Artists’ Oil Colour
Formulated with the finest pigments for beautiful colours with excellent tinting strength; use thickly or thin to a very fine glaze. Available in 133 colours.
Innovation in action
Created by our chemists in collaboration with artists, we are proud to offer 9 Cadmium-Free Artists’ Oil Colours. As we developed this formula it was tried and tested by artists to ensure it matched the vibrancy, opacity, lightfastness, and permanence of traditional cadmium colours.
Why single pigment colours?
We craft our colours from single pigments wherever possible to create individual colours; this ensures clean, accurate mixing. There are more than 80 single pigment colours in the range, so you can mix new variations with confidence.
Consistent production, reliable results
Our perfectly formulated oil paint is only possible because it holds over 190 years of research, expertise, and the highest quality production methods. The scientific processes we follow guarantees that every colour will be the same high-quality paint every time.
It’s all in the ratio
Every tube of Artists’ Oil Paint contains a calculated ratio of oil and pigment based on the quantity of oil in the tube. This varies from colour to colour because, just as some pigments need to be ground finer than others, they also need more, or less, oil to provide optimal performance.
Lightfast and permanent
Paintings last well beyond our lifetime if the materials you choose allow for that. Years from now, for your work to be seen as you intend it to be, your materials need to be lightfast (not fade from exposure to light) and permanent (not change over time). So that you can trust in the longevity of your work, our oil colours are tested for these qualities and have some of the best ratings (at least AA or A).
Beautiful colours containing fine art pigments offering dependable quality. Ideal for those using large volumes of paint. Available in 55 colours.
Great pigment load
Winton Oil Colour’s pigment load is higher than many artists’ ranges. Exceptional for general use and ideal for working in large volume at the highest level.
Uniform consistency
The Winton range has a more uniform consistency than Artists’ Oil Colour and is a slightly stiffer paint. It offers excellent retention of brush and palette knife strokes.
Lightfast and permanent
Wherever possible, the most permanent pigments have been selected for use with the Winton range. The formulation and manufacturing process ensure that the product will remain stable within the tube as well as offer the most permanent paint film possible.
Alter or enhance the characteristics of oil colours
Choosing complementary oils, solvents, mediums, and varnishes for your oil painting is as unique as choosing a colour palette. Depending on your style and technique, there are a wide range of traditional oils, mediums, and solvents to help you control your colour as well as varnishes to protect your work and provide a final finish. Used to modify the rate of drying, increase gloss, improve flow or add texture, mediums should be used in moderation as an additive to the colour.
Primers
Oil Painting Primer
A ready-to-use primer, a perfect pre-treatment to provide a smooth ground that accepts conventional oil colours and water mixable oil colours. Oil Painting Primer can be applied directly to your metal or porous surfaces (glue-sized canvas, untreated wood, hardwood, plywood, paper etc.) with virtually no sinking in. Best used by applying several thin layers and letting them dry overnight before painting. A small amount of oil colour can be mixed into the Oil Painting Primer for tinted priming. The treated ground then accepts oil colours easily and without chalkiness or absorbency.
Mediums
Artist’ Painting Medium
A slow drying, gloss medium, it reduces the viscosity of oil colours. Ideal for fine detail work, glazing and smoothly blending areas with no brush marks, it increases the durability of the film.
Suitable for oiling out & enriching dull patches. Resistant to yellowing.
Blending & Glazing Medium
Improves transparency and depth. Adjusts the viscosity and drying behaviour of oil paint to allow seamless colour blends and glazes. The more Blending and Glazing Medium is added to oil paint, the more fluid and transparent the paint will become. Ideal for blending, glazing, stroke work, antiquing and staining. Improves transparency and depth. Dries to a durable gloss finish.
Liquin Original
This reliable favourite, Winsor & Newton painting medium. Liquin™ Original halves the drying time of oil colour and reduces brush stroke retention (touch dry in 1-6 days depending on colour & film thickness). Creates a smooth, gel-like paint film that is easier to work with. Allows the paint to dry faster and aids working with multiple layers. Resists yellowing. Not suitable as a varnish or final coat.
Liquin Fine Detail Medium
The most fluid medium within the Liquin™ family. Add to colour to produce a low-viscosity mixture. Reduces brushstroke retention. Allows the paint to dry faster and aids working with multiple layers. Ideal for fine details, glazing & blending or to produce a smooth surface picture. Speeds drying (touch dry in 1-6 days depending on colour & film thickness). Resists yellowing. Not suitable as a varnish or final coat.
Liquin Light Gel Medium
This light gel halves the drying time of oil colour. The low-viscosity, gel-like paint film, is easy to work with and brushes out smoothly reducing the visibility of brush strokes. Ideal for artists looking for a non-drip effect when mixed with colour. Speeds drying (touch dry in 1-6 days depending on colour & film thickness). Ideal for glazing. Resists yellowing. Not suitable as a varnish or final coat. Allows the paint to dry faster and aids working with multiple layers.
Liquin Impasto Medium
A paste-like, semi-gloss version of Liquin™. Liquin™ Impasto halves the drying time of oil colour and produces a crisp texture. Adds viscosity to your paint that retains marks from brushes or palette knives. Allows the paint to dry faster and aids working with multiple layers.
Speeds drying (touch dry in 1-6 days depending on colour film thickness). Resists yellowing. Not suitable as a varnish or final coat.
Liquin Oleopasto Medium
A paste-like, semi-matte version of Liquin™. Liquin™ Oleopasto halves the drying time of oil colour. Creates a viscous paint that holds many marks from brushes or palette knives. Keeps the oily texture of pure oil paint. Allows the paint to dry faster and aids working with multiple layers (touch dry in 1-6 days depending on colour film thickness). Suitable for impasto & texture work. Resists yellowing. Not suitable as a varnish or final coat.
Oils
Safflower Oil
Extracted from the seeds of the safflower plant. This oil makes your colour “fatter”. Slows drying times and stabilises the paint film. Use with whites, pale and bright colours. Its pale colour preserves the luminosity of pigments.
Drying Poppy Oil
Extracted from the seeds of the poppy plant. Drying Poppy Oil makes oil colour “fatter” and has a pale character. Fast-drying oil that stabilises colour’s film. Dries slower than linseed oil. Preserves good, clear colours – even in the spectrum of light colours.
Refined Linseed Oil
A low-viscosity alkali refined oil of pale colour which is a slower drying variant of the linseed oils. Refined Linseed Oil makes oil colour “fatter”. Reduces the consistency of the paint and increases gloss & transparency. Add to fast-drying oils to balance/slow drying times.
Cold-Pressed Linseed Oil
An oil extracted without the use of heat. Cold Pressed Linseed Oil makes oil colour “fatter” and dries slightly quicker than refined linseed oil. Decreases the consistency while increases the flow and the transparency of the oil paint.
Linseed Stand Oil
A pale viscous oil that slows drying while imparting a tough, smooth enamel finish with no brush marks and excellent levelling. It can be used for glazing and as an alternative to Refined Linseed Oil. Linseed Stand Oil makes oil colour “fatter”.
Drying Linseed Oil
Darker than refined Linseed Oil, Fast Drying Linseed Oil promotes the fastest drying rate of all the oils. Decreases the consistency and increases transparency & gloss of the oil paint. Add to other oils to accelerate their drying times.
Thickened Linseed Oil
Thickened Linseed Oil is fast drying & viscose. This amber-coloured, partially oxidised oil makes oil colour “fatter”. It can be used in combination with Sansodor™ to accelerate drying rates further. Improves flow & gloss, increases the durability of paint film and reduces brushstroke retention.
Solvents
Sansodor (Low Odour Solvent)
Sansodor™ performs like turpentine but its low odour makes it the least hazardous solvent. It is recommended by leading art schools and is often the only solvent permitted in their studios. Also good for diluting paint, cleaning brushes and creating your own mediums. Evaporates slowly and increases blending time.
Well suited to artists who prefer to avoid exposure to turpentine.
Artists’ White Spirit
An efficient solvent that is less hazardous than Distilled Turpentine, with a slightly slower drying time. Artists’ White Spirit is a petroleum distillate. It makes a leaner mixture with the colour and evaporates quickly. It can be used to clean brushes and to create your own painting mediums as well as remove varnishes in preparation for re-varnishing (does not remove Dammar Varnish).
Distilled Turpentine
Distilled Turpentine is derived from pine trees and is the most traditional solvent. Can be used to clean brushes and to create your own painting mediums. An efficient solvent, removing even dried oil, alkyd and acrylic colours from brushes and painting tools. Can also remove varnishes (including Dammar Varnish) in preparation for re-varnishing.
Varnishes
Artists’ Gloss Varnish
A quality UV resistant artists’ gloss varnish that maintains painting for longer. Sealing the microscopic pores on the oil paint film provides resistance to dirt and grease as well as balances out the surface sheen. Removable, for the purpose of re-varnishing, use a solvent such as Artists’ White Spirit or Distilled Turpentine. Quick drying. Non-yellowing, it does not bloom or crack.
Artists’ Satin Varnish
A quality UV resistant artists’ satin varnish that maintains painting for longer. Sealing the microscopic pores on the oil paint film provides resistance to dirt and grease as well as balances out the surface sheen. Removable, for the purpose of re-varnishing, use a solvent such as Artists’ White Spirit or Distilled Turpentine. Quick drying. Non-yellowing, it does not bloom or crack.
Artists’ Matte Varnish
A quality UV resistant artists’ matte varnish that maintains painting for longer. Sealing the microscopic pores on the oil paint film provides resistance to dirt and grease as well as creates a matted surface. Removable, for the purpose of re-varnishing, use a solvent such as Artists’ White Spirit or Distilled Turpentine. Quick drying. Non-yellowing, it does not bloom or crack.
Dammar Varnish
High gloss finishing treatment for use on oil and alkyd paintings to preserve the artwork longer. Sealing the microscopic pores on the oil paint film provides resistance to dirt and grease as well as creates a uniform high gloss sheen. Can be removed with Distilled Turpentine for the purpose of re-varnishing.
Artists’ Retouching Varnish
Use prior to an Artists’ or Dammar Varnish, this UV resistant gloss varnish gives temporary protection to recently completed oil paintings. It is quick drying, can be overpainted, balances out surface sheen and allows the paint film to cure through the varnish. Ensure painting is touch dry. Use thinly. Do not use as a medium.
Professional Gloss Varnish Spray
A quality UV resistant artists’ gloss varnish that maintains painting for longer. Sealing the microscopic pores on the oil paint film provides resistance to dirt and grease as well as balances out the surface sheen. Removable, for the purpose of re-varnishing, use a solvent such as Artists’ White Spirit or Distilled Turpentine. Quick drying. Non-yellowing, it does not bloom or crack.
Professional Satin Varnish Spray
A quality UV resistant artists’ satin varnish that maintains painting for longer. Sealing the microscopic pores on the oil paint film provides resistance to dirt and grease as well as balances out the surface sheen. Removable, for the purpose of re-varnishing, use a solvent such as Artists’ White Spirit or Distilled Turpentine. Quick drying. Non-yellowing, it does not bloom or crack.
Professional Matte Varnish Spray
A quality UV resistant artists’ matte varnish that maintains painting for longer. Sealing the microscopic pores on the oil paint film provides resistance to dirt and grease as well as creates a matted surface. Removable, for the purpose of re-varnishing, use a solvent such as Artists’ White Spirit or Distilled Turpentine. Quick drying. Non-yellowing, it does not bloom or crack.
Professional Retouching Varnish Spray
Use prior to an Artists’ or Dammar Varnish, this UV resistant gloss varnish gives temporary protection to recently completed oil paintings. It is quick drying, can be overpainted, balances out surface sheen and allows the paint film to cure through the varnish. Ensure painting is touch dry. Use thinly. Shake well before use.
General Purpose High Gloss Varnish Spray
Protects from dust and creates a clear, shiny coating. This colourless varnish can be used on wood, metal and other alternative materials to paper and canvas. Provides a durable protective film. Shake well before use. Removable with White/Mineral Spirit or Turpentine.
General Purpose Matte Varnish Spray
Due to the nature of these products, they cannot be shipped as overnight or 2-day air shipments and will be shipped using ground shipping.Protects from dust and creates a clear, matte coating. This colourless varnish can be used on wood, metal and other alternative materials to paper and canvas. Provides a durable protective film. Shake well before use.
Removable with White/Mineral Spirit or Turpentine.
Cleaners
Brush Cleaner & Restorer
For dried acrylic, oil, and alkyd colour, this is a non-hazardous, biodegradable, non-flammable, non-abrasive, low vapor product that safely and easily cleans both natural and synthetic brushes without damage to the brush head. It is not recommended for use on painted or varnished surfaces; contact with brush handles should be avoided. Not for use with polycarbonate or other plastic surfaces.
