Oil Paint 

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.

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

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.

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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.

Pre-tested has long stood for professional quality oil color at an affordable price.  The name itself means that it has been tested by human hands before it ever reaches the retail shelf.  Each color swatch has been tested for masstone and mixability, and has been painted by hand in the USA.  It is further tested by our staff for characteristics such as lightfastness, drying properties, pigment dispersion and viscosity. Draw downs are compared and formulas are altered to ensure that our customers receive the best oil color at the best price. Truly a professional paint, the majority of our colors are single pigment, and have a lightfast rating of 1-excellent. Pre-tested Professional offers artists a modern palette with superior tinting strength.  Made in the USA.

Richeson Oils

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!

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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.

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

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.

In Marie's oil paints are fine quality paints for any level artist, regardless of age or experience.Formulated with a high pigment content and smooth consistency, these paints are a perfect choice for learning how to paint with oils. The colors selected for this set were carefully chosen to provide the basic palette for exploration of color theory and experimentation with mixing and blending. 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.

• Made according to the recipes of Old Masters

• A unique mix of the best traditional colours and the best lightfast pigments

• The highest possible pigment concentration in every colour

• Based on cold pressed linseed oil from the first pressing of the seeds 

• With a hand-painted colour example on each tube