At Gamblin, our mission is to lead oil painting and printmaking into the future. To us this means crafting materials as they ought to be, not just as they have been. Our luscious colors and contemporary mediums are true to historic working properties, yet safer and more permanent.
Introducing Gamblin's newest colors.
Cadmium Chartreuse: This opaque greenish-yellow, close to the "line" between yellow and green, fills a gap in color space between Cadmium Lemon and Cadmium Green. Cadmium Chartreuse is among the most intense colors in the Gamblin palette.
Pigment: CP cadmium zinc sulfide, phthalo emerald (PY 35, PG 36)
About Gamblin yellows: 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.
Green Gold: For a modern pigment, Green Gold has a fairly muted, olive green masstone. Its most interesting quality is its warm, glowing transparency. Excellent for glazing. High tinting strength.
Pigment: Azomethine Yellow 56 (PY 129)
About Gamblin greens: 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.
Warm White: Perfect for painters working in warm light situations, such as painting at sunrise or sunset. Based on our Titanium Zinc White formula, it has a perfect balance of yellow and orange pigments to lighten and warm other colors, while maintaining their hue.
Pigment: Titanium dioxide, arylide yellow, monoacetolone, zinc oxide (PW 6, PY 75, PO 62, PW 4)
Cool White: Perfect for painters working in cool light situations, such as painting under an overcast sky. Based on our Titanium Zinc White formula, it has a perfect balance of blue pigment to lighten and cool other colors, while maintaining their hue.
Pigment: Titanium dioxide, copper phthalocyanine, zinc oxide (PW 6, PB 15:2, PW 4)
Warm White and Cool White are formulated for painters who want to include the color of the light into their color mixtures. The color of the light source influences all of the other colors in the painting's subject matter. Using a white that replicates the temperature of your light will create a consistent quality of light and color harmony throughout your painting.
Titanium Buff: A light, yellow-grey made from a compound of titanium dioxide and iron oxide. This popular color is valuable in figurative and landscape painting.
Pigment: Titanium dioxide (PW 6)
As shown, mix Titanium Buff with Portland Warm Grey to create an orange-grey or with Portland Cool Grey to create a green-grey.
Portland Warm Grey: A middle-value, red-grey. Ideal for reducing the chroma of reds, oranges and yellows. As shown above, mix Portland Warm Grey with Titanium Buff to create an orange-grey or with Portland Cool Grey to create a violet-grey.
Pigment: Titanium dioxide, synthetic red iron oxide, synthetic black iron oxide (PW 6, PR 101, PBk 11)
Portland Cool Grey: A middle-value, blue-grey. Ideal for reducing the chroma of violets, blues and greens. As shown above, mix Portland Cool Grey with Titanium Buff to create a green-grey or with Portland Warm Grey to create a violet-grey.
Pigment: Titanium dioxide, complex silicate of sodium & aluminum with sulfer, synthetic black iron oxide (PW 6, PB 29, PBk11)
About Gamblin 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 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.
For product questions or availability talk to our knowledgeable sales team!
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