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Gamblin makes good products. I wish they would make a no-petroleum-based medium, though, like M. Graham's Walnut Alkyd. petroleum-based products really bother me.
Fantastic video! I love these earth tones, I use stil de grain and italian ocher lemon. Their grit is really lets you feel the earth :) also, they tint beautifully.
I love green gold in watercolor! (Py129) I think I would probably like the chartreuse. To me green gold is is like a crimson where chartreuse is a quinacridone red or rose. Green gold, crimson and indanthrone or indigo make an interesting triad.
I wondered why they would discontinue more lightfast colors like po48 or pr206 over pr83! I wonder what that means for top40 artist pigments in the next few years.
Thank you for this video. I've been painting with Gamblin for years, and lost a series of large paintings to their Flake White Replacement, which turned orange after a year / year and a half. Have never been successful communicating with them about it. Just a heads up - the Flake White Replacement is NOT LIGHTFAST
I have a request: would you do a review on Rembrandt's Transparent White. It is made with Safflower oil, Titanium White, and Zinc Oxide. I am using it as a glaze at the later stages of my paintings and it is amazing.
Just guessing it's due to lack of demand-- also there were a whole host of mergers and acquisitions in the world of pigment manufacturers that were mentioned by a talk that Golden's Senior Formulator gave recently. Still surprising that it is actually being phased out!
For me, its not on my palette because its not in balance with other colors (too intense and dominant). Cobalt blue is my go-to blue because it mixes well with other colors.
WN Bright Red (PR254) and regular Venetian Red (PR101) all the way. Cheap (both series 1 and available in big tubes), reliable, mix a tiny amount of T.White if you find it needs more opacity for the PR254. Cadmiums are so not needed at all, imo. For a more visual demo, watch the video on youtube called "Cadmium Red vs Venetian Red" from the channel 'Old Holland Classic Colours'.
The fall of this color is such a big deal, in Harvey Dinnerstein's class at the National Academy, Alizarin Crimson was the red we always used on the palette all the time.
I love Napthol Red! I am currently using Utrecht's Artists Oil Colors. Its so close to the red on the color wheel. How does Gamblin's Napthol Red compare to Utrecht's version?
Oh interesting! Yes it is a lovely red. I'm not sure how it compares to Utrecht since I tend to steer clear of Napthol Reds. With a lot of archival-oriented work unfortunately it is not quite lightfast enough for my liking though I used to love it in portraiture. This tube was added to our paintbox more for science than for art-- to test just how reactive it is in certain mixing whites (like lead). So we bought PR112 in a couple of different brands. Golden has published some research that goes into PR112 and mixing whites in greater depth: justpaint.org/astm-lightfastness-testing-for-oil-paints/ (see the section "Reactivity of Lead Whites"). This lined up with what we had observed-- we had also noticed that it is really reactive in lead white. It also is not so good in zinc white but hopefully not too many people are using it that way anyway. I love how Napthol tints though -- it's hard to get anything quite that punchy in certain pinks!
@@thepaintlist Thank you so much for taking the time to share this wonderful information on Napthol Red. I tend to like the less lightfast colors, it is not on purpose though 😀 I too love how it tints and mixes with the Williamsburg Neutral Greys. For the longest I was totally loving zinc white, my lightfast instincts are not there yet. 😁. Your passion for color is contagious.
It's interesting- it looks deeper on my screen than in real life (color balancing is so weird) but in real life it is not all that different than Winsor and Newton Artist line's Cadmium Orange. The WN is ever so slightly yellower orange... the Gamblin Deep may be a tiny bit redder and higher chroma, but even though they named it deep it's pretty close to the W&N in the scheme of things. The WN has a bit more yellow in its tints as well. It's just that the regular Gamblin Cadmium Orange is like a yellow orange, so it looks like they named this Deep in comparison :D
@@thepaintlist I do love my Cadmium Orange to be on the yellow spectrum because I don't want it to tint pinkish. I currently have the WN on my palette,, so this intrigues me because I am not a fan of the oily texture of the WN Cadmium Orange. Thank you again for sharing your knowledge.
Gamblin's burnt sienna is much redder and less chromatic than most brands, which have switched to synthetic transparent red oxide rather than a mined pigment. This can be either good or bad, depending on your needs and expectations, but it does mix very differently.
Yep, agreed. It's somewhat similar to Schmincke Norma actually. It's weird and hard to describe but I know what you mean. That is interesting about the mined pigment. I just took a look at a comparison panel that we'll hopefully publish soon- Michael Harding and Maimeri Puro have this brighter, higher chroma and higher value Burnt Sienna which are at a more orangey note whereas Gamblin's doesn't hit those chromas in tints.
This paint makes a great light value for mixing foliage greens. As you say, high chroma but not TOO high chroma, as you'd get with a pthalo mix. Just about right for backlit leaves or grass.
Yes! I have come to appreciate those mixes that are high chroma but slightly desaturated. It's not quite the Reilly 8 for green grass in sunlight but it is a great color if a person isn't expecting spectral green. Backlit leaves and grass is a perfect description!
Permanent Orange is an interesting color! Yeah I know what you mean about Titanium. It is so weird and so annoying. George O'Hanlon shared some theories on this. Basically what I gleaned was that it is not yet fully understood, and may have to do with the small particle size that Titanium is being manufactured at, and it may also interact with other small-particle pigments within a flow inside of the drying paint film. It might be worsened in thicker applications and with slower-drying oils, such as safflower. We'll do a video on just titanium as a pigment. It is a weird phenomenon.
Thank you so much for the lightfastness update! Also, a specific video on their earth colors would be super helpful, too. The work you're doing on this channel is invaluable, thanks again!
Thanks, this comment made me curious-- and so I got mine out to try with smoothness in mind. I can be a little less sensitive to grit (for example, I like the French and Italian earths for different things). So, I would say they do have a gritty grey-- the French Ardoise Gray, which has grit to it, but the N8, N6, N4, N2 set struck me as pretty smooth. So that is fascinating to hear they were grittier than what you would use. Also I noticed these grays aren't on Williamsburg's chart of textures, so I would be curious how they classify them as well. Though they feel much smoother than the French and Italian earths-- that we can say! :D I would be interested to hear your recommendations for your favorite smooth earth tones because we do have people asking for the least gritty earths from time to time. Thank you for the comment!
I’m a huge fan of their coarse transparent earths, particularly stil de grain. A great base layer for underpainting or imprimatura since it adds a little tooth, or as a textural glaze, kind of like how some watercolors will have a neat granulation effect.
Thank you so very much for your video and amazing channel. I am currently using Winsor and Newton Cadmium Orange. How does Williamsburg differ in your opinion?
Hi, and thanks for your kind words. The Williamsburg Cadmium Orange is a little yellower in hue than W&N Artist Cadmium Orange and looks a bit brighter in lightness as well. The Williamsburg has a little bit different feel with the palette knife as well. Both are good tinters.
@@thepaintlist Thank you so much for your prompt reply, Melissa. Your answer was perfect because I am looking for something that is a true orange (as on the color wheel). Is there a brand that you love the most for that? I am not happy with the consistency of the W and N.
@@TimothyJohnLukeSmithPSA Ooh, that is a good question. It depends on whether red-oranges or yellow-oranges are what you're looking for. We found that the hues of the cadmium oranges sort themselves into clusters or groups-- some red orange ones and some yellow-orange ones. I actually love cadmium orange so much I paint with at least four of them. With the cadmiums I like a broad range of high chromas and a wide range of consistencies. (For example in the red-oranges, I use both Old Holland for a very stiff paint or Rublev for an almost liquid paint- they are similar red-oranges but they vary in their viscosity). Also I've read that our eyes are really sensitive to differences in those wavelengths, and I find myself very picky about getting the rainbow balanced through the progression of oranges (the progression from red to yellow has to have the right series of notes, which is hard to get, sort of like a musical arpeggio). Pictures are so imperfect on a screen but perhaps one can get a sense of some of the hue differences from this review on Cadmium Oranges: www.paintlist.com/review/6.
@@thepaintlist Thank you so much for sharing your experience and expertise with me. I am going to read that wonderful article you sent me! I am a portrait painter and Cadmium Orange is an important color on my palette. I am so happy you created this channel and I share your videos on my Facebook page (4.8K Followers). What you are doing is so important.
I attened Watts artlier of the arts and they offten recomend Gamblin because its best value of price and quality. Of coures we can use any paints we choose but I like using it.😊
I have tried about a dozen tubes of Vasari paint and many of them have a lot of oil. Personally, I would say that it's too much oil, but I lover their colours.
@@thepaintlist Yeah, to me, Vasari is a lot like Apple... a boutique brand that is WAY overpriced. Still, I love their colours, but I would rather buy Old Holland or Michael Harding. Old Holland, while expensive, is a much better deal because you get a very firm tube of paint that is packed with pigment and you can add linseed oil to make it easier to use if necessary. I would hazard to guess I would have to buy three Vasari tubes to get the same amount of pigment in a singl Old Holland tube.
@@davidc1878 Old Holland is great. It is very stiff. Their cadmiums are such high tinters, especially their Cadmium Red Light-- I love that. Also their cad orange, cad yellow extra deep, and the other cad yellows are all favorites. I tend to feel the same way about their cadmiums- it always felt worth it just because they are so concentrated. Over the years I've come to like having different consistencies right out of the tube and love having a diversity of brands on hand. I recently did some Plein Air, and it was weird to find that the Old Holland cads were not my favorite for that context (for different reasons, neither was Vasari). Normally though OH cads feel top tier.
Thanks for this review and your website (I am browsing now). Would like to see a review of Lukas 1862 (oil) and Blue Ridge in the future, maybe some other cheaper brands like Utrecht, Daler-Rowney and Maimeri Classico!
on one hand I wanted to hear the information - thank you for that, truly appreciated. On the other hand I couldn't take the "Paint List" constantly interrupting. Maybe it's just me but I couldn't take the jarring of it. My nerves wouldn't take it, I had to stop.
Hi, there, we don't have Gamblin's Raw Umber, so it's interesting to hear that it is coarse- we noticed that coarseness on a couple of the Gamblin earth tones. There was a bit of grit. If you want paint that has some stiffness and is also smooth you can try Michael Harding Raw Umber www.paintlist.com/paint/oil/1825, which has an almost waxlike feel. If a looser paint is ok (not so impasto), you can try Winsor and Newton www.paintlist.com/paint/oil/3472, but it is just a little gritty. Thanks for the comment!
Hello ma'am, one more question is that when I apply varnish, small bubbles appear in it. How to deal with them. I use mat and gloss varnish of fifty fifty Winsor and Newton.
@@harvindersingh-nx4qb Hello, and thanks for your question. I am not an expert in varnishes, however, I know a place you can try to find the answer. There is a forum called MITRA (short for Materials Information and Technical Resources for Artists), which is run by the University of Delaware. With a free account you can ask a question, and there is a good chance it will be answered. Here is the link: www.artcons.udel.edu/mitra/forums. Another place you can try is asking on the Painting Best Practices Facebook associated with George O'Hanlon and Rublev Paints. If you join the group, that page can also be searched to see if other people have had a similar question. Best wishes in finding out what is going on with the varnish!
Why on earth is one of the most valuable (in my humble opinion) colors in the artist's paint box: Zinc White, not available from Gamblin? Zinc white is the purest of all the whites and definitely the very best white for delicate color mixes. It's relative fragility can easily be offset by mixing it with lead or titanium white.
Ah yes, Zinc White! There are issues with zinc white in oils. I agree it was great in mixes and also for its semi-transparency - I miss those qualities. Whether or not you decide to use it is highly personal and depends on whether you are concerned about the issues it has (cracking, early embrittlement, delamination, etc.). I could not say why Gamblin doesn't carry it in single-pigment form, but it is likely due to the broader move away from zinc among oil painters-- it does not seem to have the same issues in other mediums like watercolor or acrylic. There are a lot of resources out there but a good one which describes the pros and cons is this article with photos from Williamsburg: justpaint.org/zinc-oxide-warnings-cautions-and-best-practices/. Williamsburg removed zinc from their blends (even when blended with lead white, you can find the picture at that link of how the zinc-lead blend cracked) and they now sell zinc with an advisory. If you are a Gamblin fan, Gamblin still makes a zinc-titanium blend, www.paintlist.com/paint/oil/842, but this will likely be prone to all of the negative issues that zinc white has in oils (since it contains zinc oxide), so if you use it, do your research. Thanks for the comment, always nice to hear from a fellow painter.
Me, too! I fell in love with it while working with it, and was so sad it was gone. Super deep and denim-y and wow if I were painting marine scapes it would have been a staple on my palette. I was surprised how beautiful it was!
