Search results for 'blue oil paints'

PB30

Azurite is a naturally occuring copper carbonate, with a long history within European and Asian painting. It was mined in northern Europe, so was a less expensive source of blue than Lapis Lazuli, which was imported from Afghanistan. Medieval artists would often use Azurite in underpaintings, before applying layers of Lapis Lazuli during later stages of production.

It is best used in aqueous media, as the acidity of oils can cause it to darken in colour, although this can be somewhat counteracted by protecting the pigment particles with a protein such as egg yolk. It has a very low tinting strength, and the particle size tends to be quite large, to give a darker colour. It is sensitive to damp conditions, and is slightly transparent.

Learn More

PB32

Smalt is a kind of cobalt blue glass or frit, and its use as a pigment dates from the 1600s in the glass-making regions of Saxony. We offer two shades, light and dark, which are determined by the particle size of the pigment; the more finely ground the powder, the paler the colour. Before the introduction of Ultramarine Blue, Smalt was available in a wide variety of grades. It is a very transparent pigment, which is easily overwhelmed in mixtures due to its weak tinting strength. It works best in water based media. When ground in oil, it can become almost invisible in dried oil-paint films because its refractive index is so close to that of linseed oil.

Larger quantities are available by request.

Learn More

PB32

Smalt is a kind of cobalt blue glass or frit, and its use as a pigment dates from the 1600s in the glass-making regions of Saxony. We offer two shades, light and dark, which are determined by the particle size of the pigment; the more finely ground the powder, the paler the colour. Before the introduction of Ultramarine Blue, Smalt was available in a wide variety of grades. It is a very transparent pigment, which is easily overwhelmed in mixtures due to its weak tinting strength. It works best in water based media. When ground in oil, it can become almost invisible in dried oil-paint films because its refractive index is so close to that of linseed oil.

Larger quantities are available by request.

Learn More

The perfect introduction to working with pigment, this selection of thirty pigments provides a wide range of colours for the production of paint. Each colour is supplied in a 15ml plastic jar, and the set includes both natural and synthetic colours. Recipes can be found on our homepage, with instructions for making different paints, including watercolour, egg tempera and oil paint. Learn More

PR83

Alizarin Crimson is a synthetic organic pigment that became available in 1868. It requires a wetting agent to disperse, and in oil it also absorbs a lot of liquid and dries very slowly to form a hard, brittle paint film. It is chemically identical to madder-root pigments and should be protected against UV light where possible as it can fade when applied onto a white ground, although it is less fugitive than its natural counterpart. Alizarin Crimson is a very transparent pigment, with a high tinting strength and slightly blue undertone.  

Toxicity: A/B

Larger quantities are available by request. 

Learn More

English Red Light Pigment Learn More

The first acrylic colors offered by Golden Acrylic, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. MULTI-BUY DISCOUNT Buy any five tubes of 59ml Golden Acrylic Heavy and get 10% discount. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

The first acrylic colors offered by Golden Acrylic, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Cryla Artists' Heavy Body colours are designed to retain the intended stroke when applied with a knife or brush, so they are ideal for highly textured impasto painting techniques. Learn More

Great quality acrylic paints ideal to use in silkscreen printing. Mix the colours undiluted to obtain the desired hue and then add the Lascaux Screenprinting Paste. It is advisable to experiment initially, to determine satisfactory working mixes. To find a satisfactory working ratio, it is useful to first print colours using a 50/50 mixture of undiluted colour to paste and to then shift the ratio depending on the results. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

[ONLY AVAILABLE ONLINE] Schmincke PRIMAcryl is a high viscosity premium acrylic range of 84 premium shades. Artists quality high pigment content gives all the shades a new dimension of brilliance and expressiveness. The titanium white is unparalleled. It's high pigmentation, opacity and cover rate enables incredibly brilliant mixtures. No colour shift between the wet and dry states. High lightfastness level either 4 or 5 stars indicates the quality of these premium acrylic paints. All colours do not yellow and the dried paint layers are durable, flexible and water resistant. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

5 Litre containers are not available in the shop, but only as a special order through the website or over the telephone. Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. Coverage is approximately 7 square metres per litre. Two coats are required for most applications but if applied to walls or ceilings with a roller or a brush then three or four coats are recommended. Because of the highly reflective nature of the metallic paint when applying with a roller to a large area apply the paint evenly in long vertical strokes, finishing off the surface by rolling or brushing in one direction, i.e ceiling to floor. This will help to minimise overlapping and create a smooth and even finish. We recommend the use of a professional quality foam roller in order to achieve the best possible finish. When applying with a roller to a large area, apply the paint evenly in long vertical strokes. Finish off the surface by rolling one direction, i.e. ceiling to floor. This will help minimise overlapping and create a smooth, even finish. These paints can also be sprayed and this will produce the best and most consistent finish. To spray Liquid Metal Acrylics, you will need to use HVLP spray equipment with a 1.6mm or 1.8mm nozzle. To ensure proper flow, paint can be thinned with 25-30% water. Learn More

The first acrylic colors offered by Golden Acrylic, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

The first acrylic colors offered by Golden Acrylic, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and light-fastness. There are no fillers, extenders, opacifiers, toners, or dyes added. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Cryla Artists' Heavy Body colours are designed to retain the intended stroke when applied with a knife or brush, so they are ideal for highly textured impasto painting techniques. Learn More

ONLY AVAILABLE ONLINE[]. Schmincke PRIMAcryl is a high viscosity premium acrylic range. Artists quality high pigment content gives all the shades a new dimension of brilliance and expressiveness. The titanium white is unparalleled. It's high pigmentation, opacity and cover rate enables incredibly brilliant mixtures. No colour shift between the wet and dry states. High lightfastness level either 4 or 5 stars indicates the quality of these premium acrylic paints. All colours do not yellow and the dried paint layers are durable, flexible and water resistant. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. Coverage is approximately 7 square metres per litre. Two coats are required for most applications but if applied to walls or ceilings with a roller or a brush then three or four coats are recommended. Because of the highly reflective nature of the metallic paint when applying with a roller to a large area apply the paint evenly in long vertical strokes, finishing off the surface by rolling or brushing in one direction, i.e ceiling to floor. This will help to minimise overlapping and create a smooth and even finish. We recommend the use of a professional quality foam roller in order to achieve the best possible finish. When applying with a roller to a large area, apply the paint evenly in long vertical strokes. Finish off the surface by rolling one direction, i.e. ceiling to floor. This will help minimise overlapping and create a smooth, even finish. These paints can also be sprayed and this will produce the best and most consistent finish. To spray Liquid Metal Acrylics, you will need to use HVLP spray equipment with a 1.6mm or 1.8mm nozzle. To ensure proper flow, paint can be thinned with 25-30% water. Learn More

Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. Coverage is approximately 7 square metres per litre. Two coats are required for most applications but if applied to walls or ceilings with a roller or a brush then three or four coats are recommended. Because of the highly reflective nature of the metallic paint when applying with a roller to a large area apply the paint evenly in long vertical strokes, finishing off the surface by rolling or brushing in one direction, i.e ceiling to floor. This will help to minimise overlapping and create a smooth and even finish. We recommend the use of a professional quality foam roller in order to achieve the best possible finish. When applying with a roller to a large area, apply the paint evenly in long vertical strokes. Finish off the surface by rolling one direction, i.e. ceiling to floor. This will help minimise overlapping and create a smooth, even finish. These paints can also be sprayed and this will produce the best and most consistent finish. To spray Liquid Metal Acrylics, you will need to use HVLP spray equipment with a 1.6mm or 1.8mm nozzle. To ensure proper flow, paint can be thinned with 25-30% water. This range of paints is suitable for exterior use but must be applied on a dry day as acrylics take longer to dry out completely than oil-based paints. Once dry the paints cure and are hardwearing. Learn More

Roberson Liquid Metal 1Ltr. Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. Coverage is approximately 7 square metres per litre. Two coats are required for most applications but if applied to walls or ceilings with a roller or a brush then three or four coats are recommended. Because of the highly reflective nature of the metallic paint when applying with a roller to a large area apply the paint evenly in long vertical strokes, finishing off the surface by rolling or brushing in one direction, i.e ceiling to floor. This will help to minimise overlapping and create a smooth and even finish. We recommend the use of a professional quality foam roller in order to achieve the best possible finish. When applying with a roller to a large area, apply the paint evenly in long vertical strokes. Finish off the surface by rolling one direction, i.e. ceiling to floor. This will help minimise overlapping and create a smooth, even finish. These paints can also be sprayed and this will produce the best and most consistent finish. To spray Liquid Metal Acrylics, you will need to use HVLP spray equipment with a 1.6mm or 1.8mm nozzle. To ensure proper flow, paint can be thinned with 25-30% water. Learn More

Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. Coverage is approximately 7 square metres per litre. Two coats are required for most applications but if applied to walls or ceilings with a roller or a brush then three or four coats are recommended. Because of the highly reflective nature of the metallic paint when applying with a roller to a large area apply the paint evenly in long vertical strokes, finishing off the surface by rolling or brushing in one direction, i.e ceiling to floor. This will help to minimise overlapping and create a smooth and even finish. We recommend the use of a professional quality foam roller in order to achieve the best possible finish. When applying with a roller to a large area, apply the paint evenly in long vertical strokes. Finish off the surface by rolling one direction, i.e. ceiling to floor. This will help minimise overlapping and create a smooth, even finish. These paints can also be sprayed and this will produce the best and most consistent finish. To spray Liquid Metal Acrylics, you will need to use HVLP spray equipment with a 1.6mm or 1.8mm nozzle. To ensure proper flow, paint can be thinned with 25-30% water. Learn More

Designed for traditional sign painting, these oil based lettering enamels provide superior vibrancy, flexibility, durability, and single stroke coverage. Specified for fine, sign paint lettering on store fronts and vehicles, the vibrant colours of 1 Shot Lettering Enamels spread evenly and offer outstanding hiding, durability and fade resistance. Superior flow characteristics assure the virtual absence of brush marks and provide a clean, sharp edge. Ideal for use on interior or exterior metal, glass, wood, and enamel receptive banners and vinyl. Learn More

PB29

Ultramarine Blue Limewash is an artificial mineral pigment that is produced by heating clay, soda, sulphur and coal to high temperatures. Its name comes from outremer, or over-the-sea, as a reference to the highly-prized Lapis Lazuli pigment which had been imported into Europe from Afghanistan since the Middle Ages. First manufactured in France and Germany in 1828, synthetic Ultramarine provided a brilliant and affordable blue to artists, and it remains one of the most popular blues on artists' palettes today.

It is a transparent pigment, with a high tinting strength and excellent lightfastness. Most Ultramarine colours react to alkali and are therefore unsuitable for use in lime-fresco; Limeproof Ultramarine Blue remedies this problem. It is stable in all other media, although it can be tricky to grind in oil. Instead of creating a thick, buttery paste, it can remain stringy and deteriorate when stored in a tube. To correct this, many commercial paint manufacturers include additives and waxes in their recipes; if you intend on grinding your own paint, you could try replacing 10-15% of your Linseed Oil with Poppy Oil to improve the consistency. Ultramine Blue provides a slow-drying, fairly hard paint film, which can tend towards brittleness.

Toxicity: B

Learn More

PB29

Ultramarine Blue Dark is an artificial mineral pigment that is produced by heating clay, soda, sulphur and coal to high temperatures. Its name comes from outremer, or over-the-sea, as a reference to the highly-prized Lapis Lazuli pigment which had been imported into Europe from Afghanistan since the Middle Ages. First manufactured in France and Germany in 1828, synthetic Ultramarine provided a brilliant and affordable blue to artists, and it remains one of the most popular blues on artists' palettes today.

It is a transparent pigment, with a high tinting strength and excellent lightfastness. It reacts to alkali, therefore it is not suitable for use in lime-fresco; we do offer a Limeproof Ultramarine Blue for this purpose. It is stable in all other media, although it can be tricky to grind in oil. Instead of creating a thick, buttery paste, it can remain stringy and deteriorate when stored in a tube. To correct this, many commercial paint manufacturers include additives and waxes in their recipes; if you intend on grinding your own paint, you could try replacing 10-15% of your Linseed Oil with Poppy Oil to improve the consistency. Ultramine Blue provides a slow-drying, fairly hard paint film, which can tend towards brittleness.

Toxicity: B

Learn More

PB29

Ultramarine Blue Light is an artificial mineral pigment that is produced by heating clay, soda, sulphur and coal to high temperatures. Its name comes from outremer, or over-the-sea, as a reference to the highly-prized Lapis Lazuli pigment which had been imported into Europe from Afghanistan since the Middle Ages. First manufactured in France and Germany in 1828, synthetic Ultramarine provided a brilliant and affordable blue to artists, and it remains one of the most popular blues on artists' palettes today. 

It is a transparent pigment, with a high tinting strength and excellent lightfastness. It reacts to alkali, therefore it is not suitable for use in lime-fresco; we do offer a Limeproof Ultramarine Blue for this purpose. It is stable in all other media, although it can be tricky to grind in oil. Instead of creating a thick, buttery paste, it can remain stringy and deteriorate when stored in a tube. To correct this, many commercial paint manufacturers include additives and waxes in their recipes; if you intend on grinding your own paint, you could try replacing 10-15% of your Linseed Oil with Poppy Oil to improve the consistency. Ultramine Blue provides a slow-drying, fairly hard paint film, which can tend towards brittleness.

Toxicity B

Learn More

Set of six artist quality 38ml oil paint bars by Sennelier, includes: Titanium White, Ivory Black, Primary Yellow, Primary Red, Primary Blue, Viridian. Learn More

PB27

Prussian Blue is a synthetic organic pigment that was discovered by the paint maker Diesbach, apparently by accident, in Germany in the early eighteenth century. For many years, it was used not only as a colour in its own right, but also as a component of the original Hooker's Green. The other ingredient, gamboge, is highly fugitive, which is why many watercolours painted with Hooker's green have taken on a bluish tone with with age.  

It is a very transparent and heavily staining colour. It dries quite quickly in oil, and can therefore wrinkly if applied too quickly. It is suitable for use in oils, watercolour, and egg tempera. However, it shouldn't be used in conjunction with alkali substances, such as Lead White or Calcium Carbonate as it can turn brown, so it isn't suitable for fresco. For the same reason, it isn't used with acrylic resin binders due to their alkaline nature, so most paint manufacturers will replace Prussian Blue with a mixture of Phthalo Blue and black in their acrylic ranges. It requires a wetting agent to fully disperse into a binder.

Toxicity: B

Learn More

PB35

Cerulean Blue is an artificial mineral pigment that is prepared by heating a mixture of Cobalt Chloride and Potassium Stannate. It was first synthesised in the early nineteenth century, becoming more widely used from 1870, when Rowney introduced Coeruleum Blue into their range. It produces a very bright, clear, and unusually opaque blue, hence its name, which is derived from the Latin for "sky-blue", or perhaps "heaven-blue". It has a very low tinting strength meaning that, although it is stable in all media, some artists may choose to bind it in poppy rather than linseed oil, so that the colour isn't affected by the colour of the binder. It creates a fairly flexible paint film, and is a fast-to-medium drying pigment.

Limeproof

Toxicity: B

Learn More

Michael Harding Artists’ Oil Colours are formulated to the highest possible standards. They do not include any fillers, extenders or driers and the high pigment content of the paint ensures a greater resistance to fading. The range includes 86 rich, intense colours which have a stiff and viscous texture. We have high stock levels on all Series numbers including 5,6 & 7 in larger sizes. Learn More

INTRODUCTORY SET From Michael Harding: Artists unfamiliar with my paints should begin with the MH introductory set. Use this set to mix many colours in my range. Play, experiment, and enjoy true oil paints. 6 x 40ml tubes. The Introductory set contains: Titanium White No.1 Yellow Lake Ultramarine Blue Burnt Umber Scarlet Lake Learn More