The flexibility of Archival Oils gives freedom of technique which allows you to get on with your painting without having to worry about the classical rules.
The Importance of Flexibility for Fast Drying speeds & Layering Techniques.
Oil paintings need oxygen to dry & “cure” & in a layered painting, the surface layer has easy access to oxygen, while those underneath receive progressively less oxygen because air has top gradually permeate the layers above to reach the bottom layers. Using an acrylic gesso underneath can help the bottom layer to a small extent because acrylics breathe allowing oxygen to penetrate the back of the painting as well; however, the big technical problem is that the top layer always cures faster & if traditional oil paint is used it becomes brittle while the paint underneath remains soft & moves around thus creating tensions within the painting. This is why oil paintings require 6 months curing period between layers so that each layer has time to stabilise before the next is applied.
The classical “fat over lean” rule requires that a little more oil, or oily medium should be added to the paint in each layer, in the hope that it will be more flexible than the foundation layers.
Archival does not need traditional rules – The fact that a layer of Archival oils is flexible means that it is able to stretch when there is movement within a painting which has been done faster than the classical rules allow. It is the flexibility of Archival Oils which permits this freedom of technique, allowing you to get on with your painting without having to worry about the classical rules.
It can take over a year for a complex painting to cure thoroughly but when Archival is used the painting eventually settles down without inbuilt stresses.
Fast Lifestyle – Fast Drying Speed – Historically professional artists tolerated slow drying paints by working on a number of paintings simultaneously, but today’s artists are pressed for time & fast drying has become a sought after characteristic.
The slow drying colours in Archival Oils have been brought into line with normal drying colours. The drying speed can be further regulated by using fast drying white or a fast drying liquid medium giving more flexibility than traditional mediums.
We carry the full range of Archival Oils in the 40ml tubes and almost all the series 1 oils in 120ml tubes.
Art Spectrum are Australia’s most respected oil paints because they conform to the classic tradition. To make a permanent artist’s paint, it is of the utmost importance to thoroughly mill lightfast pigments in pure linseed oil. Sunflower oil is used in whites to enhance their brilliance, and in clear oil for greater transparency. All colours are triple-milled to ensure that every pigment particle is completely coated with the vehicle, and evenly dispersed. This results in a stable paint film which has even surface tensions. Genuine oil colours characteristically smell of pure and natural vegetable oils.
Improved permanency information and new pigments have enabled Art Spectrum to replace the toxic and fugitive colours with non-toxic and cleaner colours of superios lightfastness.
Pigments are chosen for purity and clarity. Art Spectrum oil colours give lasting brilliance and luminosity to paintings. The finest pigments are used in the maximum working strength to impart the best colour quality.
All colours are available in 40ml tubes.
All Series 1 colours are also available in 150ml tubes
One of the world’s favourite oil colours, Georgian is highly reliable and provides the heavy-bodied texture required for endless creative painting techniques! All 55 colours have fine working qualities and a high degree of permanence.
Georgian Oil Colour is fully intermixable and has a high pigment content; yet is much more affordable than Artists’ Oil Colour. Daler-Rowney have identified high quality substitutes for some of the more expensive pigments used in the manufacture of Artists Oil Colour (indicated by the use of “Hue” in the colour name). This approach maintains the uniform price across all colours in the range.
Precision and care goes into the manufacture of Georgian Oils. Each colour is milled and tested to produce brilliant colours, which will match in tint and texture from batch to batch. Samples from every batch made are subjected to heat/freeze cycles over a two week period to give assurance on the stability of colours, wherever they may be sold in the world.
We stock the full range in 38ml and 225ml tubes.
Winton oil colours are a range of moderately priced oil colours suitable for artists requiring good quality colour at a uniform and affordable price. Notwithstanding price, Winton has a high level of pigmentation which provides good covering power and is stronger than many artists’ quality ranges. Winsor & Newton formulation, manufacture and quality control ensure Winton is a product of absolute excellence.
The range of colours is chosen according to mass tone (colour from the tube), undertone (bias of colour when in a thin film). Strength and relative opacity. The resultant colour spectrum ensures the maximum number of colours can be mixed from the range. Winton colours may be safely intermixed with other Winsor & Newton Oil ranges with the exception of (a) thin alkyd films over thick oil films and (b) thick Oilbar films under oil films.
Winsor & Newton began making colour in 1832 swiftly developing and subsequently maintaining a reputation for unparalleled excellence and consistency worldwide.
The most recent advances in pigment technology have allowed them to build upon their already high standards and further improve the range for artists. The improvements are a result of using new and unique pigments, which offer increased permanence and greater colour strength.
Product Range – unfortunately we do not at present stock the full range. Below is a list of the colours that we do stock.
The balanced selection of colours which make up the Norma Professional oil colour range consists of 84 brilliant modern and traditional colours, including 27 high quality transparent and unique special colours. The environmentally-aware formulation includes the use of many naturally renewable raw materials such as plant oils and additives. Combinations of pure high quality plant oils produce good adhesion, optimum absorption of pigment and less tendency to yellow. The best of both traditional and modern pigments are used in the highest possible concentrations; this guarantees the maximum efficiency and an extraordinary degree of luminosity and brilliance with all colours.
Winsor & Newton Artists Oil Colours Product Range
With 96 colours, Winsor & Newton Professional watercolour range offers bright, vibrant colours and unrivalled performance.
Water colour more than any other medium relies upon the variable characteristics of the pigments used. Winsor & Newton Professional Water Colours use only the purest pigments, and are known for their brilliance, permanence and strength of colour.
Unfortunately we do not at present stock the full range. Below is a list of the colours that we do stock.
- Blue Black
- Bright Red
- Brown Madder
- Burnt Sienna
- Burnt Umber
- Chrome Green Deep Hue
- Chrome Yellow Hue
- Gold Ochre
- Iridescent White
- Ivory Black
- Naples Yellow
- Paynes Gray
- Prussian Blue
- Purple Lake
- Raw Sienna
- Raw Umber
- Terra Rosa
- Terre Verte
- Titanium White
- Ultramarine (Green Shade)
- Yellow Ochre
- Zinc White
- Alizarin Crimson
- Flesh Tint
- French Ultramarine
- Mars Violet Deep
- Olive Green
- Permanent Green
- Prussian Green
- Purple Madder
- Sap Green
- Ultramarine Violet
- Winsor Blue (Green Shade)
- Winsor Blue (Red Shade)
- Winsor Green
- Winsor Lemon
- Winsor Orange
- Winsor Red
- Winsor Violet (Dioxazine)
- Winsor Yellow
- Cadmium Orange
- Cadmium Red
- Cadmium Yellow
- Cerulean Blue
- Cobalt Blue
- Lemon Yellow Hue
- Permanent Alizarin Crimson