I greatly appreciate this comment. The economic concerns are legitimate, and sometimes it’s just hard to pay for the supplies. My personal philosophy has been, especially if one is going to make the investment of graduate school, the cost difference between student grade and high end artist materials is almost inconsequential relative to the cost of the education investment. It’s worth building that into the cost analysis. If a student can’t make that kind of financial commitment, then I encourage them to upgrade a tube at a time. Grow into the professional materials, piece by piece. It pays off over time.
@@OilandEarthStudio That's reasonable. I've never used student-grade paint as it fails in execution and the coverage is a fraction compared to the professional lines. I've always spent much more on the best white paint I can buy, including on the cadmiums, and used a quality, professional grade (not at the highest end) for earth colors and ultramarine. Seems to work really well overall.
As someone who has used Michael Harding and Rublev for the past five years, I can definitely attest to the quality of the paint. I’ve heard a lot of good news about the Williamsburg brand as well, although I have never tried that brand Maybe one day I will.
Williamsburg is a small outfit that started by Carl Plansky in the 1980s. It was acquired by Golden Artist Materials in 2010. Normally I am skeptical of bigger companies acquiring smaller ones, however, in this case it’s been a great development. Both companies have a vested interest in research and development of artist materials. They spearheaded the research on zinc oxide in oil paint, and Williamsburg does not include aluminum stearate in their paint recipes. Many local (American) art supplies stores tend to have Williamsburg Colors on their shelves, so it’s a great option if you’re needing to get a color from your local supplier in a hurry.
Thank you for the kind words. Out of curiosity, why can’t you use Old Holland? I generally like Vasari. In the past I had a hard time getting information about any additives in the paint tubes I had, so I moved on to companies with what I considered better customer service. I would be pleasantly surprised if that’s different now.
I hesitantly like Vasari. They do use zinc white in some recipes, and there is some inconsistency in labeling pigments on all of their paints on their website. If I were to use them, I would personally need ask about whether the exact paints I bought contain anything other than PIGMENT [blank] AND OIL. With that said, the feel of the paint is fantastic.
I hesitantly like Vasari. They do use zinc white in some recipes, and there is some inconsistency in labeling pigments on all of their paints on their website. If I were to use them, I would personally need ask about whether the exact paints I bought contain anything other than PIGMENT [blank] AND OIL. With that said, the feel of the paint is fantastic.
I hesitantly like Vasari. They do use zinc white in some recipes, and there is some inconsistency in labeling pigments on all of their paints on their website. If I were to use them, I would personally need ask about whether the exact paints I bought contain anything other than PIGMENT [blank] AND OIL. With that said, the feel of the paint is fantastic.
you hit the nail on the head when it comes to Rublev and Michael harding Micael hardings stack lead white with french yellow ochre and rose madder make an AMAZING and life like caucasian flesh tone almost bougerou like! another company I highly reccomend for their whites is Blue ridge!
Thanks for the comment. And thank you for mentioning Blue Ridge. They are a company I have not used yet, but I’ve many good things from a lot of my material-minded friends. I plan to try them sooner rather than later.
They all are great options. So let me put it this way… In the States, when it comes to ease of access: Williamsburg. They are widely available in brick and mortar fine artists supply stores, so I know in a pinch I can hop in my car and go pick it up today.
@@OilandEarthStudiothanks for the advice. Williamsburg is also available where I live! I can go for that then :) Just one last question is that would you recommend to buy a big size of paint can (34oz)? I prefer to buy a large amount of paints at once since the size of painting im working on. But some artist left reviews to buy paints in tube only, because oil paints in 34oz can gets contaminated easily. I'll be really appreciated if you can share your wise thoughts on this sir!
@grape7569 if you go through paint quickly, the can of titanium white would be the best bang for your buck. I usually go for 150 mL tubes. Now that I think about it…If the bulk cost effectiveness is worth while to you, I would buy a big can of paint and some empty paint tubes. When you get it home, you can tube your own white all at once, or as you need it. Just make sure to seal the layer of paint in the can with some wax paper. The risk of buying cans of paint is when it tries to dry in the can.
@grape7569 if you go through paint quickly, the can of titanium white would be the best bang for your buck. I usually go for 150 mL tubes. Now that I think about it…If the bulk cost effectiveness is worth while to you, I would buy a big can of paint and some empty paint tubes. When you get it home, you can tube your own white all at once, or as you need it. Just make sure to seal the layer of paint in the can with some wax paper. The risk of buying cans of paint is when it tries to dry in the can.
I haven’t used Vasari in several years. I loved the consistency of it. Other artists in the industry at one time said they use a lot of zinc oxide in their recipes [I have not confirmed this]. If they don’t use zinc in their recipes, then I would suspect it is a fine paint to use. I’ll do some more research on it. Thanks!
@@OilandEarthStudioMany thanks sincerely for your review of these artists' oil colours! I would love to know if there is any issue with Vasari using zinc oxide in their recipes. I am in the UK and have purchased directly from Vasari, generally found the paint to be of a very high standard in terms of pigment. Inevitably the oil with some colours can separate (I found myself having to shake up the tubes before daring to add to my pallet!). I understand there are possible long term problems with zinc oxide in formulations but have no idea apart from the zinc white paint (?) whether or not they add it to their paint... but I have a couple of tubes of Old Holland and have felt very interested in looking at their paint more seriously. Thank you very much for your help and information through this excellent video. If you do ever learn any further about the Vasari paint I would be extremely interested to learn. With my very best wishes! Tom.🔹🐦🔹
Completely agree about Rublev. I also like that they have really good service, and great videos and articles, and unique colors like a bunch of different lead whites & stuff like metalpoint supplies . I also like Rublev and Williamsburg cause they (and Gamblin) have the Munsell notations published for most colors.
I really like Vasari and Rublev. I'm going to try Blue Ridge Oil Paints next. But Vasari has a special place in my heart. I like my small batch paints made in America. I just ordered Ceruse from Rublev and I'm very stoked about trying it out.
If I have a golden rule of materials it is this: Know what is in your paint. You should be able to ask and obtain information about anything in your materials from whomever you purchase. I like knowing exactly what is in my paint because a paint manufacturer cannot be held responsible for paint failure in a painting, even if it could be proven the paint was the culprit. This is because they cannot be held responsible for how you use their materials.
I’ve used all of those brands. I particularly like the feel of mussini and Rembrandt from a paint consistency stand point. I moved away from those brands, particularly W&N in the past because I was not convinced they were additive nor zinc free. If you like them, there’s nothing wrong with using them. I’m not currently convinced they are at the level of simple ingredients that I personally desire in my paint.
If you like a softer consistency Mamieri Puro & Talens Rembrandt are great. I like the smoother consistency paint with pure pigments. Puro is pricey but if I could afford it - this would be my favorite.
I am careful with the term pure pigment and paint consistency. Paint consistency can always be manipulated with just oil. Just because a paint is buttery does not guarantee it is pure pigment and oil. Anything that is less than 3% of the pigment load is an additive that does not actually have to be listed on the tube. I know that Rembrandt is not an additive free paint. I am unfamiliar with Mamieri. Whenever I try a new paint line, I will call them and ask about what is or isn’t in the tube in my hand. They should be able to provide information without giving away their proprietary property, and there response is always telling. There are very few additive free paint lines.
Additive in paint are not inherently bad, but it’s always good to know what exactly is in the tube. I am a big proponent of this because we are responsible for what happens with the tube, even if it is product failure.
...unfortunately prices continued to be more and more expensives for all brands,happy i made my stock years ago. Love Rublev too,and have a try with French factory "Leroux oil colors",they sell directly to customer,zero retail shop,so their prices and quality are the best on the market !
Rublev paints are great as well as their Oleogel oil medium and can also be purchased at Jerry's Artarama. Carl Plansky founded Williamsburg Oil Colors in Williamsburg Brooklyn, technically, now made by Golden Artist Colors in New Berlin, New York.
The Rublev oleogel is a pretty awesome product. They’ve effectively engineered a tube version of oil without the use of siccatives. Pretty incredible. Thanks for the comment.
I used to paint with Geneva paints. I love the feel of them, but I am no longer a supporter of using clove oil in oil painting. Personally, the flow and dry time control are outweighed by the ways clove oil adversely affects the integrity of durable paint films.
@louielouie4187 Great question! This list should get you going/fulfill your needs: Rublev Colours/Natural Pigments www.naturalpigments.com @rublevcolours Gamblin/Golden Paints www.Gamblincolors.com @goldenpaints Blick Art Supply www.dickblick.com @blick_art Kremer Paints NYC shop.kremerpigments.com/us/ @kremerpigments
i go to rublev for their mediums and michael harding for oils cause theyre a bit cheaper. I have never seen mh's lapis lazuli in stock though, been waiting for almost 3 years
Rublev does a waitlist for some of their harder to make/rarer colors. If you want to go MH lapis, you may want to contact them directly and ask if you can be the first to know when it’s available. They may be able to work with you on that.
I have a small 40ml tube of MH Lapis Lazuli, although it is a beautiful colour (I am British) it has next to no tinting power, so is only really useful as a glaze, it is also incredibly expensive, once I have used my tube up I don't think I will be buying it again.
Michael Harding is a solid brand for paint. I love lapis as a color, and you are correct that it is a fairly odd color in the modern palette. It is a subtlety color and when layered, particularly upon itself, its brilliance is fantastic (the Giotto chapel in Padua is mind blowing in person!). They say that synthetic ultramarine blue (also PB29) is a replacement to traditional lapis. It’s really an entirely different blue in my mind. For the curious and historic painters, I think it’s worth a try at least once. Thanks for the conversation!
I am very cautious about using the term replacement. There are alternatives to lead if toxicity is of primary concern. There is no replacement for what lead carbonate chemically does in linseed oil. If you don’t want to use lead white, then just don’t use it. They seem like an interesting paint line to explore. If I were to buy, I would want to know all additives in the paint.
@@OilandEarthStudio Art Treehouse did a good job to recreate the rheology of high quality Lead white oil paint in their lead-free whites. They did "short" paint, "long" paint and "ropey" quality paint. Bill Martin said, that high quality Lead White is always superb, but Art Treehouse whites have almost the same quality and they are excellent whites.
@@OilandEarthStudio "Treehouse White, made with walnut oil, is formulated in response to common problems that artist whites have. In addition, we have included the following… 1) Purified Calcium Carbonate - basically marble dust, used for millennia in art. Smoothes the brush stroke and helps balance opacity. A favorite of Rembrandt & Velasquez. Our calcium carbonate is not gritty under the palette knife. 2) Permanent White (Blanc Fixe) commonly used in artist paints for color stability and balance of consistency. A recent study showed that white paints using Permanent White yellow less over time."
I love Blue Ridge Oil Paints from North Carolina. They are on a par with any premium brand like Old Holland or Vasari. They are simply pigment and oil no fillers, drying agents, or other additives. You buy directly from the guy who makes them so they are made within days of your order. Also, affordable for the quality. He sells direct to you, no distributor or retailer adding to the cost.
I have recently placed an order on some colors to test them out and review. Having talked with the company, do have an additive in the form of aluminum stearate; however, that is the only product they use aside from pigment and oil. It seems like a promising option.
Thanks, I wasn't aware of the AS which I understand helps keep the pigment and oil from separating. Different colors have a different feel based on the pigment. Some are looser and some stiffer, something that may not appeal to everyone. But, they are highly pigmented. Looking forward to your thoughts.@@OilandEarthStudio
@b20050 essentially, correct. [Though not essential] Aluminum stearate is particularly helpful for paint makers with modern synthetic pigments. It’s effectively a gelling agent that prevents oil separation.
Not usually. If you were using loft student grade and Rublev in the same painting there’s a fair chance you could notice. With Williamsburg and Rublev, no. The most noticeable consequence is less in the finished product and more in the making of the painting (some paints move and operate better than others).
That is a very fair critique. They have some specific, unique colors that I love. Were they available in other brands, I’d definitely do some comparative shipping. Thanks for the comment!
I don't know, I find Old Holland to be a rip off. In an old WetCanvas thread the CEO came out and stated that they do indeed add stabilizers and other ingredients besides just binder+pigment, and altho their marketing says they make the paint by hand, I find that hard to believe. if you've ever filled a tube by hand, you know it's a pain in the ass and keeping it "perfect" is next to impossible. them asking for over $200 for a tube of cremintz ($125 at blick) is just insane. also, there's also no way their paint is extender/filler/stabilizer free. otherwise, the oil+paint would separate. you'd also know that since you make your own paint. that being said, I'm partial to Williamsburg (buy it during one of Blick's sales), Blue Ridge (great value), Gamblin, RGH, and Blockx if I want to splurge. Also agree with your Michael Harding pick. Some of Rublev's prices seem a -tad- higher than I'd like, but their earth colors and mediums are wonderful. Speaking of mediums, James Groves and Old Masters mediums are tops
I hear you about cost, but it’s all about perspective. Let’s take an extreme example. Cadmium red is a series 7 pigment for artist grade paints. Online, Winton 37 ml is about $11. Williamsburg 37 ml is about $33. So to upgrade that tube it’s about $20-25 more in cost. If it’s too much, it’s too much. Use what you want. If you want to use better paints, just replace one tube at a time as you run out. It doesn’t have to be a $300-400 smack to your wallet. It can be incremental. If you can’t go top brands, there are good Artist grade brands like Gamblin, Rembrandt, Utrecht.
@@OilandEarthStudio no i agree. I use a mix of winsor newton gamblin and lukas. Im not even at the point where i deserve to use those brands you mentioned as im self taught . But eventually i can get there one day👍🏽
@@OilandEarthStudio I am surprised you replied so fast. Thank you. Harding is extremely overrated according to my opinion. I 'd like to ask what you think about Vasari and Maimeri.
@mantegna1506 no trouble at all. I’ve used Vasari in the past, and I love the feel of the paint. On their website, some of the colors they sell have pigments listed, and others do not. I could call them and attempt to get pigments in specific paints, but there are other companies I like that freely list that on all their paints and sales pages. I’ve heard from other artists that it’s hard to get that information from Vasari, and zinc maybe in their recipes. Full disclosure, that is hearsay rumor, not fact! The point being, I like fully knowing what’s in my paint, and I think other companies make it easier to know. I have never used maimeri. So, I don’t think I can fully give an opinion. What I will say is I have mild skepticism in one regard. They sell “ Naples yellow “ using py53. Antimony Nickel titanium. Genuine Naples yellow is py41 lead antimonate. Companies will sell Naples yellow and “genuine Naples yellow”. The need to specify is insincere in my opinion. I also see that they use a lot of zinc oxide pw4 in their recipes. That is personally a deal breaker for me. I’m not against giving them a second try and honest shot at my palette. This is just where my thoughts are currently. I appreciate the conversation.
@@OilandEarthStudio By the time you buy a tube you have to compromise. You just wish that by buying certain brands you ll compromise the less. The best colours as you said are the colours an artist can make on their own. But we don't live in the renaissance unfortunately. By the way I ll share some thoughts as I do appreciate the conversation too. The oil paste in tube is a child of the industrial revolution and would come unavoidably anyway at some point sooner or later but at the same time was the death sentence of painting tradition that lasted for thousands of years. Two facts: 1) The artists stopped being craftsmen and ended up arrogant, being proud quite often about their ignorance when it comes to the materials. By simply queezing a tube made of aluminium they think they have "instant access" to the art. I think art is essentially the constant struggle of having the control and the knowledge of every single raw material is used. Artists nowadays are proud as I said being totally indifferent about the preparation process and totally dependant on factories or anyone else than themselves. The craftsmanship is a "pleb's" job and task according to them. The death of craftsmanship was also the death of the Masters. 2) More specifically: the introduction of the flat brush, which was unknown before the industrial "in tube psints", is a proof of the weakness of the painters to handle a paint consistency which will never achieve the ashtonishing brightness we see in the old paintings. The result of the brushwork with flat brushes is blurry and dull, you need a flat brush because you strive to get rid of the "toothpaste" consistency oil paint colour from the brush. The colour doesn't flow "calligraphically" anymore like it used to do on the Rubens or even (more recently) Goya's pallette for example. There are supposed to be mediums that alternate the consistency and allows you to use round brushes, instead of spatulas, but the result is even more depressing because you realise that now you try to imitate a technique that is forever lost and the comparison is devastating. This are just opinions of mine. I totally agree about zinc white being a deal breaker when used as a filler actually.
I haven’t used Vasari in several years. I loved the consistency of it. Other artists in the industry at one time said they use a lot of zinc oxide in their recipes [I have not confirmed this]. If they don’t use zinc in their recipes, then I would suspect it is a fine paint to use. I’ll do some more research on it. Thanks!
I've used some of all of these. I'm amazed, though, that any graduate student could afford to buy tubes of Old Holland. That surprised me.
I greatly appreciate this comment.
The economic concerns are legitimate, and sometimes it’s just hard to pay for the supplies. My personal philosophy has been, especially if one is going to make the investment of graduate school, the cost difference between student grade and high end artist materials is almost inconsequential relative to the cost of the education investment. It’s worth building that into the cost analysis.
If a student can’t make that kind of financial commitment, then I encourage them to upgrade a tube at a time. Grow into the professional materials, piece by piece. It pays off over time.
@@OilandEarthStudio That's reasonable. I've never used student-grade paint as it fails in execution and the coverage is a fraction compared to the professional lines. I've always spent much more on the best white paint I can buy, including on the cadmiums, and used a quality, professional grade (not at the highest end) for earth colors and ultramarine. Seems to work really well overall.
Good on you! 👍👍
You’re paintings will thank you for it!
As someone who has used Michael Harding and Rublev for the past five years, I can definitely attest to the quality of the paint. I’ve heard a lot of good news about the Williamsburg brand as well, although I have never tried that brand Maybe one day I will.
Williamsburg is a small outfit that started by Carl Plansky in the 1980s. It was acquired by Golden Artist Materials in 2010. Normally I am skeptical of bigger companies acquiring smaller ones, however, in this case it’s been a great development. Both companies have a vested interest in research and development of artist materials. They spearheaded the research on zinc oxide in oil paint, and Williamsburg does not include aluminum stearate in their paint recipes. Many local (American) art supplies stores tend to have Williamsburg Colors on their shelves, so it’s a great option if you’re needing to get a color from your local supplier in a hurry.
Great Review! Agreed, although I can't use Old Holland. VASARI???
Thank you for the kind words.
Out of curiosity, why can’t you use Old Holland?
I generally like Vasari. In the past I had a hard time getting information about any additives in the paint tubes I had, so I moved on to companies with what I considered better customer service. I would be pleasantly surprised if that’s different now.
Any comments on Vasari paints? (similar in focus and price to Rublev)
I hesitantly like Vasari. They do use zinc white in some recipes, and there is some inconsistency in labeling pigments on all of their paints on their website. If I were to use them, I would personally need ask about whether the exact paints I bought contain anything other than PIGMENT [blank] AND OIL. With that said, the feel of the paint is fantastic.
I hesitantly like Vasari. They do use zinc white in some recipes, and there is some inconsistency in labeling pigments on all of their paints on their website. If I were to use them, I would personally need ask about whether the exact paints I bought contain anything other than PIGMENT [blank] AND OIL. With that said, the feel of the paint is fantastic.
I hesitantly like Vasari. They do use zinc white in some recipes, and there is some inconsistency in labeling pigments on all of their paints on their website. If I were to use them, I would personally need ask about whether the exact paints I bought contain anything other than PIGMENT [blank] AND OIL. With that said, the feel of the paint is fantastic.
you hit the nail on the head when it comes to Rublev and Michael harding Micael hardings stack lead white with french yellow ochre and rose madder make an AMAZING and life like caucasian flesh tone almost bougerou like! another company I highly reccomend for their whites is Blue ridge!
Thanks for the comment. And thank you for mentioning Blue Ridge. They are a company I have not used yet, but I’ve many good things from a lot of my material-minded friends. I plan to try them sooner rather than later.
@@OilandEarthStudio RGH is also great and they have their paints in large cans and gallons
Quick question!
If you've got to choose titanium white among those, which brand is your go to?
They all are great options. So let me put it this way…
In the States, when it comes to ease of access: Williamsburg. They are widely available in brick and mortar fine artists supply stores, so I know in a pinch I can hop in my car and go pick it up today.
@@OilandEarthStudiothanks for the advice. Williamsburg is also available where I live! I can go for that then :)
Just one last question is that would you recommend to buy a big size of paint can (34oz)? I prefer to buy a large amount of paints at once since the size of painting im working on.
But some artist left reviews to buy paints in tube only, because oil paints in 34oz can gets contaminated easily.
I'll be really appreciated if you can share your wise thoughts on this sir!
@grape7569 if you go through paint quickly, the can of titanium white would be the best bang for your buck. I usually go for 150 mL tubes.
Now that I think about it…If the bulk cost effectiveness is worth while to you, I would buy a big can of paint and some empty paint tubes. When you get it home, you can tube your own white all at once, or as you need it. Just make sure to seal the layer of paint in the can with some wax paper. The risk of buying cans of paint is when it tries to dry in the can.
@grape7569 if you go through paint quickly, the can of titanium white would be the best bang for your buck. I usually go for 150 mL tubes.
Now that I think about it…If the bulk cost effectiveness is worth while to you, I would buy a big can of paint and some empty paint tubes. When you get it home, you can tube your own white all at once, or as you need it. Just make sure to seal the layer of paint in the can with some wax paper. The risk of buying cans of paint is when it tries to dry in the can.
What do you think about Vasari oil paint?
I haven’t used Vasari in several years. I loved the consistency of it. Other artists in the industry at one time said they use a lot of zinc oxide in their recipes [I have not confirmed this]. If they don’t use zinc in their recipes, then I would suspect it is a fine paint to use. I’ll do some more research on it. Thanks!
@@OilandEarthStudioMany thanks sincerely for your review of these artists' oil colours! I would love to know if there is any issue with Vasari using zinc oxide in their recipes. I am in the UK and have purchased directly from Vasari, generally found the paint to be of a very high standard in terms of pigment. Inevitably the oil with some colours can separate (I found myself having to shake up the tubes before daring to add to my pallet!). I understand there are possible long term problems with zinc oxide in formulations but have no idea apart from the zinc white paint (?) whether or not they add it to their paint... but I have a couple of tubes of Old Holland and have felt very interested in looking at their paint more seriously. Thank you very much for your help and information through this excellent video. If you do ever learn any further about the Vasari paint I would be extremely interested to learn. With my very best wishes! Tom.🔹🐦🔹
Completely agree about Rublev. I also like that they have really good service, and great videos and articles, and unique colors like a bunch of different lead whites & stuff like metalpoint supplies . I also like Rublev and Williamsburg cause they (and Gamblin) have the Munsell notations published for most colors.
Thanks for the input!
U should give Blue Ridge a try it’s my fav high pigment load good selection at a great price out of Carolina
Several subscribers have mentioned this, and I will. Thanks for the comment!
I really like Vasari and Rublev. I'm going to try Blue Ridge Oil Paints next. But Vasari has a special place in my heart. I like my small batch paints made in America. I just ordered Ceruse from Rublev and I'm very stoked about trying it out.
If I have a golden rule of materials it is this: Know what is in your paint.
You should be able to ask and obtain information about anything in your materials from whomever you purchase.
I like knowing exactly what is in my paint because a paint manufacturer cannot be held responsible for paint failure in a painting, even if it could be proven the paint was the culprit. This is because they cannot be held responsible for how you use their materials.
What do you think about Schmincke MUSSINI and Norma? Is it same quality as Michael Harding or Williamsburg? Or Winsor&Newton/ Rembrandt?
I’ve used all of those brands. I particularly like the feel of mussini and Rembrandt from a paint consistency stand point. I moved away from those brands, particularly W&N in the past because I was not convinced they were additive nor zinc free.
If you like them, there’s nothing wrong with using them. I’m not currently convinced they are at the level of simple ingredients that I personally desire in my paint.
@@OilandEarthStudio Thank you for your answer.
Rublev oils are incredible.
I agree.
If you like a softer consistency Mamieri Puro & Talens Rembrandt are great. I like the smoother consistency paint with pure pigments. Puro is pricey but if I could afford it - this would be my favorite.
I am careful with the term pure pigment and paint consistency. Paint consistency can always be manipulated with just oil. Just because a paint is buttery does not guarantee it is pure pigment and oil. Anything that is less than 3% of the pigment load is an additive that does not actually have to be listed on the tube. I know that Rembrandt is not an additive free paint. I am unfamiliar with Mamieri. Whenever I try a new paint line, I will call them and ask about what is or isn’t in the tube in my hand. They should be able to provide information without giving away their proprietary property, and there response is always telling. There are very few additive free paint lines.
Additive in paint are not inherently bad, but it’s always good to know what exactly is in the tube. I am a big proponent of this because we are responsible for what happens with the tube, even if it is product failure.
...unfortunately prices continued to be more and more expensives for all brands,happy i made my stock years ago.
Love Rublev too,and have a try with French factory "Leroux oil colors",they sell directly to customer,zero retail shop,so their prices and quality are the best on the market !
When you can find a company that makes quality, additive free, oil paint…that’s a winner. If they’re local to you, even better!
Rublev paints are great as well as their Oleogel oil medium and can also be purchased at Jerry's Artarama.
Carl Plansky founded Williamsburg Oil Colors in Williamsburg Brooklyn, technically, now made by Golden Artist Colors in New Berlin, New York.
The Rublev oleogel is a pretty awesome product. They’ve effectively engineered a tube version of oil without the use of siccatives. Pretty incredible. Thanks for the comment.
Geneva oil paints by Mark Carder in Austin, Texas, are amazing quality. Also, thanks for sharing
I used to paint with Geneva paints. I love the feel of them, but I am no longer a supporter of using clove oil in oil painting. Personally, the flow and dry time control are outweighed by the ways clove oil adversely affects the integrity of durable paint films.
@OilandEarthStudio who do you recommend I purchase dry pigments from ? I would like to try mixing my own now that I'm unable to work.
@louielouie4187 Great question!
This list should get you going/fulfill your needs:
Rublev Colours/Natural Pigments www.naturalpigments.com
@rublevcolours
Gamblin/Golden Paints
www.Gamblincolors.com
@goldenpaints
Blick Art Supply
www.dickblick.com
@blick_art
Kremer Paints NYC
shop.kremerpigments.com/us/
@kremerpigments
@@OilandEarthStudio Thank you for your reply. I just found your channel this morning I like it very much
@louielouie4187 I’m glad I can be helpful to you. Feel free to ask any questions that you’d like more information.
i go to rublev for their mediums and michael harding for oils cause theyre a bit cheaper. I have never seen mh's lapis lazuli in stock though, been waiting for almost 3 years
Rublev does a waitlist for some of their harder to make/rarer colors. If you want to go MH lapis, you may want to contact them directly and ask if you can be the first to know when it’s available. They may be able to work with you on that.
I have a small 40ml tube of MH Lapis Lazuli, although it is a beautiful colour (I am British) it has next to no tinting power, so is only really useful as a glaze, it is also incredibly expensive, once I have used my tube up I don't think I will be buying it again.
Michael Harding is a solid brand for paint. I love lapis as a color, and you are correct that it is a fairly odd color in the modern palette. It is a subtlety color and when layered, particularly upon itself, its brilliance is fantastic (the Giotto chapel in Padua is mind blowing in person!). They say that synthetic ultramarine blue (also PB29) is a replacement to traditional lapis. It’s really an entirely different blue in my mind. For the curious and historic painters, I think it’s worth a try at least once.
Thanks for the conversation!
Art Treehouse white paint is a very close replacement for Lead white.
I am very cautious about using the term replacement. There are alternatives to lead if toxicity is of primary concern. There is no replacement for what lead carbonate chemically does in linseed oil. If you don’t want to use lead white, then just don’t use it.
They seem like an interesting paint line to explore. If I were to buy, I would want to know all additives in the paint.
@@OilandEarthStudio Art Treehouse did a good job to recreate the rheology of high quality Lead white oil paint in their lead-free whites. They did "short" paint, "long" paint and "ropey" quality paint. Bill Martin said, that high quality Lead White is always superb, but Art Treehouse whites have almost the same quality and they are excellent whites.
@@OilandEarthStudio "Treehouse White, made with walnut oil, is formulated in response to common problems that artist whites have. In addition, we have included the following…
1) Purified Calcium Carbonate - basically marble dust, used for millennia in art. Smoothes the brush stroke and helps balance opacity. A favorite of Rembrandt & Velasquez. Our calcium carbonate is not gritty under the palette knife.
2) Permanent White (Blanc Fixe) commonly used in artist paints for color stability and balance of consistency. A recent study showed that white paints using Permanent White yellow less over time."
I love Blue Ridge Oil Paints from North Carolina. They are on a par with any premium brand like Old Holland or Vasari. They are simply pigment and oil no fillers, drying agents, or other additives. You buy directly from the guy who makes them so they are made within days of your order. Also, affordable for the quality. He sells direct to you, no distributor or retailer adding to the cost.
I have recently placed an order on some colors to test them out and review. Having talked with the company, do have an additive in the form of aluminum stearate; however, that is the only product they use aside from pigment and oil. It seems like a promising option.
Thanks, I wasn't aware of the AS which I understand helps keep the pigment and oil from separating. Different colors have a different feel based on the pigment. Some are looser and some stiffer, something that may not appeal to everyone. But, they are highly pigmented. Looking forward to your thoughts.@@OilandEarthStudio
@b20050 essentially, correct. [Though not essential] Aluminum stearate is particularly helpful for paint makers with modern synthetic pigments. It’s effectively a gelling agent that prevents oil separation.
Would it be noticeable to use different manufacturers’ paints in the same painting?
Not usually. If you were using loft student grade and Rublev in the same painting there’s a fair chance you could notice. With Williamsburg and Rublev, no.
The most noticeable consequence is less in the finished product and more in the making of the painting (some paints move and operate better than others).
yes ,of course ,but used only the same medium ..
I just dont like that old holand uses hydrogenated castor oil (wax) as an aditive which makes it so stiff. The other three are just the best.
That is a very fair critique. They have some specific, unique colors that I love. Were they available in other brands, I’d definitely do some comparative shipping.
Thanks for the comment!
I don't know, I find Old Holland to be a rip off. In an old WetCanvas thread the CEO came out and stated that they do indeed add stabilizers and other ingredients besides just binder+pigment, and altho their marketing says they make the paint by hand, I find that hard to believe. if you've ever filled a tube by hand, you know it's a pain in the ass and keeping it "perfect" is next to impossible.
them asking for over $200 for a tube of cremintz ($125 at blick) is just insane.
also, there's also no way their paint is extender/filler/stabilizer free. otherwise, the oil+paint would separate. you'd also know that since you make your own paint.
that being said, I'm partial to Williamsburg (buy it during one of Blick's sales), Blue Ridge (great value), Gamblin, RGH, and Blockx if I want to splurge. Also agree with your Michael Harding pick. Some of Rublev's prices seem a -tad- higher than I'd like, but their earth colors and mediums are wonderful.
Speaking of mediums, James Groves and Old Masters mediums are tops
Fair. The reasons I like old holland have more to do with specific pigment offerings.
Ruske uljane boje su najbolje uljane boje na svetu!💪🇷🇺
To each their own.
Copy .. all the paints i cant afford😂😂
I hear you about cost, but it’s all about perspective. Let’s take an extreme example. Cadmium red is a series 7 pigment for artist grade paints. Online, Winton 37 ml is about $11. Williamsburg 37 ml is about $33. So to upgrade that tube it’s about $20-25 more in cost.
If it’s too much, it’s too much. Use what you want. If you want to use better paints, just replace one tube at a time as you run out. It doesn’t have to be a $300-400 smack to your wallet.
It can be incremental. If you can’t go top brands, there are good Artist grade brands like Gamblin, Rembrandt, Utrecht.
@@OilandEarthStudio no i agree. I use a mix of winsor newton gamblin and lukas. Im not even at the point where i deserve to use those brands you mentioned as im self taught . But eventually i can get there one day👍🏽
Good on you. Keep going. 👏👏👏
The next time you’re feeling antsy, give yourself permission to get a nice tube of something.
@@OilandEarthStudio thanks 🙏
Rublev is exceptional. Old Holland is decent. Harding is a joke, it's surprising it's included in the list.
This is my list at present for the reasons I’ve given. To each their own.
@@OilandEarthStudio
I am surprised you replied so fast. Thank you. Harding is extremely overrated according to my opinion. I 'd like to ask what you think about Vasari and Maimeri.
@mantegna1506 no trouble at all.
I’ve used Vasari in the past, and I love the feel of the paint. On their website, some of the colors they sell have pigments listed, and others do not. I could call them and attempt to get pigments in specific paints, but there are other companies I like that freely list that on all their paints and sales pages. I’ve heard from other artists that it’s hard to get that information from Vasari, and zinc maybe in their recipes. Full disclosure, that is hearsay rumor, not fact! The point being, I like fully knowing what’s in my paint, and I think other companies make it easier to know.
I have never used maimeri. So, I don’t think I can fully give an opinion. What I will say is I have mild skepticism in one regard. They sell “ Naples yellow “ using py53. Antimony Nickel titanium. Genuine Naples yellow is py41 lead antimonate. Companies will sell Naples yellow and “genuine Naples yellow”. The need to specify is insincere in my opinion. I also see that they use a lot of zinc oxide pw4 in their recipes. That is personally a deal breaker for me.
I’m not against giving them a second try and honest shot at my palette. This is just where my thoughts are currently.
I appreciate the conversation.
@@OilandEarthStudio
By the time you buy a tube you have to compromise. You just wish that by buying certain brands you ll compromise the less.
The best colours as you said are the colours an artist can make on their own. But we don't live in the renaissance unfortunately.
By the way I ll share some thoughts as I do appreciate the conversation too. The oil paste in tube is a child of the industrial revolution and would come unavoidably anyway at some point sooner or later but at the same time was the death sentence of painting tradition that lasted for thousands of years.
Two facts:
1) The artists stopped being craftsmen and ended up arrogant, being proud quite often about their ignorance when it comes to the materials. By simply queezing a tube made of aluminium they think they have "instant access" to the art. I think art is essentially the constant struggle of having the control and the knowledge of every single raw material is used. Artists nowadays are proud as I said being totally indifferent about the preparation process and totally dependant on factories or anyone else than themselves. The craftsmanship is a "pleb's" job and task according to them. The death of craftsmanship was also the death of the Masters.
2) More specifically: the introduction of the flat brush, which was unknown before the industrial "in tube psints", is a proof of the weakness of the painters to handle a paint consistency which will never achieve the ashtonishing brightness we see in the old paintings. The result of the brushwork with flat brushes is blurry and dull, you need a flat brush because you strive to get rid of the "toothpaste" consistency oil paint colour from the brush. The colour doesn't flow "calligraphically" anymore like it used to do on the Rubens or even (more recently) Goya's pallette for example. There are supposed to be mediums that alternate the consistency and allows you to use round brushes, instead of spatulas, but the result is even more depressing because you realise that now you try to imitate a technique that is forever lost and the comparison is devastating.
This are just opinions of mine.
I totally agree about zinc white being a deal breaker when used as a filler actually.
What do you think about Vasari oil paint?
I haven’t used Vasari in several years. I loved the consistency of it. Other artists in the industry at one time said they use a lot of zinc oxide in their recipes [I have not confirmed this]. If they don’t use zinc in their recipes, then I would suspect it is a fine paint to use. I’ll do some more research on it. Thanks!