Complete Artist’s Manual: The Definitive Guide to Materials and Techniques for Painting and Drawing. Simon Jennings
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Raw umber
Permanence excellent (ASTM I). A transparent colour, with good tinting strength, fast drying time, and a greenish-brown hue. Raw umber is a very useful colour for underpainting, as it dries rapidly.
Phthalocyanine blue
Permanence excellent (ASTM I). A transparent colour, with a very high tinting strength, medium-to-slow drying time, and a very bright, deep blue hue. More permanent and more intense than Prussian blue.
Alizarin crimson
Permanence very weak (ASTM III). A very transparent colour, with high tinting strength, very slow drying time, and a cool, slightly bluish-red hue. It tends to fade in thin washes, or when mixed with white.
Ivory black
Permanence excellent (ASTM I). An opaque colour, with good tinting strength, very slow drying time, and a slight brown tinge. Mixing ivory black with yellow makes a versatile green.
Auxiliary colours
Should you wish to augment your basic palette with additional colours for particular subjects, you may find some of the colours shown here useful.
BINDERS FOR OILS | Binders, mediums and diluents are the various fluids that are either combined with the pigment at the manufacturing stage or added to the tube colour to facilitate the application of paint to the support. |
Binder composition
Pigments for oil paints are ground into a drying vegetable oil, which is known as a vehicle or binder. When bound, the pigment particles are suspended in the oil and can be easily brushed onto the painting surface. When the oil has dried by absorbing oxygen, it seals the pigment to the surface.
Linseed oil
This oil, pressed from the seeds of the flax plant, is available in several forms, and acts both as a binder and as an ingredient in oil-painting mediums. Linseed oil dries quickly at first, but the complete drying process will take many years. It oxidizes into a tough, leathery film which hardens and becomes more transparent on ageing.
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