These oil colors offer artists true color for a real value and are intended for painters who are increasing their knowledge of techniques, or experimenting with new ideas. They are made from approximately half the colored pigments of artist grade oil colors and include added extenders that have good film forming properties. Each extender is paired with the pigment so that opaque colors remain reasonably opaque and transparent colors are not clouded. The 1980 Oil Colors can be used together on the same palette as Gamblin Artist’s Oils.
Gamblin’s Introductory Set of 1980 Oil Colors is intended to give beginning painters a thoughtfully constructed palette of luscious oil colors to support any style of painting. This set is built around a primed, ready-to-use painting panel handcrafted in North America from sustainably forested birch.
Pure pigments and the finest refined linseed oil are used to make Gamblin Artist's colors. Because no adulterants are used, each color retains the unique characteristics of the pigments, including tinting strength, undertone and texture. By using Artist's oil colors painters can take advantage of the tinctorial and textural differences found in the subtle (and not so subtle) nuance's of each pigment. They are made with either mineral-based pigments (inorganic colors) or with modern organic pigments. Mineral-based pigments produce the 19th century colors of the Impressionists. Modern organic pigments produce 20th century colors best for high key painting and bright tinting. Every color is absolutely permanent and exact-each color is based on a specific, pure pigment with nothing extraneous added.
Gamblin's Introductory Set of Artist's Oil Colors was designed to give painters a thoughtfully constructed palette of luscious oil colors to support any style of painting. This set is built around a primed, ready-to-use painting panel handcrafted in North America from sustainably forested birch. The set contains one each of nine colors in cadmium yellow light, cadmium red light, alizarin crimson, ultramarine blue, viridian, yellow ochre, burnt umber, ivory black and titanium white in 37ml tubes. The primed, cradled panel measures 12.25" x 6.5" x 1.75".
An oil used to thin etching inks.
Cold pressed linseed oil is produced from the first pressing of flax seeds without using heat or chemicals of any kind. It increases the tendency of oil paints to yellow over time when used to thin oil colors.
Cold Wax Medium can be added to any oil painting material to reduce sheen. It can also be used as a traditional wax varnish. A light coat of wax can be applied over a dried painting then buffed with soft, lint free cloth. Wax varnish gives a painting a soft sheen without the thick resin coating.
The same pure pigments used to make Gamblin Artist's Oil Colors are in this collection of dry pigments. There are no adulterants. Each color retains the unique characteristics of the pigment, including tinting strength, undertone, and texture. Offered in 4 oz. (118ml) jars. Select colors are also available in 16 oz. (472ml) jars.
Designed for printmakers who want strong, reliable inks for edition printing, Gamblin Etching Inks feature a high pigment load, working properties and incredible sensitivity to printmaker's marks.
Formulated to give oil painters a fast-drying oil color with excellent working properties and permanence. They dry to a matte surface within 18 to 24 hours. The strong pigmentation and balanced color palette allow for great color mixing potential in a variety of oil painting techniques and styles. When used for underpainting, the matte surface promotes maximum adhesion to subsequent layers, ensuring the permanence of the painting structure. They are compatible with traditional artist-grade oil colors and mediums. In 37ml tubes unless noted otherwise.
Gamblin's FastMatte Alkyd Oil Colors Set gives painters a thoughtfully constructed palette of fast-drying oil colors. With FastMatte, thin layers dry in two hours to a matte surface with a beautiful tooth and a deep, soft luster. FastMatte colors are compatible with oil painting mediums and traditional oil colors which make them ideal for underpainting and plein air. This set contains eight 37ml colors in cadmium yellow light, cadmium red light, alizarin permanent, ultramarine blue, pthalo green, yellow ochre, chromatic black and titanium white, one 37ml Solvent-Free Gel, plus a primed, ready-to-use painting panel handcrafted in North America from sustainably forested birch. Panel measures 12.25" x 6.5" x 1.75".
Galkyd Gel is a stiffer gel compared to Neo Megilp that holds thicker, sharper brushmarks and dries more quickly. It increases transparency of oil colors and creates impasto.
Galkyd Lite is different from Galkyd because it is made from an alkyd resin that has a lower viscosity. The viscosity of Galkyd Lite is very similar to that of a traditional damar, refined linseed oil or turpentine painting medium. In addition to pleasing painters who prefer a lighter painting medium, the longer working time of Galkyd Lite (approximately three hours) will delight landscape painters and others who enjoy painting outdoors. Thin layers will be ready to paint over within 24 hours. Galkyd Lite thins with odorless mineral spirits. Because of its lower viscosity, Galkyd Lite will leave brush strokes in thicker layers. Glazes made with Galkyd Lite look slightly less glossy than those made with traditional mediums or Galkyd. However, like Galkyd, Galkyd Lite is formulated to thin oil colors and maintain strong flexible paint films. Galkyd Lite is ready to use and available in glass bottles.
Galkyd is made from alkyd resin, the polymerized oil of the 20th century. The medium adds binder (increases adhesion) and speeds up drying. High viscosity alkyd resin was among the materials Jackson Pollack used to make his drip paintings. To make a similar mixture, use 60% Galkyd and 40% oil color. No more than 50% solvent by volume can be added to Galkyd without compromising its binder.
Galkyd Slow Dry is formulated to have strength and flexibility and to keep the surface of oil paintings open for several days. It dries more slowly than the other Galkyd mediums, but oil paints mixed with Galkyd Slow Dry will dry at their usual rate.
This non-absorbent ground works like a traditional oil ground, leaving finished paintings brighter since the oil is left in the paint film instead of being absorbed. Two thin layers of Gamblin Ground equal four layers of acrylic gesso. Instead of linseed oil, Gamblin Ground is made with alkyd resin for increased flexibility and quicker dry time. Traditional linseed oil grounds need about six months to dry. Gamblin Ground is ready for paint application in a few days and may be used directly upon panels without sizing.
Gamsol is the safest, cleanest and 100% pure odorless mineral spirit. Gamsol is strong enough to thin oil colors and Gamblin alkyd resin mediums and can be reused until the solvent will no longer clear. Gamsol cannot dissolve damar or other natural resins, and will cloud damar varnish if used as an extender.
Gamvar Picture Varnish saturates and gives greater depth to the colors in your painting and gives your work a unified and protective matte, gloss or satin surface. Developed in collaboration with the National Gallery of Art, Gamvar goes on water-clear, stays water-clear and can be easily and safely removed with Gamsol. It is virtually odorless and ready to apply. It can be applied when the thickest areas of your painting are thoroughly dry and firm to the touch.
Gamvar varnish brushes are purpose-built to support the work of varnishing for oil and acrylic painters working with Gamvar gloss, satin and matte varnish.
Portland Litho Black is an artist's grade lithography color that printmakers working in stone and plate have sorely needed for some time. The typical commercial lithography ink is petroleum-based and carries a low pigment load. Gamblin's Portland Litho Black is crafted with highest-quality burnt plate oil (derived from linseed oil) and a high pigment load for a rich, detailed black for printing plate and stone lithography.
An additive used to give more body to etching inks.
Neo Megilp oil painting medium is a soft, silky gel. It gives paint body, decreases viscosity, and can produce a luminous Turner-like atmosphere, suspending and supporting paint in a soft gel. Made from contemporary materials so it will not turn yellow or dark, Megilp can replace Maroger Medium for artists who love the working properties but are concerned about Maroger's poor aging properties.
This set contains a sampling of Gamblin painting mediums and is a great introduction to understanding their role in a modern painting studio. Using today’s safer materials, they recreate the properties of traditional mediums and provide a way for painters to expand their knowledge and techniques. This set includes a 2 oz. Gamsol, 2 oz. Refined Linseed Oil, 2 oz. Galkyd Lite, 2 oz. Neo Megilp, 2 oz. Cold Wax Medium and a 37ml tube of Solvent-Free Gel Medium.
Diluted with distilled water, PVA size is a contemporary size for fabric support. PVA seals the fabric but does not re-absorb atmospheric moisture, preventing the size layer from swelling and shrinking. It has a neutral pH and does not yellow, plus it retains its flexibility, does not emit harmful volatiles, and protects fabric from the ground. PVA does not tighten the fabric like rabbit skin glue, so stretch fabric tightly.
Poppy oil's slow drying time may be useful for painters using wet into wet techniques. Adding 10% by volume, poppy oil slows down the drying time of Gamblin Galkyd painting mediums.
Artist John Sabraw, Engineer Guy Riefler, Environmentalist Michelle Shiverly, and a team of students at Ohio University developed a process to extract painting pigments from "toxic sludge" from rivers in Ohio. They teamed up with Gamblin to produce this limited edition set of three colors.
Pressed from American flax seeds, this refined linseed oil is as light and pure as industrially produced linseed oil can be. Use in moderation to thin oil colors or as a medium for traditional powdered pigments.
Gamblin Relief Inks give printmakers and monotype artists intense colors with an incomparably high pigment load, superior working properties and the archival quality they can count on. These inks print with unparalleled intensity, brilliant undertones and sensitivity to printmakers' most finely detailed marks.
Safflower oil works great as a brush cleaner during a painting session and may also be used as a fluid, slow-drying painting medium. After painting, artists can clean brushes further with Gamsol or soap and water. For use as a painting medium, use sparingly or mix with an equal amount Gamsol to create a traditional slow drying, low viscosity painting medium.
This fluid, solvent-free painting medium supports a broad range of painting techniques with minimal compromise across color, dry time, texture and mark-making. It gives colors more flow and transparency. This medium increases gloss and has a moderately fast drying rate. The non-toxic fluid contains no Gamsol or petroleum distillates, and is made from safflower oil and alkyd resin.
This gel-based, solvent-free painting medium supports a broad range of painting techniques with minimal compromise across color, dry time, texture and mark-making. It gives colors more flow and transparency, yet holds the shape of your brush mark. This medium increases gloss and has a moderately fast drying rate. The non-toxic gel contains no Gamsol or petroleum distillates, and is made from safflower oil and alkyd resin.
Stand oil is a vacuum bodied linseed oil.
A transparent gel that can be added to ink to reduce tack without altering the intensity of the ink's color. It is compatible with all oil-based inks.
Wax pastilles are small beads of naturally white unbleached beeswax.