with over 145 years of tradition and advancement, LUKAS has created a high quality yet economical oil paint for the discerning artist! LUKAS Studio Oils are made with the same high quality pigments and exclusive blend of linseed oil, sunflower oil and beeswax as their master line of 1862 oil paints. All toxic, caustic, and expensive pigments have been eliminated from the line, leaving you with a well-balanced but affordable spectrum of brilliant colors. Loaded with pigment, LUKAS Studio Oil Paints have exceptional covering power, and the high-quality linseed oil, sunflower oil, and beeswax binder makes for even drying and a strong paint film.

Lukas Terzia Oil

LUKAS Terzia Oil Colors are the perfect solution for the beginner oil painter or large-format artist looking for quality paint at an excellent value. Made with highly lightfast, non-toxic pigments mixed with LUKAS' special blend of linseed oil, sunflower oil and beeswax, Terzia Oil Colors have the same buttery consistency and high level of permanence you've come to love from LUKAS paints. The only difference is that the lower pigment concentration allows for a truly affordable price point over other lines. Perfect for backgrounds, large scale pieces, and even murals, LUKAS Terzia Oil Colors now have an improved 32 color range all available in generous 75 and 200ml tubes, and 2 and 5 Liter Buckets. Whether you're just starting out with oils, or are looking for an affordable paint to buy in bulk, Terzia is a fantastic option for you!

Lukas Berlin Water Mixable Oil
LUKAS Berlin contains only selected pigments with the highest possible fastness in their class. The binders used are modified linseed and sunflower oils of particular quality. In order to enable water miscibility without affecting the other properties of the oil color such as drying time, brilliance and lapse properties as well as the fastness properties, SCHOENFELD has developed a special process for the modification of the oils, which guarantees a virtually anhydrous and waterproof (color) film structure. LUKAS Berlin therefore dries completely through like a pure oil paint. This makes LUKAS Berlin a real alternative for professional painters and people with solvent allergies.
Magi Wap Oil

The HO0637 Artist's oil color from Magi-Wap is made of light-fast pigment and refined vegetable oil. Select imported pigment from aboard, fine and soft when using and pilling up. High content of pigment makes the colors vivid, rich and vibrant, Good stability and best light-fastness makes the brush stroke flow smooth & freely. The drying time is proper, the works can be preserved for a long time without cracking, changing or yellowing. It will bring the amazing effect when using together with mediums, very suitable for Artists.

Light-Fastness

Artists want their works to be able too preserved for a long time, and the colors do not fade or change when exposing under light or in the air. Magi-Wap introduced the latest formulation from England, produced colors with excellent light-fastness, very suitable for artists. The works can preserve for a long time without cracking、color changing or yellowing.

The latest formulation and production technique from UK ensures Magi-Wap oil colors the best quality not only on the fastness, but also the stability of painting film.

Consistency
The color from Magi-Wap has the consistency of smooth and even, which gained many compliments among the artists all over the world.

Easy to use

The oil color with latest formulation from Magi-Wap suitable for impasto and thin coating, it is very easy for impasto with brush and palette knife, the works will never lose the gloss. The shaped film is irreversible, that is why the colors are better than the other water-based colors.

Tinting strength
Magi-Wap's colors made from imported raw materials, each color is very beautiful as a result of its unique formula, good stability, strong covering power and coloring strength.
 
Color Brightness
Oil colors from Magi-Wap has the brightest colors cause of the advanced technique and formulation from UK, the colors can still keep clean and bright even after mixing.
 
Transparencey
The colors from Magi-Wap can reflect the original characteristic of pigments, ensured the max transparency of the synthetic organic pigments, while the white color has very excellent opacity.

Certification
Magi-wap is the first company who got AP certificate in China.

Maries Oil Paint
Marie’s Oil Colours are manufactured by our engineers according to artists’ need and international standard. They are regarded as the excellent products by experts. Marie’s Oil Colours select and adopt the most permanent pigments, the best refined botanic oil, mixed and are finely ground into smooth paste. Varied chemical and physical properties are strictly examined. They have a suitable degree of dryness and as the paste is steady, they can keep up and give full play of the strokes of painters. If the painting is drawn with Marie’s Oil Colours, it could be preserved well in a very long time and the surface will never crack, that is why the artists welcome to use them.
Maimeri Classico Oil
Superfine oil colours
Competitiveness as a distinctive feature. 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. Authentic cadmium pigments in concentrations of 20% to 25%. 
Maimeri Mediterraneo Oil

Places which have their own colour capture the imagination. In the mind, as in memory, every colour has its place and every place has its colour.

The Mediterranean, the center of a world. A sea that unites different continents and cultures; the colours and tints of unforgettable sites and civilizations: mare nostrum. This same sea is the fluid palette on which are spread tones that paint the history of humankind. The chromatic assortment of Coarsely Ground Mediterranean Colours is basic, because only a few essential tones are needed to render the magic of a harmonic motion. Pure and, one may say, fundamental, the colours of this light are in any case calibrated to capture every nuance and modulation needed for sunny, luminous and natural painting. "Nature is extraordinarily beautiful here", wrote Van Gogh when, fleeing northern mists and grayness, he journeyed south pursuing the path of light. This is a colour range especially suited to painting with warm, bright and harmonious hues, juxtaposed with one another. Also indicated for en plein air works of sun-drenched landscapes, of warm or temperate climes, or paintings with sunny tonalities and enveloping light. In using these colours we recommend hard bristle, ox-hair or synthetic brushes. The grain size of these colours is larger than for other oil paints and paste density is thicker, with brushstrokes accentuated.The colour dried on the canvas damps the ray of light and softens tones, giving the surface a rugged feel.

The colours can be thinned with safflower or walnut oil or appropriate mediums for oil painting. It is best to avoid solvents and essential oils, which would weaken the pastes. In painting with a palette knife, for whose "impressions" these paints are particularly suitable, it might be best to use brilliant mediums to accentuate the luminosity and shine of each single coat. It is also advisable to prepare the canvas with uniform, soft coats of pastel pink or yellowish pink obtained with ochre and Natural Earth Colours (Terre Grezze d'Italia). This can be especially suitable for creations with predominantly blue and greenish blue tones, enhanced by these complementary bases.

Maimeri Rinascimento Oil

A thousand-year tradition brought to the Renaissance the colours of the ancients, and the ferment of a new, more polished humanity added some tones resulting from the art it had mastered: the transformation of matter. Alchemy completed nature and opened one's eyes to the light and colours of the dawn of the modern world. This line of colours offers the tonalities of the master artists of the Italian Renaissance: in paint composition, in grinding pigments and in the use of rare semi-drying oils, non-yellowing and crystal clear.

Many pigments in this range correspond to the ancient originals; others replace - in calibrated and perfect imitation - compounds of heavy metals that, being toxic, harmful or polluting, should no longer be used. This also provides for safe mixtures of colours, eliminating any risk of alteration. Research into ancient pigments made it possible to select the finest and most stable colours, eliminating problems with incompatible substances once hard to mix.

With the exception of Kermes Lake and Bistre, these tints were made with inorganic pigments based on non-hazardous metallic salts that strive to faithfully imitate the shades of traditional pigments based on lead, mercury and copper. Colours based on metallic salts have excellent light-resistance. The concentration of each individual pigment is especially high. All the paints are prepared with grain size and dispersion in walnut oil similar to those of the ancient compositions.

The Colours in this prized range dry in 2 to 4 days, applied to anon-absorbent support in a coat varying from 50 to 200 microns. Application, using brush or palette knife, is different from traditional oil colours due to the larger size of the pigment particles.

All the tints are made with walnut oil extracted cold. This oil, formely used by many great Veneto masters, yellows only very slightly and forms films that are solid, compact and extremely bright.

Brushes of varied thickness can be used with these colours, but preferably of animal hair or bristle. The paint is dense, slipping under the brush that leavesdeep, distinct traces.

The colours can be thinned solely with walnut oil, safflower oil, lavender essence or appropriate mediums suited to all lines of oil colours.

It is best to avoid the solvents typically used to dilute. The range can be perfectly integrated with other lines of oil colours, especially Italian Natural Earth Colours, which can usefully supplement the palette proposed here, on both the compositional and historical planes. A final tip when using this range: take the inner time you need, the basis of every fine creation. Made in Italy

Maries Master Oil
Marie’s Oil Colours are manufactured by our engineers according to artists’ need and international standard. They are regarded as the excellent products by experts. Marie’s Oil Colours select and adopt the most permanent pigments, the best refined botanic oil, mixed and are finely ground into smooth paste. Varied chemical and physical properties are strictly examined. They have a suitable degree of dryness and as the paste is steady, they can keep up and give full play of the strokes of painters. If the painting is drawn with Marie’s Oil Colours, it could be preserved well in a very long time and the surface will never crack, that is why the artists welcome to use them.
Pebeo XL Studio Oil
Properties:
o Colours: Intense, permanent and finely ground
o Surface drying: 2 to 6 days on average according to the thickness applied
o Dilution: solvents, oils or mediums depending on the desired effect
o Cleaning: Mineral spirits

Applications: The Studio Fine XL Oil is smooth and supple and suitable for all techniques, from glazing to working in thick coats, and it can be used together with mediums and auxiliaries. It is ideal for working materials, it dries quickly and overlay work can be undertaken after 3 days. It is intended for application on canvas, cardboard, wood, ... but is also suitable for producing large pictorial spaces. It lends a range of colours and varied effects: traditional colours, light or pastel colours, bright modern colours, and not forgetting the ready-to-use transparent glazes and iridescent colours. All these colours are compatible with each other and offer an infinite number of sumptuous mixtures. This oil is excellent value for money. It is advisable to leave the work to dry for 6 to 9 months before varnishing.
Oil Stick
Oil stick, or oilstick, is an art medium for applying color. It is produced in a stick form similar to that of a crayon or oil pastel. It is distinguished from oil pastel, to which it may appear similar, in that theoil used is comparatively volatile, causing a skin to develop on exposed surfaces. Oil sticks are oil paint in solid form. Oil sticks are made by compressing wax and oil until it forms into an oil stick. The same basic pigments and drying oils that are used in the formulation of tube paint are combined with wax and rolled into a crayon. Oil sticks can be used to concur drawings, paintings, and sketches. It is not a common medium nor a much used medium however is highly effective in art.
R&F Encaustic Paints

Encaustic is a wax based paint (composed of beeswax, resin and pigment), which is kept molten on a heated palette. It is applied to an absorbent surface and then reheated in order to fuse the paint.  The word ‘encaustic’ comes from the Greek word enkaiein, meaning to burn in, referring to the process of fusing the paint.  Although they come from the same root word, ‘encaustic’ should not be confused with ‘caustic,’ which refers to a corrosive chemical reaction. There is no such hazard with encaustic.

Opulence. Encaustic is perhaps the most beautiful of all artists' paints, and it is as versatile as any 21st century medium. It can be polished to a high gloss, carved, scraped, layered, collaged, dipped, cast, modeled, sculpted, textured, and combined with oil. It cools immediately, so that there is no drying time, yet it can always be reworked.

Wax is its own varnish. Encaustic paintings do not have to be varnished or protected by glass because encaustic, which is the most durable of all artists' paints, is its own protector. This is because beeswax is impervious to moisture, which is one of the major causes of deterioration in a paint film. Wax resists moisture far more than resin varnish or oil. Buffing encaustic will give luster and saturation to color in just the same way resin varnish does.

No yellowing. Encaustic paint will not yellow  or darken. However, wax itself is photoreactive, so unpigmented encaustic medium that has been kept in dark storage will darken slightly. When re-exposed to light that darkening will bleach out.

No solvents. Encaustic paint does not require the use of solvents. As a result, a number of health hazards are reduced or eliminated.

UNDERSTANDING ENCAUSTIC

Encaustic is a beeswax-based painting medium that is worked with heat.  It can be used as a luminous traditional painting medium, but it also has the potential to obscure the boundaries between mediums like no other art material, resulting in works that are just as much about painting or sculpture as they are about photography, drawing, printmaking, installation or a variety of craft techniques. Artists of all kinds are discovering its unifying potential, unique properties and versatility.

Painting with encaustic is a multi-step process.  First, the paint must be melted, or liquefied.  Next, the molten paint is applied to a porous surface. Then the applied wax is reheated, or fused into, the working surface, allowing it to form a good bond.  As a final option, the cooled paint can be buffed to bring up the luster of the wax and resin.

BASIC SET-UP SUGGESTIONS
•  You will need a clean level counter or worktable to put a heated palette on.  When setting up your worktable take into consideration the space that your palette will occupy and give yourself extra room for additional materials.  
•  You will want to make sure that your work area has proper ventilation. Exhaust fans in windows, cross-ventilation, or a studio ventilation system are all good options.  It is important that you have a source of fresh air in your workspace.  
•   It will be imperative that you have adequate electrical outlets available for use. Consider that you will have a palette, possibly a heat gun and/or other tools that will require electricity and it will be helpful to position your workspace accordingly.  
•  Keep in mind that anytime you use heated tools/equipment it is recommended that you have a burn kit and a fire extinguisher on-hand for safety purposes.  

WORK SURFACE
A counter or table to hold an electric palette, heat gun, tools and your work-in-progress.

VENTILATION
Though not unpleasant to smell, wax fumes should be treated like solvent fumes.  A well-placed window fan should be adequate for a small set-up.  Click here to read our Ventilating Your Studio for Encaustic Paints Technical Sheet.


SAFETY PRECAUTIONS
Your workspace should be free of any solvents and flammable materials.  A burn kit and fire extinguisher are also recommended.

TOOLS AND EQUIPMENT

HEATED PALETTE
The heated palette is an essential tool to the encaustic artist.  It provides a surface to heat and mix encaustic paint and medium on. Less expensive alternatives to purchasing a custom palette include electric skillets, crock-pots or electric griddles.  R&F’s heated palettes are designed specifically for encaustic  painters and feature an anodized aluminum surface which prevents reactivity that could discolor pigments.  The versatile aluminium surface also makes it easy to see paint colors. Regardless of the palette you select, it is important that it be equipped with temperature controls. 

PALETTE SURFACE THERMOMETER
It is crucial to be able to monitor the surface temperature of your palette.  A surface thermometer can easily assist you in monitoring the temperature of your palette (the safe working temperature for encaustic paint ranges from 180-200°F). For this reason, R&F offers a heavy duty Thermometerthat sits on top of your palette surface.

FUSING TOOLS
As you apply layers of paint to your support you will want to fuse (or re-heat) each layer to ensure that it is adhered to your ground or substrate.  It is important to fuse between layers to prevent them from separating.  There are two methods for fusing; either indirect (heat gun, torches, light bulbs, or sunlight) or direct (tacking irons, spatulas, heated brushes, plaster tools, palette and paint knives, etc.)

BRUSHES
Use natural bristle brushes only;  synthetic brushes can burn and melt on the palette.

MARK-MAKING TOOLS
Any type of mark-making tool will work with Encaustic paint.  We recommend etching, wood carving dental, sculpture, and clay working tools.

SUPPORTS
For best results, encaustic should be painted on a rigid, absorbent, and heat resistant surface.  Examples include: wood (maple or birch plywood), heavy watercolor or printmaking paper glued to board, or raw canvas glued to board (avoid pre-gessoed canvas boards).  Please note that you can use  paper as your support, but you will want to consider the size and rigidity of the paper.  

Three-dimensional or sculptural work that is porous and rigid can also be used. Plaster, stone, wood, terra cotta, or cast paper are all acceptable surfaces to work on.  

SOY OR PARAFFIN WAX
There are two options for clean-up, either Soy or Paraffin wax.  We recommend using soy wax for clean-up because soybeans are a renewable resource, while paraffin is a petroleum based product.  An additional benefit to using soy wax is that it can be washed off with soap and water leaving brushes supple.

PALETTE CUPS
Great for keeping melted waxes separate on your palette.  R&F carries heavy aluminum and steel alloy rectangular palette cups in two sizes (sm|lg) to fit our 40 ml and 104 ml cakes. 

ENCAUSTIC PAINTS
There really is no general recommendation for a starter palette of colors, since different artists have individual preferences, but we recommend that you choose a good balance of opaque and transparent colors.  Try starting with a red, yellow and blue, and build from there.

Schmincke Akademie Oil

AKADEMIE® Oil color ensure brilliant results due to the many single-pigment colours, both directly used from the tube and as mixtures. The balanced and educationally practical range offers opaque and transparent colours and, as a particular feature, four different shades of white for different purposes (for mixing with graded brightening and as underpainting white). Natural sunflower oil ensures optimal drying and a smooth consistency. All 48 colours are available in 60 ml tubes, 38 colours are also available in 200 ml tubes. Titanium white is also available in 500 ml jars and in 5 l buckets, other colours in buckets on request. 

All AKADEMIE® Oil color shades can be mixed and combined with all other Schmincke oil colours (MUSSINI®, Norma®Professional, College® Oil) and the extensive oil mediums.

Schmincke Norma Artist Oil

Norma® Professional is a modern, environmentally-friendly formulated oil colour of the finest quality for professional and demanding oil painting. The balanced range of colours consists of 84 brilliant, traditional and modern colours including 27 high-quality transparent colours and several unique special colours. These include not only highly lightfast and opaque chrome yellow shades, but also special shades such as poppy red, cobalt turquoise, agate brown, Schweinfurt green hue, neutral black, gold, silver, bronze and others. All 84 colours have maximum lightfastness (4-5 stars).  

The ecologically sound formulation includes the use of many natural, sustainable raw materials. High-quality, pure plant oil combinations ensure good adhesion, optimum pigment uptake and decreased tendency for yellowing. The best classical and latest technical pigments used in the highest concentration guarantee a maximum spreading rate and an exceptional luminosity and brilliance of all colours. Careful preparation, traditionally ground on three rolling mills, aged for three monthsbefore bottling, ensures that the raw materials are developed optimally in the pure oil paint.  

All colours have a balanced, creamy-buttery consistency and therefore have the best painting features and optimum working traces. In addition, optimisation of the formulation produces a shorter, even drying of all colours, which guarantees brilliant and highly durable surfaces.  

Norma® Professional has unlimited ability to mix and combine with all Schmincke oil colours (MUSSINI®, AKADEMIE® Oil color and College® Oil) and all oil mediums. 

The Portrait Institute by J. Sanden

World-renowned artist and teacher, John Howard Sanden has dedicated his life to the art of portraiture. He founded The Portrait Institute in 1974, developed a national correspondence instructional program and in 1979 launched the National Portrait Seminar, which grew to be the largest art seminar program in America. In addition to authoring four books on portraiture, he has completed over five hundred portraits for prominent figures in American business, political, and professional life. Popular columnist Pete Hamill, writing in the New York Post, August 15, 1991, said:

“John Howard Sanden is the closest we have in America to fit the old role of court painter.”

John Howard Sanden, in conjunction with Martin F.Weber developed the ProMix® System and other materials specifically for the needs of the portrait artist. These colors are specially formulated to create a broad range of skin tones and have a creamy consistency that blends beautifully. He integrates these colors with Weber’s own Professional Permalba Oil Colors to produce the optimal palette for portraiture.

Developed by acclaimed portrait painter, author and teacher John Howard Sanden, the ProMix® System consists of flesh and neutral tone oil colors that allows the artist to develop the delicate variations of skin tones that define portraiture. The set includes ten (10) 37mL non-toxic and specially formulated Professional Oil Colors, ProMix® Color chart and ProMix® Color System book, “Color Mixing for Portrait and Figure Painting”.

Weber Professional Permalba Oil
This luxurious line of paint has been recently reformulated to bring artists the same unrivaled quality as Permalba White.  All colors are densely pigmented with a lightfast  rating of 1 (excluding iridescents). Lighter shades are  binded with safflower oil to minimize yellowing. New  formulations of carefully selected pigments yield clear, crisp hues without muddying when mixed with white or other colors. They carry a ACMI non-toxic seal and each tube is labeled with pigment content, lightfast rating and opacity information.
Winsor & Newton Artist Oil
Buttery and vibrant, our Artist's Oil Colour boasts 116 colours, made from only the finest pigments. We carefully formulate each tone for stability, tinting strength and coverage. Use them thickly with palette knives or brushes, or thin them to a very fine glaze. 
Winsor & Newton Artisan Water Mixable Oil

Artisan Water Mixable Oil Colour has been specifically developed to appear and work just like conventional oil colour.   

The key difference between Artisan and conventional oils is its ability to thin and clean up with water.  Hazardous solvents are not necessary for Artisan and artists can enjoy a safer painting environment, making it ideal for artists who share a work space, schools or painting at home.  

The Artisan range consists of 40 colours and has a dedicated range of 11 Artisan solvents, oils, mediums and varnishes, allowing you to achieve al oil painting techniques.

Weber Water Mixable Oil

wOil® Water Mixable Oil Color is a professional grade oil paint formulated with modified linseed and safflower oils to create a stable emulsion that retains the characteristics of traditional oils with the benefit of simple soap and water cleanup. The 33 colors in the wOil range are created with single pigments whenever possible for brighter, cleaner mixtures, and have variable pigment opacity for greater coverage.

wOil® is safe for artists, students and teachers for home, studio and classroom use as they are nontoxic, safe for the environment and do not require solvents for cleanup.  Available in 37mL and 150mL open stock tubes and sets.

• Performs like traditional oil color with a shorter dry time

• All wOil Colors AP nontoxic, permanent and archival

• 3-5 day anticipated dry time*

• Can be mixed with traditional oil color, oil mediums and acrylic

• Modified oil vehicles allow easy soap and water cleanup

• Safe for artists of all ages; safe for the environment

* Dry times will vary due to climate, pigment, added mediums and other factors

Winsor & Newton Fine Oil (China)

Since the 15th century, the artist began to use different forms of oil paint, oil paint is mainly made of pigment and dry oil mixture. Windsor Newton Fine Series Oil Paints The tight formula is a guarantee of high quality pigments, good usability and color stability. 

Oil paint the popularity of the reason is its extraordinary diversity. Can be through the traditional harmonic, glazing, thick coating and thin painting techniques to make the artist a perfect effect. Oil paints allow the painter to have a long time to reconcile and glaze the process. When the pigment is not dry, it is very easy to modify the work. Unlike other pigments, oil painting does not change when the color, so the color and color is even more simple.

The recipe for Windsor Newton's oil painting is common to both sides of the coating. It is easy to thick coating, in the dry time, with a brush and color knife to draw the works will not lose luster.

Since 1997 since set up factories in Tianjin, which is produced in Windsor - Newton artist dedicated the majority of domestic oil paint painter won the favor and praise.  In 2010 , the artist's oil painting recipe is fully upgraded, the new packaging is more attractive, so that the classic to continue.

Drying time
The new painter special oil paint can be completed in about 

Consistency
Windsor Newton has a smooth and uniform consistency, which is appreciated by the vast majority of painters in the world. The consistency of these pigments makes the painter easy to paint.

Stickiness and stroke retention
Windsor Newton painter special oil paint paste viscosity is good, the proportion of oil and color cream moderate, after careful grinding, made of oil painting cream paste delicate, sticky, brush strokes to maintain good. 

Product specifications
New upgrade painter dedicated oil painting pigment series a total of 55 colors, color balance, easy to use painter. The full range of three kinds of specifications and two kinds of suits to meet the needs of different occasions.

170ml aluminum tube: full range of 55 colors
45ml aluminum tube: full range of 55 colors

Link to W&N Chinese Website: http://www.winsornewton.com.cn/fine-oil-colour.htm

Weber Prima Oil
Developed in our laboratory with the guidance of leading art materials experts and teachers, Prima® Oil Colors will provide reliable, professional results at an affordable price.  Unlike student grade oil colors, velvety Prima® Oil is formulated with only the finest hand selected pigments and premium binders to deliver intense colors that will maintain their integrity when mixed with mediums or the most opaque whites. The result is a smooth, even consistency and chroma that can only be compared to higher priced professional grade oil colors.  All 24 colors available in 37mL tubes.
Winsor & Newton Griffin Alkyd
Winsor & Newton Griffin Alkyd is made from pigment and oil modified alkyd resin and is thinned with English Distilled Turpentine, Artists' White Spirit (Mineral Spirits) or Sansodor. The colours in the range are chosen according to masstone (colour from tube), undertone (bias of colour when in a thin film), colour strength and relative opacity. The resultant colour spectrum ensures the largest number of colours can be mixed from the range.
Winsor & Newton Winton Oil
A high quality yet economical oil colour for artists working with high volumes of colour. Winton is a traditional range of oil colours, made from moderately priced pigments, formulated for student and amateur artists or more accomplished painters requiring large volumes of colour within moderate cost limits. The application of traditional skills and modern colour chemistry techniques has resulted in a range of 49 carefully selected Winton Oil Colours including genuine cadmiums and cobalt, which are of excellent quality.
Williamsburg Oil

Williamsburg founder and painter Carl Plansky entered the paint business as the result of a happy accident. In 1985, Plansky obtained his first paint mill from fellow artist Milton Resnick in return for continuing to make paint for Resnick, a task that had become too arduous for the artist to continue.

Working from his new mill in the Williamsburg section of Brooklyn, Plansky began making paint for Resnick, himself, and others. Experimenting with materials on a large scale, he eventually discovered how to make an oil paint that was richly pigmented and dense. Although he had no plans to sell his paint, within a year Plansky’s artist-friends had bartered and bought enough paint from him to turn Plansky into the master supplier of the Williamsburg art crowd. The “underground legend” that was Williamsburg Handmade Oil Paints was eventually made available to the public.

Today, Plansky’s paint-makers continue to source the best raw materials in the world, importing pigments from dozens of countries. Each is carefully ground to enhance the beauty and luminosity specific to each pigment, then ground into pure, premium, alkali-refined and pH-balanced linseed oil. Every color in the line possesses a unique consistency and texture — some are slightly gritty, and some are extremely smooth.

Every color is made in small batches no larger than five gallons at a time to ensure the highest level of control over the product. In addition, every ingredient is hand-measured, and every ounce of paint is scrutinized.

Carl Plansky died on October 10, 2009, at the age of 58. The artist-craftsmen of Williamsburg Artist Materials, trained by Plansky to make paint like artists, are dedicated to ensuring that his legacy continues. They invite you to experience Williamsburg Handmade Oil Paints.

Native Italian Earth Colors
Williamsburg is pleased to offer a line of traditional native Italian earths.  While we have always made our siennas with fine Italian pigments, these particular earths are scarce and used primarily by art conservators.  They are the same pigments used by the great Sienese and Florentine masters.  All are authentic and come from the regions of Italy made famous by these pigments.  Unfortunately, because these colors are difficult to get, we can offer them only in 40 ml. and 150 ml. tubes

Iridescent and Interference Colors

Williamsburg makes a line of iridescent colors that are both colorfast and permanent. We make these with ground mica so that even the metallic colors will not tarnish. There are some limitations inherent in the composition of these colors: in order to refract light and appear metallic or nacreous, the mica particles must be ground too small. They should be almost like tiny crystalline prisms sparkling with glints of light. Because of this, the paint has a semi-translucent quality - not the heavy covering power of aluminum radiator paint.

Imagine the colors that shoot out of a fire opal, except each color is isolated. For example interference violet goes on like an almost colorless glaze but violet "fire picks up and reflects the light. These interference colors work best in glazes - they lose their opalescent sheen when mixed too much with other colors.

Image Product Name Availability Unit price Qty Add to Cart
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Conda 1000 on stock
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