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Contemporary knowledge dedicated to the making of traditional materials. Beautiful, high quality, bright paint.

 

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 labelling.

 

In order to reduce the cost of oil colours, some manufacturers use gels and wax to stiffen colours and replace traditional pigments with less expensive ones. Our approach is different. 1980 colours are formulated with pure pigments, the finest refined linseed oil and marble dust (calcium carbonate). More affordable colours have been made with these three ingredients since oil painting began. With 1980 colours, artists experience colours that are true, without homogenized texture or muddy colour 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 colours. The chart below lists the pigments used in our 1980 colours and their relative opacity and transparency.

 

About 1980 Oil Colors = Best Student Grade Value

True colour. 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 labelling.

 

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

 

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

 

With 1980 colours, artists experience colours that are true, without homogenized texture or muddy colour 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 colours.

 

Blacks & Greys

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 colour next to another. So come back to black with Gamblin Chromatic Black, a neutral, tinting black made from complementary colours.

 

An interesting alternative to mixing with white, the Portland Greys quickly lower the intensity of a colour 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 colours is created when Titanium Buff is added to these. This gives painters the ability to complete a range of “coloured greys” for nuanced colour mixing.

 

Whites

 

White is the heart of any line of artists’ colours. Between half and three-quarters of the paint on most oil paintings is white, so the white colour holds most paintings together.

 

When selecting white oil colours, consider tinting strength. The more opaque the white, the higher its tinting strength and the more it will “reduce” the colour. The higher the tinting strength, the lighter the value of the colour/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 colours 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 colour, a dense and heavy paste with a long and “ropey” quality, and a unique look to the impasto stroke.

Blacks - Whites (Gamblin 1980's)

C$0.00Price
Colour
  • Please contact us to purchase by calling 403-258-3500 or by simply emailing us at info@swintonsart.com. We are not yet an E-commerce business. All purchases will be in-store or shipped by call or email.

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7160 Fisher ST SE

Calgary AB Canada

T2H 0W5

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