The range of Jackson’s Artist Pigments consists of 100 dry pigments, from modern synthetics to natural earths. Each pigment has a unique set of characteristics, such as tinting strength, opacity/transparency, and granulation. Every pigment requires a different volume of binder to bring it to the desired consistency.
Discover detailed information on the chemical composition of Jackson’s Artist Pigments, and explore the rich history of each pigment as we share their fascinating origins with advice on their characteristics and physical properties.
Jackson’s Artist Pigment Groups:
Jackson’s Artist Pigments: Yellow
Hansa Yellow Light
Pigment: Hansa Yellow Light
Index No: PY3
Colour Description: Bright greenish-yellow
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic
Approx. Oil Absorption Rate 45 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.4 µm
History / How It Looks: Discovered in the early 20th century, PY3 is one of the most commonly found pigments in Lemon Yellow artist paints. It is semi-transparent with relatively high tinting strength, which means that it creates very clean, vibrant results in colour mixing without being overpowering. When mixed with black, it makes some bright, zesty greens.
Benzymidazole Yellow
Pigment: Benzymidazole Yellow
Index No: PY154
Colour Description: Warm orange-yellow in masstone, cooler when diluted
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: Moderately High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 60 g linseed oil:100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.15 µm
History / How It Looks: Benzimidazolone pigments were first introduced to artist paints in the 1960s, and PY154 is one of the most widely used among them. It has a moderately strong tinting strength and excellent lightfastness according to most tests.
Hansa Yellow Medium
Pigment: Hansa Yellow Medium
Index No: PY74
Colour Description: Bright mid-yellow, cooler when diluted
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 30 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.3 µm
History / How It Looks: Like PY3, Hansa Yellow Medium is an Azo pigment discovered in the early 20th century. Hansa Yellow Medium is a very intense yellow pigment. When applied in a thick layer it is a deep yellow, but when diluted it can be described as closer to lemon yellow. Ideal for yellow highlights and great for mixing intense oranges or greens.
Hansa Yellow Deep
Pigment: Hansa Yellow Deep
Index No: PY65
Colour Description: Orange-yellow
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Moderately High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 45 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.5 µm
History / How It Looks: With its moderately high tinting strength and excellent lightfastness, Hansa Yellow Deep is a great mixing colour and is a more transparent alternative to Cadmium Yellow Deep. Combine it with Indanthrene Blue (PB 60) to make deep greens that are great for landscape painting. This pigment is used for yellow markings on roads and highways.
Cadmium Yellow Pale
Pigment: Cadmium Yellow Pale
Index No: PY35
Colour Description: Dense mid-yellow
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx 1 µm
History / How It Looks: Cadmium pigments were first created in 1817, but didn’t gain popularity until the early 20th century. Today they are loved for their strength, purity and lightfast properties. Cadmium Yellow Pale is a sunny, mid-yellow and, like all Cadmium pigments, it is very dense with a high tinting strength, good coverage, and excellent lightfastness and permanence.
Cadmium Yellow Deep
Pigment: Cadmium Yellow Deep
Index No: PY37
Colour Description: Warm orange-yellow
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx 1.5 µm
History / How It Looks: Cadmium pigments were first created in 1817, but didn’t gain popularity until the early 20th century. These brilliant pigments are loved for their strength, purity and lightfast properties. Cadmium Yellow Deep leans more towards orange than standard Cadmium Yellow because it contains a larger proportion of Cadmium Selinide, but shares its density, opacity, and excellent lightfastness.
Cadmium Lemon
Pigment: Cadmium Lemon
Index No: PY35
Colour Description: Bright lemon-yellow
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx 1 µm
History / How It Looks: Cadmium pigments were first created in 1817, but didn’t gain popularity until the early 20th century. Cadmium Lemon is a zingy, acidic shade of yellow and, like other Cadmium pigments, it is very dense with a high tinting strength, good coverage, and excellent lightfastness and permanence.
Nickel Azo Yellow
Pigment: Nickel Azo Yellow
Index No: PY150
Colour Description: Brown-yellow in masstone, golden-yellow when diluted
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 50 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.2 µm
History / How It Looks: PY150 makes a great alternative to Gamboge, a historical pigment made from tree resin. It is warm (like a transparent Yellow Ochre) when used thickly, but is cooler when applied in a thin layer.
Nickel Titanate Yellow
Pigment: Nickel Titanate Yellow
Index No: PY53
Colour Description: Soft milky lemon-yellow
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use, but may be harmful if swallowed. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets.
Particle Size: Approx 1 µm
History / How It Looks: Developed in the 1960s, Nickel Titanate (Nickel Antimony Titanium Rutile) is a buttery lemon yellow. Because of its low tinting strength, it makes more subtle mixtures than most other lemon yellows. It is one of the only yellow pigments that granulates in watercolour.
Cadmium Orange
Pigment: Cadmium Orange
Index No: PO20
Colour Description: Dense mid-orange
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 25 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx 0.5 µm
History / How It Looks: Cadmium pigments were first created in 1817, but didn’t gain popularity until the early 20th Century. These brilliant pigments are loved for their strength, purity and lightfast properties. Cadmium Orange is made by modifying Cadmium Yellow (PY35) with Cadmium Selenide. Like other Cadmium pigments, PO20 is a very dense and dominant colour that is best mixed with other highly tinting colours.
Permanent Orange
Pigment: Permanent Orange
Index No: PO62
Colour Description: Bright orange
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 70 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx 0.2 µm
History / How It Looks: The Benzymidazolone pigments are a group of modern synthetic organic pigments known for their vibrancy and excellent lightfastness. PO62 tends to lean a little more towards yellow than PO36, the other Benzymidazolone orange pigments. PO62 is moderately tinting, so it doesn’t overwhelm mixtures.
Benzymidazole Orange
Pigment: Benzymidazole Orange
Index No: PO36
Colour Description: Red-orange
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 80 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx 0.2 µm
History / How It Looks: The Benzymidazolone pigments are a group of modern synthetic organic red, yellow, and orange pigments. They are renowned for their vibrancy and excellent lightfastness, making them ideal for artist paints as well as a range of applicants as industrial colourants. PO36 has a strong red bias, so it can take the place of red in a colour palette. With a touch of Dioxazine Purple (PV23) it makes some interesting deep maroons.
Titanium Orange
Pigment: Titanium Orange
Index No: PBr24
Colour Description: Golden-orange
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.6 µm
History / How It Looks: PBr24 is sometimes used to imitate the toxic pigment Naples Yellow which is no longer in common use. It is a warm, buttery colour with excellent lightfastness that is at home in a portrait palette.
Read: Naples Yellow in the Palette of Édouard Manet
Pigment Colour Index: Yellow Pigments
Jackson’s Artist Pigments: Red
Azo Red
Pigment: Azo Red
Index No: PR144
Colour Description: Primary red
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 70 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.4 µm
History / How It Looks: Azo Red is a mid-toned shade of red that doesn’t lean much towards either blue or orange. Mix it with various yellow pigments to make a range of vibrant oranges.
Permanent Red
Pigment: Permanent Red
Index No: PR170
Colour Description: Red with a slightly blue undertone
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 70 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx 0.2 µm
History / How It Looks: PR170 is a Napthol Red pigment used extensively in the automotive industry. For artists it makes a lightfast alternative to Crimson Lake pigments.
Cadmium Vermilion
Pigment: Cadmium Vermilion
Index No: PR108
Colour Description: Bright orange-red
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx. 0.5 µm
History / How It Looks: Cadmium pigments were first created in 1817, but didn’t gain popularity until the early 20th Century. These brilliant pigments are loved for their strength, purity and lightfast properties. Cadmium Vermilion is a beautifully saturated red that is much brighter than genuine Vermilion, an earthy orangey-red pigment used by Rembrandt and other Old Masters.
Cadmium Red Rubine
Pigment: Cadmium Red Rubine
Index No: PR108
Colour Description: Dense mid-red
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx. 0.5 µm
History / How It Looks: Cadmium pigments are loved for their strength, purity and lightfast properties. With a ruby-like hue, Cadmium Red Rubine is the middle shade of all of the Cadmium Reds. It is extremely opaque and has a high tinting strength, so it is best mixed with other strongly tinting colours.
English Red Light
Pigment: English Red Light
Index No: PR102
Colour Description: Earthy pinkish red
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Moderately High
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 2 µm
History / How It Looks: Natural Red Ochre pigments have been used since prehistory. They are derived from earths that contain high amounts of hematite, a blood-red mineral. English Red Light is a pinkish earth, extrememly useful in both portrait and landscape painting.
English Red Deep
Pigment: English Red Deep
Index No: PR102
Colour Description: Deep earthy red
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Moderately High
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 2 µm
History / How It Looks: Natural Red Ochre pigments have been used since prehistory. They are derived from earths that contain high amounts of hematite, a blood-red mineral. English Red Deep is, as the name suggests, a darker variety of earth than English Red Light.
Cadmium Red Deep
Pigment: Cadmium Red Deep
Index No: PR108
Colour Description: Deep maroon
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx. 0.5 µm
History / How It Looks: Cadmium pigments were first created in 1817, but didn’t gain popularity until the early 20th Century. These brilliant pigments are loved for their strength, purity and lightfast properties. Cadmium Red Deep is dense and earthy, and is a useful addition to a landscape palette.
Pyrrole Red
Pigment: Pyrrole Red
Index No: PR254
Colour Description: Bright red with a slight blue bias
Opacity: Semi-transparent
Lightfastness: Excellent
Tinting Strength: Moderately High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: N/A
History / How It Looks: Pyrrole Red is the famous ‘Ferrari red’. The word Pyrrole derives from the Greek pyrrhos, meaning ‘fiery’, and the Pyrrole family of pigments are a modern group of red and orange colours that live up to their name. PR254 is the most mid-toned variety of Pyrrole red. It makes an excellent alternative to Cadmium Red, but is more transparent so it is better for glazing techniques.
Venetian Red
Pigment: Venetian Red
Index No: PR102
Colour Description: Earthy orange-red
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 2 µm
History / How It Looks: The colour of red earth pigments is created by the presence of hematite, an iron-oxide-containing mineral. The exact shade varies from location to location due to the exact concentration of hematite and the presence of other minerals that is specific to that area. Venetian Red is a particularly orange shade of earthy red. It evokes the red earths used by the Old Masters of the Italian Renaissance.
Read Venetian Red: the Red Earth Pigment That Evokes the Italian Renaissance
Quinacridone Magenta
Pigment: Quinacridone Magenta
Index No: PR122
Colour Description: Bright blue-red
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 50 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.09 µm
History / How It Looks: The first Quinacridone compound was discovered in 1896, but its suitability as a pigment wasn’t recognised until 1955. Like other Quinacridone pigments, Quinacridone Magenta is strongly tinting and highly lightfast. It is a very versatile mixing colour, though it is best mixed with other strong colours that can match its powerful tinting strength. Quinacridone pigments are particularly hydrophobic, so we recommend using a wetting agent when grinding this colour into a water-based binder.
Potter’s Pink
Pigment: Potter’s Pink
Index No: PR233
Colour Description: Earthy pink
Opacity: Semi-transparent
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: N/A
Granulates in Watercolour: Yes
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: N/A
History / How It Looks: Developed by an unknown British potter in the 1790s, Potter’s Pink is a soft, earthy pigment that, while compatible with a range of binders, is best used in watercolour where it granulates beautifully. It is very weak in tinting strength, but brings texture to mixtures. Try mixing it with Cerulean Blue to make a range of soft greys.
Read: The History of Potter’s Pink (and Why It’s a Watercolourist’s Secret Weapon)
Pigment Colour Index: Red Pigments
Jackson’s Artist Pigments: Violet
Quinacridone Violet
Pigment: Quinacridone Violet
Index No: PV19
Colour Description: Reddish violet
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 50 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.06 µm
History / How It Looks: The first Quinacridone compound was discovered in 1896, but its suitability as a pigment wasn’t recognised until 1955. Quinacridone Violet is less purple than Quinacridone Magenta (PR122), but still leans slightly towards blue. Like other Quinacridone pigments, it is very staining and has a high tinting strength. It makes very deep and vibrant violets when mixed with Ultramarine Blue.
Manganese Violet Deep
Pigment: Manganese Violet Deep
Index No: PV16
Colour Description: Reddish violet
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 50 g linseed oil: 100 g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use, but may be harmful if swallowed. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets.
Particle Size: Approx. 2 µm
History / How It Looks: Manganese Violet was first produced for artist paints in 1868. It is a slightly dull pigment which makes it useful for bringing down the chroma in mixtures, although its tinting strength is low. With Viridian (PG18) it makes a shadowy blue-grey.
Ultramarine Violet
Pigment: Ultramarine Violet
Index No: PV15
Colour Description: Blue-violet
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 45g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use, but may be harmful if swallowed. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets.
Particle Size: Approx. 1 µm
History / How It Looks: Ultramarine Violet is made by heating Ultramarine Blue pigment with ammonium chloride, and the different shades of Ultramarine Violet are determined by how much sulphur this process removes. PV15 has a low tinting strength and is a very slow drying pigment in oil paint. Try mixing it with a Lemon Yellow to make soft greys.
Pigment Colour Index: Violet Pigments
Jackson’s Artist Pigments: Blue
Ultramarine (Red Shade)
Pigment: Ultramarine (Red Shade)
Index No: PB29
Colour Description: Warm red
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 28g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use, but may be harmful if swallowed. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets.
Particle Size: Approx. 2.5 µm
History / How It Looks: Ultramarine Blue is a synthetic version of the historical mineral pigment lapis lazuli. It was discovered in 1826 by French chemist Jean-Baptiste Guimet by heating kaolinite, sodium carbonate and sulfur in a kiln to create a pigment that is chemically identical to lapis lazuli, but even more vivid in colour. This pigment is not suitable for fresco techniques.
Read Pigment Stories: Ultramarine Blue and French Ultramarine
Cobalt Blue Light
Pigment: Cobalt Blue Light
Index No: PB28
Colour Description: Soft greenish-blue
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 28g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Average
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx. 1.6 µm
History / How It Looks: Cobalt Blue (cobalt aluminium oxide) was developed in 1802 by Louis Jacques Thénard, who described it as ‘a blue colour as beautiful as Ultramarine’ (referring to the historical Ultramarine Blue pigment, made with the mineral lapis lazuli, which was highly prized at the time). Unlike the clean transparency of modern Ultramarine Blue, Cobalt Blue has a slightly ‘milky’ quality and it has a moderately low tinting strength.
Cobalt Blue Deep
Pigment: Cobalt Blue Deep
Index No: PB72
Colour Description: Dark greenish-blue
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate N/A
Granulates in Watercolour: Yes
Drying Rate (in oil): Average
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx. 4 µm
History / How It Looks: Cobalt Blue (cobalt aluminium oxide) was developed in the early 1800s by Louis Jacques Thénard, who described it as ‘a blue colour as beautiful as Ultramarine’ (referring to the historical Ultramarine Blue pigment, made with the mineral lapis lazuli, which was highly prized at the time). PB72 is a deeper variety of Cobalt Blue, and is more similar to Ultramarine Blue than the standard Cobalt Blue.
Cobalt Cerulean Blue
Pigment: Cobalt Cerulean Blue
Index No: PB36
Colour Description: Bright greenish-blue
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 25g pigment: 100g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx. 1 µm
History / How It Looks: Cerulean Blue was introduced as an artist pigment in the 1860s. It was a favourite for the Impressionists, who used it to paint their skies. PB36 is less expensive than PB35 (the other Cerulean Blue pigment) because of its lower cobalt content, and is generally a little more green in hue, stronger in colour, and higher in tinting strength. Try mixing it with Unbleached Titanium (PW 6:1) to make some beautiful, gentle green-greys.
Prussian Blue Permanent
Pigment: Prussian Blue Permanent
Index No: PB27
Colour Description: Deep greenish blue
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Tempera, Encaustic.
Approx. Oil Absorption Rate 45g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.3 µm
History / How It Looks: Prussian Blue is a deep and inky green-blue. Invented at the beginning of the 18th century, it was the first modern synthetic blue pigment– almost a century before the development of Cobalt Blue and synthetic Ultramarine Blue. Prussian Blue is not suitable for acrylic binders due to its alkali-sensitivity.
Read The History of Prussian Blue (and Why You Won’t Find It in Most Acrylic Ranges)
Phthalo Blue (Green Shade)
Pigment: Phthalo Blue (Green Shade)
Index No: PB15:3
Colour Description: Deep greenish blue
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.1 µm
History / How It Looks: Phthalocyanine pigments are a family of blue and green synthetic organic pigments based on variants of copper phthalocyanine, a deep blue compound produced by the reaction of phthalic anhydride, urea, copper and ammonia. When Phthalo Blue was discovered, it was thought to be the most significant advance in artist pigments since the discovery of synthetic Ultramarine Blue in 1826. Phthalocyanine Blue is a transparent, highly staining, and reliably lightfast green-blue.
Ultramarine Blue (Green Shade)
Pigment: Ultramarine Blue (Green Shade)
Index No: PB29
Colour Description: Greenish-blue
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 28g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use, but may be harmful if swallowed. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets.
Particle Size: Approx. 2.5 µm
History / How It Looks: Ultramarine Blue is a synthetic version of the historical mineral pigment lapis lazuli. It was discovered in 1826 by French chemist Jean-Baptiste Guimet by heating kaolinite, sodium carbonate and sulfur in a kiln to create a pigment that is chemically identical to lapis lazuli, but even more vivid in colour. Ultramarine Blue (Green Shade) is cooler in tone than the standard Ultramarine Blue. This pigment is not suitable for fresco techniques.
Read Pigment Stories: Ultramarine Blue and French Ultramarine
Jackson’s Artist Pigments: Green
Cobalt Turquoise
Pigment: Cobalt Turquoise
Index No: PB36
Colour Description: Deep turquoise
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 25 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Fast
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx. 1 µm
History / How It Looks: Cobalt Turquoise is a cool, sea green that hovers on the edge between blue and green. The pigment is part of the Cerulean Blue family, cobalt-based pigments that enjoyed popularity with the Impressionists.
Phthalo Green (Blue Shade)
Pigment: Phthalo Green (Blue Shade)
Index No: PG7
Colour Description: Deep blue-green
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Organic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.05 µm
History / How It Looks: Phthalocyanine pigments are a family of blue and green synthetic organic pigments based on variants of copper phthalocyanine, a deep blue compound produced by the reaction of phthalic anhydride, urea, copper and ammonia. Phthalo Green pigment absorbs more blue light than Phthalocyanine Blue, and this is achieved by chlorinating the phthalocyanine pigment. It is a velvety colour with very deep, blue undertones.
Cobalt Green Light
Pigment: Cobalt Green Light
Index No: PG50
Colour Description: Light green with a slight blue bias
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 18g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Average
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx. 1.3 µm
History / How It Looks: A colour that can only be described as a true ‘spring’ green. Cobalt Green Light is low in tinting strength, so may be easily overpowered by more powerful pigments, but it is useful in bringing down the chroma of red pigments.
Chromium Green Oxide (Kiwi Shade)
Pigment: Chromium Green Oxide (Kiwi Shade)
Index No: PG17
Colour Description: Dense yellow-green
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 18g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use, but may be harmful if swallowed. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets
Particle Size: Approx. 1 µm
History / How It Looks: Chromium Oxide Green was first produced in 1798. It is a dense, opaque, and slighty dull pigment, but it can be an interesting colour to use in underpainting for portraits, as well as for depicting foliage in botanical work. When mixed with lots of Titanium White it makes a pale lemon colour.
Green Earth
Pigment: Green Earth
Index No: PG23
Colour Description: Pale earthy green
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 25g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 10 µm
History / How It Looks: Natural green earths contain silica clay and green minerals. Like the other earth pigments, they have been used since prehistoric times. Most Terre Verte and green earth pigments are very delicate with a low tinting strength that makes them unassertive in mixtures, but they are characterful pigments in their own right and can be used to neutralise red and orange pigments, or in underpaintings for portraits (a technique known as verdaccio, which can help create life-like flesh tones).
Verona Green Earth
Pigment: Verona Green Earth
Index No: PG23
Colour Description: Muted yellow-green
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 25g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 10 µm
History / How It Looks: Natural green earths contain silica clay and green minerals. Like the other earth pigments, they have been used since prehistoric times. Most Terre Verte and green earth pigments are very delicate with a low tinting strength that makes them unassertive in mixtures, but they are characterful pigments in their own right and can be used to neutralise red and orange pigments, or in underpaintings for portraits (a technique known as verdaccio, which can help create life-like flesh tones).
Antique Green Earth
Pigment: Antique Green Earth
Index No: PG23
Colour Description: Muted brown-green
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 25g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 10 µm
History / How It Looks: Natural green earths contain silica clay and green minerals. Like the other earth pigments, they have been used since prehistoric times. Most Terre Verte and green earth pigments are very delicate with a low tinting strength that makes them unassertive in mixtures, but they are characterful pigments in their own right and can be used to neutralise red and orange pigments, or in underpaintings for portraits (a technique known as verdaccio, which can help create life-like flesh tones).
Pigment Colour Index: Green Pigments
Jackson’s Artist Pigments: Red Earth
Verona Red Earth
Pigment: Verona Red Earth
Index No: PR102
Colour Description: Earthy orange-red
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 2 µm
History / How It Looks: The colour of red earth pigments is created by the presence of hematite– an iron-oxide-based mineral. The exact shade varies from location to location due to the concentration of hematite and the presence of other minerals that is specific to that area. Verona Red Earth is an earthy orange-red.
Red Ochre
Pigment: Red Ochre
Index No: PR102
Colour Description: Earthy red
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 2 µm
History / How It Looks: The colour of red earth pigments is created by the presence of hematite– an iron-oxide-based mineral. The exact shade varies from location to location due to the concentration of hematite and the presence of other minerals that is specific to that area. Red Ochre is a muted orange-red.
Transparent Oxide Red
Pigment: Transparent Oxide Red
Index No: PR101
Colour Description: Fiery orange-red
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.5 µm
History / How It Looks: Synthetic iron oxide pigments, also known as Mars pigments, were first created in the 18th Century, but they began to gain popularity as alternatives to natural earth pigments in the early 20th Century. Pigments labelled PR101 are chemically identical to natural red earth pigments (with the pigment index number PR102), but are more vibrant in colour because they don’t contain naturally occurring impurities.
Cadmium Red Brownish
Pigment: Cadmium Red Brownish
Index No: PR108
Colour Description: Dense brown-red
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Considered hazardous if inhaled or ingested. Wear a dust mask and protective gloves. Do not use while eating or drinking. Avoid contact with eyes, and keep out of reach of children and pets. Do not spray-apply.
Particle Size: Approx. 0.5 µm
History / How It Looks: Cadmium pigments were first created in 1817, but didn’t gain popularity until the early 20th Century. These brilliant pigments are loved for their strength, purity and lightfast properties. A particularly earthy shade of Cadmium Red, Cadmium Red Brownish is dense and dark. It looks and behaves like an earth pigment.
Mars Red Deep
Pigment: Mars Red Deep
Index No: PR101
Colour Description: Deep red
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 1 µm
History / How It Looks: Synthetic iron oxide pigments, also known as Mars pigments, were first created in the 18th Century, but they began to gain popularity as alternatives to natural earth pigments in the early 20th Century. Pigments labelled PR101 are chemically identical to natural red earth pigments (with the pigment index number PR102), but are more vibrant in colour because they don’t contain naturally occurring impurities.
Mars Red Light
Pigment: Mars Red Light
Index No: PR101
Colour Description: Deep red
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 1 µm
History / How It Looks: Synthetic iron oxide pigments, also known as Mars pigments, were first created in the 18th Century, but they began to gain popularity as alternatives to natural earth pigments in the early 20th Century. Pigments labelled PR101 are chemically identical to natural red earth pigments (with the pigment index number PR102), but are more vibrant in colour because they don’t contain naturally occurring impurities.
Caput Mortuum
Pigment: Caput Mortuum
Index No: PR102
Colour Description: Violet-brown
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Natural Inorganic
Suitable for: Suitable for all media. Granulates beautifully as watercolour.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 2 µm
History / How It Looks: Caput Mortuum is an enigmatic reddish-brown with a little hint of violet. Its name comes from an alchemical latin term meaning ‘worthless remains’. The colour of natural red earth pigments is created by the presence of hematite– an iron-oxide-based mineral. The exact shade varies from location to location due to the concentration of hematite and the presence of other minerals that is specific to that area.
French Burnt Sienna
Pigment: French Burnt Sienna
Index No: PR102
Colour Description: Red-orange
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 2 µm
History / How It Looks: Most Burnt Siennas are made by heating (calcinating) Raw Sienna, but this version is an earth pigment that already contains red iron oxides, giving it the characteristic orange-red shade we expect from Burnt Siennas.
Hematite Red
Pigment: Hematite Red
Index No: PR102
Colour Description: Earthy blood-red
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 2 µm
History / How It Looks: The colour of red earth pigments is created by the presence of hematite– an iron-oxide-based mineral. The exact shade varies from location to location due to the concentration of hematite and the presence of other minerals that is specific to that area.
Pompeii Red
Pigment: Pompeii Red
Index No: PR102
Colour Description: Earthy orange-red
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 2 µm
History / How It Looks: Pompeii Red is the vibrant red found in the Roman murals uncovered at the destroyed city of Pompeii. The colour of red earth pigments is created by the presence of hematite– an iron-oxide-based mineral. The exact shade varies from location to location due to the concentration of hematite and the presence of other minerals that is specific to that area.
Saturn Red
Pigment: Saturn Red
Index No: PR102
Colour Description: Earthy orange-red
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 2 µm
History / How It Looks: Saturn Red makes an excellent alternative to Cadmium Orange. The colour of red earth pigments is created by the presence of hematite– an iron-oxide-based mineral. The exact shade varies from location to location due to the concentration of hematite and the presence of other minerals that is specific to that area.
Mars Brown
Pigment: Mars Brown
Index No: PR101 PBk11
Colour Description: Strong red-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate N/A
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: N/A
History / How It Looks: One of the only blends of pigments in the Jackson’s Artist Pigment range. Mars Brown is a mixture of two synthetic iron oxide, or ‘Mars’ pigments. Mars pigments were first created in the 18th Century, but they began to gain popularity as alternatives to natural earth pigments in the early 20th Century.
Terra Ercolana
Pigment: Terra Ercolana
Index No: PR102
Colour Description: Brick red
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 2 µm
History / How It Looks: This earth colour is unique to the area of Ercolano, Italy. Its hue is finely balanced between orange and pink, and it would make a useful addition to both landscape and portrait painting palettes.
Transparent Oxide Brown
Pigment: Transparent Oxide Brown
Index No: PR101
Colour Description: Orange-brown
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 1 µm
History / How It Looks: Synthetic iron oxide pigments, also known as Mars pigments, were first created in the 18th Century, but they began to gain popularity as alternatives to natural earth pigments in the early 20th Century. Pigments labelled PR101 are chemically identical to natural red earth pigments (with the pigment index number PR102), but are more vibrant in colour because they don’t contain naturally occurring impurities. Transparent Oxide Brown is very similar in shade to Burnt Sienna, but is non-granulating in watercolour.
Terra Pozzuoli
Pigment: Terra Pozzuoli
Index No: PR102
Colour Description: Earthy orange-red
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 2 µm
History / How It Looks: This earth colour is unique to the area of Pozzuoli, Italy. It is a very orange-toned red earth, with a low chroma that might seem ‘dull’, but which can be useful for bringing down the saturation of bright green pigments. This quality makes it useful for a landscape painting palette.
Read Pigment Colour Index: Red Pigments
Jackson’s Artist Pigments: Yellow Earth
Yellow Ochre
Pigment: Yellow Ochre
Index No: PY43
Colour Description: Earthy yellow
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: N/A
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 5 µm
History / How It Looks: This is a genuine Yellow Ochre, made using natural earths instead of synthetic hydrated iron oxides. Natural yellow earths have been used since prehistory and are still essential in the modern artist’s palette. Yellow Ochre is particularly useful in a landscape palette, as it creates a spectrum of natural greens when mixed with any blue.
Yellow Ochre Deep
Pigment: Yellow Ochre Deep
Index No: PY43
Colour Description: Deep earthy yellow
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: N/A
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 5 µm
History / How It Looks: This is a genuine Yellow Ochre, made using natural earths instead of synthetic hydrated iron oxides. Natural yellow earths have been used since prehistory and are still essential in the modern artist’s palette. This is a deeper variety of a classic Yellow Ochre which exhibits a brown-orange hue. Its rich warmth means that it is at home in a portrait painting palette.
Venetian Yellow Earth
Pigment: Venetian Yellow Earth
Index No: PY43
Colour Description: Golden yellow
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: N/A
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 5 µm
History / How It Looks: Slightly more golden tones than standard Yellow Ochre. This is a genuine Yellow Ochre, made using natural earths instead of synthetic hydrated iron oxides. Natural yellow earths have been used since prehistory and are still essential in the modern artist’s palette. Yellow Ochre is particularly useful in a landscape palette, as it creates a spectrum of natural greens when mixed with any blue.
Verona Yellow Earth
Pigment: Verona Yellow Earth
Index No: PY43
Colour Description: Muted greenish-yellow
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate N/A
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 5 µm
History / How It Looks: An interesting shade of yellow ochre with a slight greenish hue. Ideal for landscape painting – particularly suited to depicting sand, light earth, or autumn leaves. Tends towards yellow when diluted, becoming darker and turning into a light golden brown when used thicker/less diluted. This is a genuine Yellow Ochre, made using natural earths instead of synthetic hydrated iron oxides. Natural yellow earths have been used since prehistory and are still essential in the modern artist’s palette. Yellow Ochre is particularly useful in a landscape palette, as it creates a spectrum of natural greens when mixed with any blue.
Gold Ochre
Pigment: Gold Ochre
Index No: PY43
Colour Description: Golden yellow
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate N/A
Granulates in Watercolour: Yes
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 5 µm
History / How It Looks: A particuarly autumnal shade of Yellow Ochre. This is a genuine Yellow Ochre made using natural earths instead of synthetic hydrated iron oxides. Natural yellow earths have been used since prehistory and are still essential in the modern artist’s palette.
Mars Yellow Deep
Pigment: Mars Yellow Deep
Index No: PY42
Colour Description: Brownish-yellow
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 40g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 5 µm
History / How It Looks: Dense and slightly redder than Mars Yellow Light. Mars pigments were first created in the 18th Century, but they began to gain popularity as alternatives to natural earth pigments in the early 20th Century. Chemically, they are identical to natural earth pigments, but contain no impurities and have more evenly-sized pigment particles.
Mars Yellow Light
Pigment: Mars Yellow Light
Index No: PY42
Colour Description: Strong earthy yellow
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 40g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 5 µm
History / How It Looks: Mars pigments were first created in the 18th Century, but they began to gain popularity as alternatives to natural earth pigments in the early 20th Century. Chemically, they are identical to natural earth pigments, but contain no impurities and have more evenly-sized pigment particles.
Orange Ochre
Pigment: Orange Ochre
Index No: PY43
Colour Description: Brownish-orange
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate N/A
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 5 µm
History / How It Looks: This is a genuine Yellow Ochre made using natural earths instead of synthetic hydrated iron oxides. Natural yellow earths have been used since prehistory and are still essential in the modern artist’s palette. Yellow Ochre is particularly useful in a landscape palette, as it creates a spectrum of natural greens when mixed with any blue.
Transparent Oxide Yellow
Pigment: Transparent Oxide Yellow
Index No: PY42
Colour Description: Bright golden yellow
Opacity: Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: 40g linseed oil: 100g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 5 µm
History / How It Looks: Synthetic iron oxide pigments, also known as Mars pigments, were first created in the 18th Century, but they began to gain popularity as alternatives to natural earth pigments in the early 20th Century. They are chemically identical to natural red earth pigments, but are more vibrant in colour because they don’t contain naturally occurring impurities.
Raw Cyprus Ochre
Pigment: Raw Cyprus Ochre
Index No: PY43
Colour Description: Muted golden yellow
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate N/A
Granulates in Watercolour: Yes
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 5 µm
History / How It Looks: This is a genuine Yellow Ochre made using natural earths instead of synthetic hydrated iron oxides. Natural yellow earths have been used since prehistory and are still essential in the modern artist’s palette.
Transparent Gold Ochre
Pigment: Transparent Gold Ochre
Index No: PY43
Colour Description: Bright golden yellow
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: N/A
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 5 µm
History / How It Looks: This is a genuine Yellow Ochre made using natural earths instead of synthetic hydrated iron oxides. Natural yellow earths have been used since prehistory and are still essential in the modern artist’s palette.
Mars Orange
Pigment: Mars Orange
Index No: PY42 PR101
Colour Description: Dense earthy orange
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: N/A
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: N/A
History / How It Looks: One of the only blends of pigments in the Jackson’s Artist Pigment range. Mars Orange is a mixture of two synthetic iron oxide, or ‘Mars’ pigments. Mars pigments were first created in the 18th Century, but they began to gain popularity as alternatives to natural earth pigments in the early 20th Century.
Ochre Havana
Pigment: Ochre Havana
Index No: PY43
Colour Description: Golden brown-yellow
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: N/A
Granulates in Watercolour: Yes
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Approx. 5 µm
History / How It Looks: This is a genuine Yellow Ochre made using natural earths instead of synthetic hydrated iron oxides. Natural yellow earths have been used since prehistory and are still essential in the modern artist’s palette.
Jackson’s Artist Pigments: Brown Earth
Natural Sienna Monte Amiata
Pigment: Natural Sienna Monte Amiata
Index No: PBr7
Colour Description: Yellow-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 35g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: Raw Sienna is named after the city of Siena, Italy. It is a yellow-brown earth pigment sourced from the Italian province of Tuscany, which includes the region of Monte Amiata. Raw Sienna is a wonderfully earthy pigment, similar in shade to Yellow Ochre but more transparent.
Brown Ochre
Pigment: Brown Ochre
Index No: PBr7
Colour Description: Earthy brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: 35g linseed oil: 100g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: Brown Ochre contains naturally occurring brown iron oxides. Various ochres were used by Rembrandt in the 17th century, and contribute to the characteristic warmth of his palette.
Burnt Sienna Monte Amiata
Pigment: Burnt Sienna Monte Amiata
Index No: PBr7
Colour Description: Orange-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 38 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: Sienna is named after the city of Siena, Italy. It is a yellow-brown earth pigment sourced from the Italian province of Tuscany, which includes the region of Monte Amiata. This ‘burnt’ variation is produced by heating the raw Sienna pigment. This process, called calcination, partially converts the brown iron oxides into hematite, a red iron oxide.
Cyprus Burnt Umber
Pigment: Cyprus Burnt Umber
Index No: PBr7
Colour Description: Reddish-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55g pigment: 100g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: This ‘burnt’ variation is produced by heating the raw Sienna pigment. This process, called calcination, partially converts the brown iron oxides into hematite, a red iron oxide.
Cyprus Burnt Umber Brownish
Pigment: Cyprus Burnt Umber Brownish
Index No: PBr7
Colour Description: Reddish-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: This ‘burnt’ variation is produced by heating the raw Sienna pigment. This process, called calcination, partially converts the brown iron oxides into hematite, a red iron oxide.
Cyprus Burnt Umber Light
Pigment: Cyprus Burnt Umber Light
Index No: PBr7
Colour Description: Light reddish-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: Umber pigments are traditionally from the Italian region of Umbria. This ‘burnt’ variation is produced by heating the Raw Umber pigment. This process, called calcination, partially converts the brown iron oxides into hematite, a red iron oxide. This is a lighter version of Burnt Umber, and it doesn’t have depth of deep-bellied Burnt Umbers.
Raw Umber Reddish
Pigment: Raw Umber Reddish
Index No: PBr7
Colour Description: Reddish-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: A particularly red version of Raw Umber, but not as red as Burnt Umber. Brown earth pigments such as this have been used since prehistory, and their shade varies depending on the proportion of minerals present in the earth.
Cyprus Burnt Umber Deep
Pigment: Cyprus Burnt Umber Deep
Index No: PBr7
Colour Description: Dark reddish-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: While Umber pigments are traditionally from the Italian region of Umbria, this one is sourced from Cyprus. This ‘burnt’ variation is produced by heating the raw pigment– a process, called calcination, which partially dehydrates the brown iron oxides and transforms them into red iron oxides. Mixed with white it makes some gentle pinks.
Cyprus Raw Umber Brownish
Pigment: Cyprus Raw Umber Brownish
Index No: PBr7
Colour Description: Reddish-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: More red in undertone than many Raw Umbers, this pigment can be an interesting colour for underpainting in preparation for a green-dominant landscape painting. While Umber pigments are traditionally from the Italian region of Umbria, this one is sourced from Cyprus.
Cyprus Raw Umber
Pigment: Cyprus Raw Umber
Index No: PBr7
Colour Description: Earthy brown with green undertones.
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: Brown earth pigments like this have been used since prehistory. The exact composition of naturally occurring minerals determine the shade and handling properities of the pigment. While Umber pigments are traditionally from the Italian region of Umbria, this one is sourced from Cyprus. It has a distinctive green undertone which may be useful as an underpainting colour in portraiture.
Cyprus Raw Umber Light
Pigment: Cyprus Raw Umber Light
Index No: PBr7
Colour Description: Earthy brown with yellow-green undertones
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: Brown earth pigments like this have been used since prehistory. The exact composition of naturally occurring minerals determine the shade and handling properities of the pigment. While Umber pigments are traditionally from the Italian region of Umbria, this one is sourced from Cyprus. As its name suggest it is doesn’t have the depth of other shades of Umber, but this characteristic can be useful for certain colour palettes that require a lighter earth-brown.
Cyprus Raw Umber Deep
Pigment: Cyprus Raw Umber Deep
Index No: PBr7
Colour Description: Dark brown with a slight red undertone.
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 55 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: While traditional Umber pigments are from the Italian region of Umbria, this Umber pigment is sourced from Cyprus. When used in a thick layer it is almost black, but in dilution it has a slight reddish undertone.
French Raw Sienna
Pigment: French Raw Sienna
Index No: PBr7
Colour Description: Yellow-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 35 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: Raw Sienna is an earth pigment originally sourced from the Italian province of Tuscany, but can be found in other areas. The yellow-brown hue of Raw Sienna evokes the quality of light in early Renaissance art, and its fast drying time makes it a useful colour for underpainting in oil painting.
Italian Burnt Sienna
Pigment: Italian Burnt Sienna
Index No: PBr7
Colour Description: Reddish brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 38 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: Sienna is named after the city of Siena, Italy. It is a yellow-brown earth pigment originally sourced from the Italian province of Tuscany, but can be found in other areas. This ‘burnt’ variation is produced by heating the raw pigment. This process, called calcination, partially converts the brown iron oxides into hematite, a red iron oxide. Burnt Sienna finds a classic mixing partner in Ultramarine Blue, with which it makes some enigmatic greys.
Italian Raw Sienna
Pigment: Italian Raw Sienna
Index No: PBr7
Colour Description: Yellow-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 35 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: Raw Sienna is named after the city of Siena, Italy. It is a yellow-brown earth pigment originally sourced from the Italian province of Tuscany, but can be found in other areas. It is an invaluable colour in an artist palette because it is such a useful mixing colour. A touch of blue makes a range of natural greens, while when mixed with red it makes some earthy oranges.
Raw Umber Greenish
Pigment: Raw Umber Greenish
Index No: PBr7
Colour Description: Greenish-brown
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: 55 g pigment: 100 g linseed oil
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Variable. Between 1- 5 µm
History / How It Looks: Umber pigments were traditionally extracted from the Italian region of Umbria, but are now sourced from a range of locations. The earth pigment contains manganese, which speeds the drying of the paint. For this reason, many oil painters in history have used Raw Umber in their underpaintings. The particularly green undertones of this Raw Umber lends itself to landscape painting.
Van Dyck Brown Natural
Pigment: Van Dyck Brown Natural
Index No: NBr8
Colour Description: Deep brown with a slight red undertone
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 60 g linseed oil: 100 g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: N/A
History / How It Looks: Derived from soil and peat containing natural clays and iron oxides, Van Dyck Brown was used by many of the Old Masters- most notably Anthony van Dyck, Reubens, and Rembrandt. Most Van Dyck Brown paints are made using a mixture of earth pigments because lignite, a component of the historical pigment, has a tendency to oxidise and fade in colour. This pigment, on the other hand, has been formulated to provide excellent lightfastness.
Pigment Colour Index: Brown Pigments
Jackson’s Artist Pigments: Black
Slate
Pigment: Slate
Index No: PBk19
Colour Description: Warm Grey
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 25 g linseed oil: 100 g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 50 µm
History / How It Looks: Slate refers to various types of metamorphic rock which are used to make roof tiles. Slate contains iron oxides, graphite, clays, mica, and quartz, which contribute to its particular shade of grey. This unusual pigment is naturally granular and needs vigorous grinding to make a workable paint.
Graphite Silver
Pigment: Graphite Silver
Index No: PBk10
Colour Description: Silvery grey
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate N/A
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 70 µm
History / How It Looks: Graphite is a crystalline form of pure carbon, formed naturally in the earth’s mantle when carbonacious material is subjected to pressure. It has the same chemical composition as diamond, but has a unique molecular structure. It has been used in artistic applications since at least the fourth millennium BC. The most common application of graphite in artist materials today is in pencils and, like graphite pencils, this pigment has a metallic sheen.
Carbon Black Deep
Pigment: Carbon Black Deep
Index No: PBk7
Colour Description: Dense, rich black
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate: 160 g pigment: 100 g linseed oil
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.05 µm
History / How It Looks: Today, PBk7 is made today by burning coal or natural gas, but is traditionally derived from carbonising plant matter, like in the production of charcoal. Paints made with PBk7 are usually very opaque and have a high tinting strength thanks to the small, dense pigment particles.
Ivory Black
Pigment: Ivory Black
Index No: PBk9
Colour Description: Warm black
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Average
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 60 g linseed oil: 100 g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx 50 µm
History / How It Looks: This pigment’s uniqueness lies in its warmth – it has a brown undertone which can be seen in glazes, and in tints with white. As the name suggests, Ivory Black was originally made by carbonising ivory. While this is no longer the case, PBk9 is produced from animal bones, which is something to bear in mind if you wish to avoid animal products.
Lamp Black Intense
Pigment: Lamp Black Intense
Index No: PBk6
Colour Description: Deep Black with a slightly cool undertone
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 160 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.05 µm
“History / How It Looks: Lamp Black used to be made using the sooty residue collected from oil lamps, but today it is made from the burning of gas or oil. It is an intense black with a high tinting strength. PBk6 has a cool undertone, giving a bluish-grey when mixed with white.
”
Mars Black
Pigment: Mars Black
Index No: PBk11
Colour Description: Warm black
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 30 g linseed oil: 100 g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx 0.2 µm
History / How It Looks: The Mars family of pigments, which also includes Mars Yellow and Mars Violet, are synthetic iron oxides and were developed in the 20th century as alternatives to natural earth pigments. Mars Black, along with Carbon Black, is one of the most opaque of the black pigments, so it is ideal if you need good coverage. It is warm in undertone, and in mixtures it has a high tinting strength and can easily overwhelm other colours.
Graphite Black
Pigment: Graphite Black
Index No: PBk10
Colour Description: Metallic black
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate N/A
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 70 µm
History / How It Looks: Using PBk10 is like painting with graphite. It is highly lightfast and has a metallic sheen.
Natural Black Iron Oxide
Pigment: Natural Black Iron Oxide
Index No: PBk11
Colour Description: Deep, neutral black
Opacity: Semi-Opaque
Lightfastness: Excellent
Tinting Strength: Moderately high
Pigment Classification: Natural Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15 g linseed oil: 100 g pigment
Granulates in Watercolour: Yes
Drying Rate (in oil): Fast
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx 50 µm
History / How It Looks: Natural iron oxide black is derived from magnetite, an iron ore. It is extremely dense and opaque, and produces some beautiful textural effects when used to make watercolour paint. Its moderate tinting strength make it an excellent mixing-black. Mars Black is the synthetic version of natural black iron oxide.
Read Pigment Stories: Black Pigments, and Getting the Most Out of Using Black in Your Palette
Pigment Colour Index: Black Pigments
Jackson’s Artist Pigments: White
Titanium White Rutile
Pigment: Titanium White Rutile
Index No: PW6
Colour Description: Bright white
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 15-20 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.50 µm
History / How It Looks: While Titanium White Anatase was synthesised at the beginning of the 20th century, Titanium White Rutile was introduced in 1937 and offers greater opacity and weathering resistence than its earlier counterpart. Titanium White dominates the white pigment market, and has replaced Lead White as the most popular white artist pigment. It is also used in the production of plastics, cosmetics, paper, medicines, house paints, and artist paints. Titanium White is very opaque and extremely strong in mixtures. It is a slow-drying pigment, particularly in oil paint. In oil paint, PW 6 also makes a soft and spongy paint film, so it is best mixed with Zinc White (PW 4) to balance out this tendency.
Zinc White
Pigment: Zinc White
Index No: PW4
Colour Description: Cool white with a blue undertone
Opacity: Semi-Transparent
Lightfastness: Excellent
Tinting Strength: Low
Pigment Classification: Synthetic Inorganic
Suitable for: Watercolour, Gouache, Acrylic, Tempera, Encaustic. Its compatability with oil binders is disputed.
Approx. Oil Absorption Rate 20 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Average
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx 50 µm
History / How It Looks: Various forms of zinc oxide have been used as a white pigment since antiquity, but it was in the 19th century that synthetic Zinc White (zinc oxide) was produced for use as an artist pigment. Zinc White’s gentle tinting strength and transparency make it useful in mixtures, as it doesn’t add opacity or chalkiness like Titanium White does. Concerns about Zinc White’s brittleness in oil paint have led to many manufacturers discontinuing the pigment in their oil ranges. There are no concerns about the permanence of PW4 in any other media, and it is an excellent mixing white in acrylic and watercolour. For a more opaque white, try Titanium White (PW 6).
Read: The Zinc White Debate
Titanium White Anatase
Pigment: Titanium White Anatase
Index No: PW6
Colour Description: Bright white
Opacity: Opaque
Lightfastness: Excellent
Tinting Strength: High
Pigment Classification: Synthetic Inorganic
Suitable for: Oil, Watercolour, Gouache, Acrylic, Tempera, Encaustic.
Approx. Oil Absorption Rate 30 g linseed oil: 100 g pigment
Granulates in Watercolour: No
Drying Rate (in oil): Slow
Health and Safety: Not considered hazardous with proper use. Do not breathe dust and do not use while eating or drinking. Avoid contact with eyes and keep out of reach of children and pets.
Particle Size: Approx. 0.50 µm
History / How It Looks: Titanium White is a synthetic mineral pigment, made synthetically because naturally occurring titanium dioxide is not suitable for use as an artist pigment. The Anatase form was first introduced to the artist pigment market in 1916. Over the 20th century, Titanium White came to largely replace lead white as the dominant white pigment in aritst palettes. Its applications are not limited to painting: more than five million tons are used every year in the production of plastics, cosmetics, paper, medicines and house paints. Most Titanium White pigments today use the Rutile, rather than Anatase, form as it has greater opacity and permanence. Titanium White makes a soft and spongy paint film, so it is best mixed with Zinc White (PW 4) to balance out this tendency.
Shop Jackson’s Artist Pigments on jacksonsart.com
Further Reading
Recreating Rembrandt’s Colour Palette With Modern Pigments
Making Your Own Oil Paint With Jackson’s Pigments
Two Painters Try Jackson’s Artist Pigments for Watercolour and Oil
Thank you Evie and the Jackson’s team for
publishing such important information.
Wow, can’t believe that you covered info on
every colour in the range. I have used a
number of these pigments to make gouache
using the Schminke Gouache Binder. I love
Schminke Gouache, but there are a few gaps
in their colour range (most notably Prussian
Blue and Cobalt turquoise). I have done my
own colourfast tests taping them to a
window exposed to the harsh Australian sun
and there was no loss of vibrance after 3
months. Colours I have tested in gouache
include Potter’s pink, Prussian Blue,
Ultramarine blue (red shade), Cobalt
turquoise, Ultramarine Violet and Terra
Ercolana. All the pigments dissolved easily
in gouache medium and yielded intense,
vibrant colour. They perform really well,
although I do find I get some separation of
the binder if I haven’t used the paint for
some time (something that never happens
with the Schminke gouache paint). The
worst colour for this is the Potter’s Pink.
Terra Ercolana is the most divine red earth
pigment I have ever used, it just seems to
have a magical luminance in gouache. It is
also wonderfully versatile as a base for
mixing warm browns. The one notable
pigment missing from the range is
Unbleached titanium which is a wonderful
white for making subtle tints and unifying a
palette in a very sophisticated way.
That’s some very extensive testing, brilliant! Thank you for sharing. I’ll bring up the missing Unbleached Titanium– its one of my favourites too and it would be great to see it in the range.
Thank you so much for this. My students can
be given snippets of this information to help
them understand how colours work.
Transparency and opacity and also the
temperature of a pigment. I use your
pigments to make my own soft pastels and
they are really good. Evie I envy you studying
at the Courtauld.