Gamblin 1980 Oils - PBr7 Burnt Umber; PY75 Arylide Yellow; PB29 Ultramarine [Blue]

Gamblin’s approach is different. 1980 colours contain pure pigments, the finest refined linseed oil, and marble dust (calcium carbonate). Since oil painting began, these three ingredients have made more affordable colours.

Painters experience true colours without homogenized texture or muddy colour mixtures. Gamblin's approach to using traditional raw materials and processes ensures that artists experience the luscious working properties they expect from their oil colours.

Olive Green is a predictable mixed earthy green of the natural world that can be used opaquely.

PIGMENT COMPOSITION AND PERMANENCE

• Pigment Name: PBr7 Burnt Umber (iron oxides with manganese silicates or dioxide)
• Pigment Type: earth

PROPERTIES

Burnt umber is a more intense reddish-brown pigment produced by heating Raw umber's clay pigment. It has medium to excellent tinting strength, high opacity, and quick drying in oil form. Burnt Umber is more transparent than Raw Umber.

It has excellent colour properties and can create a variety of subtle, clear tints when mixed with white. In dark mixes in oil form, it can tend towards chalkiness, but overall, it mixes well with other colours.

Mix Burnt Umber with Phthalo Blue or Ultramarine to create a black colour in oil. Mix it with Ultramarine or Payne's Gray to achieve a similar colour in watercolour.

PERMANENCE

Burnt Umber has good permanence.

TOXICITY

Burnt Umber itself is considered non-toxic. If contaminated by manganese compounds, it may be highly toxic if inhaled and moderately toxic if ingested.

HISTORY

This pigment comes from the Latin word umbra, meaning shadow or shade. Its full name is terra di ombra, meaning earth of shadow/shade, due to its original extraction from Umbria, Italy. It has been used as a pigment since prehistoric times. Currently, the finest umber comes from Cyprus.

PIGMENT COMPOSITION AND PERMANENCE

• Pigment Name: PY75 Arylide Yellow (arylide yellow)
• Pigment Type: Monoazo; Arylide;

PROPERTIES

Arylide yellows are warm yellows with a reddish hue. When mixed with white, they are almost orange in masstone but less orange in an undertone. They are useful for translucent glazing techniques or washes with high tint strength. Arylide yellow is synthesized by azo coupling aniline and acetoacetanilide or their derivatives.

Arylide yellow is resistant to water, oil, acids, and bases. It has a melting point of 150°C and decomposes at higher temperatures. It may bleed in paints and is potentially carcinogenic.

PERMANENCE

Arylide yellow pigments have a very good lightfastness. Arylide yellows have reasonable tinting strength, opacity, and solvent resistance. They are primarily used in printing inks, plastics, rubbers, and architectural and artists' paints. Monoarylide yellows are better lightfast than diarylides.

TOXICITY

Arylide Yellow is classified as non-hazardous and non-toxic.

HISTORY

There is no history of PY75 arylide yellow pigment. Hermann Wagner discovered the first arylide yellow pigment, PY 1, in Germany in 1909 and made it commercially available around 1925. After 1950, arylide yellow became more widely used as a replacement for the toxic cadmium yellow.

Other names are Arylide yellow, also known as Hansa Yellow GX, Monoazo Yellow, and Azo Yellow.

PIGMENT COMPOSITION AND PERMANENCE

• Pigment Name: PB29 Ultramarine [Blue] (complex silicate of sodium and aluminum with sulphur)
• Pigment Type: inorganic

PROPERTIES

Ultramarine is the standard warm blue, a brilliant blue pigment with the most purple and least green undertones. It has moderate to high tinting strength and beautiful transparency.

Synthetic Ultramarine is not as vivid a blue as natural Ultramarine. Ultramarine dries slowly in oil and produces clean, though granular, washes in watercolour.

French Ultramarine mixes well with Alizarin colours in oil and watercolour form to create a range of purples and violets. It can dull when mixed with white in acrylic form but mixes well with other colours.

The shade varies depending on the manufacturer. Although it is considered a great colour for glazes, it is unsuitable for frescoing.

PERMANENCE

Ultramarine has excellent permanence, although synthetic Ultramarine is less permanent than natural Ultramarine. Because of its sulfuric content, it may discolour if exposed to acid.

TOXICITY

Ultramarine has no significant hazards.

HISTORY

The name for this pigment comes from the Middle Latin ultra, meaning beyond, and mare, meaning sea, because it was imported from Asia to Europe by sea. It is a prominent component of lapis lazuli and was used on Asian temples starting in the 6th century.

It was one of the most expensive pigments in 16th-century Europe, worth twice its weight in gold, so it was used sparingly and when commissions were larger.

Ultramarine is currently imitated by a process invented in France in 1826 by Jean Baptiste Guimet, making blue affordable to artists and extending the range of colours on their palettes.