Gamblin 1980 Oils - PR101 Red Iron Oxide

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.

Venetian Red (formerly called Iron Red Light) is also a Mars Colour. Venetian Red is lighter and more of a brick red. It is dense and has excellent hiding power.

PIGMENT COMPOSITION AND PERMANENCE

• Pigment Name: PR101 Red Iron Oxide (Synthetic red iron oxide-yellowish shade)
• Pigment Type: earth, synthetic

PROPERTIES

Red iron oxide varies in hue and transparency, depending on hydration and slight impurities. Indian Red is a slightly duller, deep brick hue with a bluish undertone. It is very dense and opaque, with excellent tinting strength and covering power.

It is dependable when mixed with all other permanent pigments and yields good flesh tints when mixed with Zinc White. It is the synthetic version of PR102, a pigment made from earth reds or natural red iron oxides, and the names applied to PR101 and PR102 often overlap.

Synthetic red iron oxides have mostly replaced natural red iron oxides and are brighter, more robust, refined, and more permanent. Indian Red is the highest grade bluish shade. Light Red, English Red, and Venetian Red are yellowish shades. Mars Violet is a dull and subdued bluish or purplish oxide.

PERMANENCE

Red iron oxide is very lightfast and has excellent permanence.

TOXICITY

Red iron oxide has no significant hazards.

HISTORY

Natural red iron oxide comes from the mineral ore hematite, which the ancient Greeks called bloodstone from the word hema, meaning blood. Hematite is one of the oldest pigments, has been used by every major civilization, and was an essential mineral for medieval alchemists. It was not widely used in artists' materials until the 17th century and was not produced in large quantities until the 18th century.