Training Example: Gamblin Artists Colors – Review the Data, Give Your Score & Compare to the Real AI Evaluation

Designed with hue in mind. Learn moreDiscover top-notch gaming at both Lincoln Casino and Uptown Pokies, where excitement and rewards await you. At Lincoln Casino, players can enjoy a broad selection of games, from classic slots to table games, all on a secure and user-friendly platform. If you’re looking for even more action, Uptown Pokies is a prime destination for pokies enthusiasts, offering generous bonuses and a wide range of games. With both casinos, you can dive into an incredible gaming experience, complete with thrilling promotions, big wins, and non-stop entertainment. Sign up today and start your winning journey! Finally. Useful Greens. Learn moreDiscover top-notch gaming at both Lincoln Casino and Uptown Pokies, where excitement and rewards await you. At Lincoln Casino, players can enjoy a broad selection of games, from classic slots to table games, all on a secure and user-friendly platform. If you’re looking for even more action, Uptown Pokies is a prime destination for pokies enthusiasts, offering generous bonuses and a wide range of games. With both casinos, you can dive into an incredible gaming experience, complete with thrilling promotions, big wins, and non-stop entertainment. Sign up today and start your winning journey! Open post by gamblincolors with ID 17994885152959448
[IMG: Introducing: Cobalt Turquoise. Initially debuted as a complimentary sample at the 2017 Plein Air Convention and Expo, Cobalt Turquoise has officially joined our Artist Grade oil colors. Pigments have to be truly useful and create meaningful, new possibilities to earn a place on our palette. Cobalt Turquoise is one of them and stands out as the only single-pigment turquoise available to artists. Within our family* of Cobalt colors, Cobalt Turquoise occupies the space between Cobalt Teal and Cobalt Green, offering a livelier alternative to Cobalt Green. While many mineral inorganic pigments lose their vibrancy when mixed, Cobalt Turquoise maintains exceptional chroma when tinted with Titanium White. Meanwhile, when compared to Phthalo Turquoise, this pigment is more natural looking and less intense. We hope this color earns a place on your palette and serves you well, whether you are utilizing it as a mixing tool for skin undertones or for capturing everything from underwater seascapes to deep evergreen trees. * One other special member of our Cobalt family was left out for this video, Cobalt Violet! Stay tuned for a feature on that one in the future. #gamblincolors #welovehue #oilpainting #turquoise #color]
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[IMG: Hands down the loudest color we’ve ever made: 1980 Hot Pink - with @andrewcadima Inspired by the Hot Pinks of the 1980s. Even more intense. Barbie’s pale in comparison. Formulated with a Fluorescent Pink pigment for maximum pop. So bright our Master Paintmakers have to wear safety glasses with green lenses when they mix and mill it. Using specialty grade daylight fluorescent pigment, we were able to hit peak ‘80s Pop intensity with this one. Use the intensity to amplify all your cooler green, blue and violet colors. “Sleep” by Andrew Cadima
11” x 17” oil on panel #gamblincolors #welovehue #oilpainting #hotpink #color]
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[IMG: Dive into our new 1980 Teal with @andrewcadima … this color is a throwback to the bold geometry and bright palette of the LA ‘84 Summer Olympic Games, and a companion to the Hot Pink and Hot Violet duo. We developed this color as a way to bring the brilliance of Artist Grade Radiant Turquoise and Green into the 1980 collection. Like the Radiant series, Teal is a high key tint composed of modern organic pigments, Phthalo Emerald and Phthalo Green. “Sleep” by Andrew Cadima
11” x 17” oil on panel #gamblincolors #welovehue #oilpainting #paintingtimelapse #teal]
Open post by gamblincolors with ID 18174525544399951
[IMG: Dial up some #skyblue with Sevres Blue, one of our newest colors available in both Artist Grade and 1980. Inspired by the iconic glazes of 18th-century Sevres Porcelain, Sevres Blue is a modern interpretation of a classic. We combined both the red and green shade of phthalo blue in order to create a more balanced true blue. Mid-range in tint, this color formulation allows the modern blue pigments to be as bold as they are bright. Sevres Blue is especially effective for depicting open skies, evoking the clarity and depth of the upper atmosphere. Enhance your color palette and embrace a pronounced look with Gamblin Sevres Blue. #gamblincolors #sevres #oilpainting #experiencecolor]
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[H3] Finally. Useful Greens.
We see green better than any other color. Not only does green occupy a large chunk of the color spectrum, but it’s also at the center of the spectrum where we see color most accurately. Green pigments give us access to roughly half that colorspace – mostly just the cool side of green. This is why warm greens can only be achieved through mixing. This presents challenges in the studio, and especially out in the field. Many pigment combinations fall short at producing a warm, natural-looking green. Finding the right balance requires careful adjustment and experimentation. And a willingness to start over. Until now, painters have had a tough choice between getting single-pigment greens to cooperate with their intention, or eschewing tube greens and mixing their own.  As a colorhouse, we have an arsenal of pigments and color mixing is our life’s work. We set out to create truly useful, workhouse greens and blues. Colors that work together, that party well with the colors already on your palette, and that give painters ideal starting points for capturing the landscape, floral still lifes, and all other natural colors between yellow-greens and blue-greens.Built on traditional, bullet-proof, and versatile mineral pigments, they can do it all. Capable of cadmium-like opacity and yet easy to extend for glaze layers. Easily mutable in mixtures where you don’t want a color taking over your palette or your painting. Our Useful Greens move diagonally through green in colorspace, from the blue-green cool of an alpine forest, to the deep, moss green of a forest floor, to the middle green of the understory or bushes, to the sunlit warmth and light of the forest canopy. Our Useful Greens were also formulated with Indigo in mind. Use Indigo where you want the deepest blues of a forest or, tinted with white, the blues of distant mountains. Take your paintings further, faster and paint confidently with greens you can count on.
[H3] Finally. Useful Greens.
We see green better than any other color. Not only does green occupy a large chunk of the color spectrum, but it’s also at the center of the spectrum where we see color most accurately. Green pigments give us access to roughly half that colorspace – mostly just the cool side of green. This is why warm greens can only be achieved through mixing. This presents challenges in the studio, and especially out in the field. Many pigment combinations fall short at producing a warm, natural-looking green. Finding the right balance requires careful adjustment and experimentation. And a willingness to start over. Until now, painters have had a tough choice between getting single-pigment greens to cooperate with their intention, or eschewing tube greens and mixing their own. As a colorhouse, we have an arsenal of pigments and color mixing is our life’s work. We set out to create truly useful, workhouse greens and blues. Colors that work together, that party well with the colors already on your palette, and that give painters ideal starting points for capturing the landscape, floral still lifes, and all other natural colors between yellow-greens and blue-greens.Built on traditional, bullet-proof, and versatile mineral pigments, they can do it all. Capable of cadmium-like opacity and yet easy to extend for glaze layers. Easily mutable in mixtures where you don’t want a color taking over your palette or your painting. Our Useful Greens move diagonally through green in colorspace, from the blue-green cool of an alpine forest, to the deep, moss green of a forest floor, to the middle green of the understory or bushes, to the sunlit warmth and light of the forest canopy. Our Useful Greens were also formulated with Indigo in mind. Use Indigo where you want the deepest blues of a forest or, tinted with white, the blues of distant mountains. Take your paintings further, faster and paint confidently with greens you can count on. The warmest and lightest of our Useful Greens. Canopy Green is the color of the warmest areas of a tropical palm tree. In color space, it is located where green and yellow come together.In color space, it is located where green and yellow come together. Using the Munsell color system, we can identify the color space corridor where Canopy Green resides as the wedge between 10Y and 2.5GY.Pigment: PY35, PY83, PB29Vehicle: Alkali refined linseed oilLightfastness I, Series 2, Semi-transparentColor Temperature: Warm The middle green in our family of Useful Greens. This is your mid-value, bulk green.Ideal for capturing bushes, shrubs, forest understory, and foothills in the foreground. The colors found in a savannah or cactus. Chromium Oxide can get you close to this colorspace. But unlike Chromium Oxide Green, Bush Green retains greater warmth and chroma in tints.Pigment: PY35, PY43, PB29Vehicle: Alkali refined linseed oilLightfastness I, Series 2, Semi-transparentColor Temperature: Warm The deep, warm moss green of the forest floor. Ideal for dark areas or shadows in trees and forests and other flora.This is your go-to for blanketing the undergrowth and tucking the shadows in. Forest Floor is composed of our warmest shade of cadmium yellow and our warmest blue. Cooler than Canopy Green and Bush Green, but still very much on the warm side of green.Pigment: PY37, PB29Vehicle: Alkali refined linseed oilLightfastness I, Series 2, Semi-transparent Color Temperature: Warm  The coldest and bluest of our Useful Greens. The blue-greens of alpine forests, valleys, and distant mountains.Useful in tints for distant foothills and mountains. Useful for evergreens and high elevation foliage, Alpine Blue-Green’s reduced temperature helps convey warm greens that appear cool through the blue of distance. Pigment: PB28, PBr7, PW6Vehicle: Alkali refined linseed oilLightfastness I, Series 2, Semi-transparent Color Temperature: Cool A true, deep, indigo blue. Formulated to work perfectly as a rich blue to mix with our Useful Greens. Indigos formulated with modern pigments are overpowering in mixtures and too green…always landing at a minty green that’s easy to get other ways and too cool in temperature.Our indigo is softer in intensity, so it works so much better with the colors already on your palette. We put time and effort into striking the right balance between mineral and modern pigments. By formulating our indigo with the earthy and moderate to low tint strength Ultramarine Violet and Raw Sienna, we give artists an indigo with more range and subtlety.Our Indigo offers the depth of a chromatic black without overwhelming the palette, while providing easy access to smokey blue glazes when thinned. It also greys down easily in tints and is mutable in mixtures.Pigment: PB15:2, PV15, PBr7Vehicle: Alkali refined linseed oilLightfastness I, Series 3, Semi-transparentColor Temperature: Cool
[H2] What artists are saying…
Paul Batch“Palms at First Light”Of the greens, what stood out to me wasn’t just the value range, but the subtle temperature shifts between them. That range made it much easier to move through passages of light and shadow without having to overmix or dull the color.In this piece especially, I was able to keep the greens feeling natural and atmospheric while still maintaining clarity and separation in the light. The cooler notes helped push space and depth, while the warmer greens carried the light beautifully through the foreground. Jessica Pisano “Afternoon Stillness I”To paint foliage I typically mix a variety of colors together to achieve the different tonal values that I’m looking for, but with Gamblin’s new greens I’ve been using them straight from the tube.Their Forest Floor Green, Bush Green and Canopy Green are out of the tube perfection for creating realistic leaves! TJ Cunningham “Watching the Shepherd”I found the new greens, Canopy Green, Bush Green, Radiant Warm Green, and Forest Floor especially helpful because they’re more desaturated than the pure greens I typically use, like Viridian or Sap Green. That meant I could bring them straight onto the palette and work them into my mixtures without having to constantly neutralize. They also offer a really useful range in temperature, value, and saturation, which made it easier to vary my paint mixtures.Painting grass in sunlight can be difficult to manage without things getting too intense or artificial, and these made that process feel much more natural and manageable. I especially loved Canopy Green—it has a warm, neutral quality while still clearly reading as green, which made it very versatile throughout the painting. Michael Chesley Johnson “A Mountain of Green”I was rather pleased with how well these colors worked together—not surprising, since the palette is very limited and has mostly analogous colors.I started with Canopy Green, a very light and warm green, and Bush Green, a darker but also warm green, scrubbed in the color thinly with Gamsol to achieve a little tranparency. Then I added darker passages in with Forest Floor Green, and for the very deepest shadows, I used Indigo. For the very distant trees, I used Alpine Blue-Green.The sky required a very rich note, so I brushed in Cobalt Turquiose mixed with enough white to make it lighter than anything else in the painting, except for the Canopy Green areas, which I wanted to keep even lighter. If I felt some of the deepest darks were too much, so I lightened them a little, not with white, but the next lighter green on my palette.  Hazel Miller“Summer Canopy”When light shines through the trees overhead, the leaves emit a special glow that feels both cool and warm at once. I was thinking about this phenomenon as I studied a photo taken at the Bill Jarvis Bird Sanctuary. When I got to work translating my photo into a painting, Gamblin Canopy Green captured this effect perfectly!  Jimena Agra“Luna”Indigo is my favorite way to paint the night. It has a subtle hint of blue, but it’s beautifully muted compared to other blues on the palette. I love using it to gray down other hues and create depth without overpowering the painting.I used it extensively in Luna, where I wanted a soft, muted starry night so she could gently stand out. It’s a gorgeous color not only for night skies, but also in landscapes and even portraits.  Clare Carver These news greens are a fun new path to different greens that I see out in naturee esp plein air painting in the Pacific Northwest. I’ve also enjoyed putting them into my pallett in my botanical studio work.
[H4] Learn more about all our NEW Artist Grade and 1980 oil colors!
New Colors
[H4] Take me back to the Experience Color menu
Experience Color

[H2] Why 24 new colors? What’s next?
We are colormakers. This is what we do. Everything truly great we’ve created has come from listening. These colors are a product of that. Behind each one is years of insight from artists we work closely with, our own studio practices, your feedback, and a relentless dedication to getting it right.On average, we can discern about five million shades of color. As painters and a colorhouse, we have less than 100 pigments that meet our standards for oil painting. And what pigments we have to work with not only vary widely in working properties but they are also scattered unevenly through color space like constellations, bunches here and there and often wide gaps with no pigment to fill them.We began this chapter in color development several years ago, and we are nowhere near finished. We have more colors on the way that solve real problems for painters and create meaningful, new possibilities. We’re painters too. As we continue our work, count on us to put our heads, hearts, hands, and everything we’ve learned into everything we do. If there’s a better way, we will find it. We always do.We look forward to hearing from you. Always forward. Together.
[H2] What are the new Artist Grade colors?
[H2] Now take a closer look. Click the swatches below to enlarge.More inspiration can be found by clicking the color name.
Tint = Color + Titanium Zinc WhiteTone = Color + Portland Grey MediumShade = Color + Chromatic Black
[H3] Coral
Our Artist Grade Coral skirts the boundary between red and orange hue families. We felt that there are so many interpretations of what Coral can be, from red to orange shades and from deep to pale values. Our interpretation of Coral in Artist Grade is deeper and bolder, with full-tilt coral intensity.Pigment: PO62, PR188, PW6Vehicle: Alkali refined linseed oil Lightfastness II, Series 2, Opaque Color Temperature: Warm
[H3] Radiant Warm Green
Our range of Radiant colors includes warm and cool tints in the red, yellow, and blue hue families. With the addition of Radiant Warm Green, painters now have a warm and cool green to choose from.Pigment: PY3, PG36, PW6Vehicle: Alkali refined linseed oilLightfastness II, Series 2, OpaqueColor Temperature: Warm
[H3] Radiant Orange
Radiant Orange is a warm, central orange that fits between our Radiant Yellow and Radiant Red. Our Radiants work together as a system of accent colors that also enable artists to easily and predictably punch-up the color and intensity in their paintings.Pigment: PO62, PY75, PW6Vehicle: Alkali refined linseed oilLightfastness I, Series 2, OpaqueColor Temperature: Warm
[H3] Azure
We took the same approach to designing Azure that we used to develop our Radiants. We began with a modern organic pigment as the foundation and then pushed it toward its limit in tint. Our intention was to craft a sky blue that was warmer and paler than Sevres, and that could fit right between Radiant Blue and Radiant Turquoise in color space.Pigment: PB15:2, PB29, PW6Vehicle: Alkali refined linseed oilLightfastness I, Series 2, OpaqueColor Temperature: Warm
[H3] Shell Pink
Lighter than our Radiants in value, with softer chroma. Shell Pink can bring soft rosy warmth to faces and places. Like Coral, we had to nudge our warmest red further toward yellow color space. We pushed Napthol Scarlet and Hansa Yellow Light to the very edge of their tinting strength to get the perfect color and intensity.Pigment: PR188, PY3, PW6Vehicle: Alkali refined linseed oilLightfastness II, Series 2, OpaqueColor Temperature: Warm
[H3] Kings Blue
A traditional Kings Blue, indispensable for painting sky and water. Warmer and more violet than our Radiant Blue and deeper in value. Our Artist Grade formulation is deeper in value than our 1980 interpretation of this color.Pigment: PB29, PW6Vehicle: Alkali refined linseed oilLightfastness I, Series 2, OpaqueColor Temperature: Warm
[H3] Cobalt Turquoise
Pigments have to be truly useful and create meaningful, new possibilities to earn a place on our palette. Cobalt Turquoise is one of them and stands out as the only single-pigment turquoise available to artists. Livelier than our Cobalt Green, this color lives in color space between Cobalt Teal and Cobalt Green. More opaque, more natural looking, and less intense than Phthalo Turquoise.This color was first introduced in 2017 as a free sample at the Plein Air Convention and Expo. Many thanks to the countless artists who encouraged us to produce this color.Pigment: PB36Vehicle: Alkali refined linseed oilLightfastness I, Series 4, OpaqueColor Temperature: Cool
[H3] Sevres Blue
Inspired by the iconic glazes of 18th-century Sevres Porcelain, Sevres Blue is a modern interpretation of a classic. We combined red and green shade phthalo blue pigments in order to create a more balanced blue—you’ll find that it’s warmer than Cerulean Blue Hue while cooler than tints of our Phthalo Blue. Great for depicting open skies, Sevres can be particularly useful towards the top of a composition, where the sky radiates its deepest and richest blues, evoking the clarity and depth of the upper atmosphere.Pigment: PB15:4, PB15:2, PW6Vehicle: Alkali refined linseed oilLightfastness I, Series 2, OpaqueColor Temperature: Cool
[H3] Alpine Blue-Green
The coldest and bluest of our Useful Greens. The blue-greens of alpine forests, valleys, and distant mountains. Useful in tints for distant foothills and mountains. Useful for evergreens and high elevation foliage, Alpine Blue-Green’s reduced temperature helps convey warm greens that appear cool through the blue of distance. Learn more. Pigment: PB28, PBr7, PW6Vehicle: Alkali refined linseed oilLightfastness I, Series 2, Semi-transparentColor Temperature: Cool
[H3] Forest Floor Green
The deep, warm moss green of the forest floor. Ideal for dark areas or shadows in trees and forests and other flora. This is your go-to for blanketing the undergrowth and tucking the shadows in. Forest Floor is composed of our warmest shade of cadmium yellow and our warmest blue. Cooler than Canopy Green and Bush Green, but still very much on the warm side of green. Learn more. Pigment: PY37, PB29Vehicle: Alkali refined linseed oilLightfastness I, Series 2, Semi-transparentColor Temperature: Warm
[H3] Bush Green
The middle green in our family of Useful Greens. This is your mid-value, bulk green. Ideal for capturing bushes, shrubs, forest understory, and foothills in the foreground. The colors found in a savannah or cactus. Chromium Oxide can get you close to this colorspace. But unlike Chromium Oxide Green, Bush Green retains greater warmth and chroma in tints. Learn more. Pigment: PY35, PY43, PB29Vehicle: Alkali refined linseed oilLightfastness I, Series 2, Semi-transparentColor Temperature: Warm
[H3] Canopy Green
The warmest and lightest of our Useful greens. Canopy Green is the color of the warmest areas of a tropical palm tree. In color space, it is located where green and yellow come together. Using the Munsell color system, we can identify the color space corridor where Canopy Green resides as the wedge between 10Y and 2.5GY. Learn more. Pigment: PY35, PY83, PB29Vehicle: Alkali refined linseed oilLightfastness I, Series 2, Semi-transparentColor Temperature: Warm
[H3] Indigo
A true, deep, indigo blue. Formulated to work perfectly as a rich blue to mix with our Useful Greens. Indigos formulated with modern pigments are overpowering in mixtures and too green…always landing at a minty green that’s easy to get other ways and too cool in temperature.Our Indigo offers the depth of a chromatic black without overwhelming the palette, while providing easy access to smokey blue glazes when thinned. It also greys down easily in tints and is mutable in mixtures.Pigment: PB15:2, PV15, PBr7Vehicle: Alkali refined linseed oilLightfastness I, Series 3, Semi-transparentColor Temperature: Cool
[H3] Indigo
A true, deep, indigo blue. Formulated to work perfectly as a rich blue to mix with our Useful Greens. Indigos formulated with modern pigments are overpowering in mixtures and too green…always landing at a minty green that’s easy to get other ways and too cool in temperature.Our Indigo offers the depth of a chromatic black without overwhelming the palette, while providing easy access to smokey blue glazes when thinned. It also greys down easily in tints and is mutable in mixtures.Pigment: PB15:2, PV15, PBr7Vehicle: Alkali refined linseed oilLightfastness I, Series 3, Semi-transparentColor Temperature: Cool
[H2] Tell me more about the new 1980 Colors
Buttery texture. Bold opacity. Vivid personality. Some of these colors you’ll recognize with their Artists Grade counterparts, namely: Kings Blue, Sevres Blue and Coral. For our 1980 range, rather than replicating the flagship series color with reduced pigment load, we chose to offer a different shade for these colors. By only reducing the concentration of one of their pigments rather than making a reduction across the board, their formulations impart a paler and gentler interpretation.Other colors are both entirely new and unique to our 1980 range. Think of the 80s—a decade so loud we still hear its echoes in contemporary art, music, and popular culture. These colors aren’t meant to sit quietly behind museum glass. They’re made to electrify your artwork and gallery walls on opening night. Our fluorescents deliver maximum pigment load. With Hot Pink and Hot Violet you’re actually getting Artist Grade levels of pigment concentration. These hot colors don’t hold back and neither did we.
[H2] Meet the new Gamblin 1980 additions
[H2] Click the swatches below to enlarge.More inspiration can be found by clicking the color name.
Tint = Color + Titanium Zinc WhiteTone = Color + Portland Grey MediumShade = Color + Chromatic Black
[H3] Hot Pink
Inspired by the Hot Pinks of the 1980s. Even more intense. Hands down the loudest color we’ve ever made. Barbie’s pale in comparison. Formulated with a Fluorescent Pink pigment for maximum pop. So bright our Master Paintmakers have to wear safety glasses with green lenses when they mix and mill it. Using specialty grade daylight fluorescent pigment, we were able to hit peak ‘80s Pop intensity with this one. Use the intensity to amplify colors within the red, blue, and violet hue families.Pigment: PW6, N/A (Fluorescent Pink Pigment)Vehicle: Alkali refined linseed oilLightfastness V *, Series 2, OpaqueColor Temperature: Warm
[H3] Hot Violet
In our range of oil colors, we have two warm violets and four cool violets. None of them bring the Miami heat like Hot Violet does. You can turn up the thermostat on cool blues and violets, or mix with Hot Pink to create a simmering, sultry Magenta. Like its pink counterpart, this fluorescent color brings a level of opacity and covering power unseen by other fluorescents and well beyond the quinacridone family of pigments. Pigment: PW6, N/A (Fluorescent Violet Pigment)Vehicle: Alkali refined linseed oilLightfastness V *, Series 2, OpaqueColor Temperature: Warm
[H3] Cool Violet
We developed Cool Violet as a way of addressing a big gap in color space in the region of blue-violet. When you look at single-pigment violets—Cobalt, Ultramarine, Manganese, and Dioxazine—they’re all relatively close in color space. For our Cool Violet, we pushed Dioxazine Purple into blue-violet territory, moderated its overpowering strength, and gave it more opacity with the addition of Ultramarine Blue. Then we lightened it and brought out the blue-violet with Titanium White—placing it in color space at Munsell 10PB and filling a huge gap in the violets available to artists.Pigment: PV23, PB29, PW6Vehicle: Alkali refined linseed oilLightfastness I, Series 2, OpaqueColor Temperature: Cool
[H3] Teal
Teal is a throwback to the bold geometry and bright palette of the LA ‘84 Summer Olympic Games, and a companion to the Hot Pink and Hot Violet duo. We developed this color as a way to bring the brilliance of Artist Grade Radiant Turquoise and Green into the 1980 collection. Like the Radiant series, Teal is a high key tint composed of modern organic pigments, Phthalo Emerald and Phthalo Green.  Pigment: PG7, PG36, PW6Vehicle: Alkali refined linseed oil Lightfastness I, Series 2, Opaque Color Temperature: Cool
[H3] Coral
We felt that there are so many interpretations of what Coral can be, from red to orange shades and from deep to pale values. Our interpretation for 1980 Coral is a paler and gentler, leaning towards a sun-warmed, coral glow rather than full-tilt coral intensity of its Artists Grade counterpart. Pigment: PO62, PR188, PW6Vehicle: Alkali refined linseed oilLightfastness II, Series 2, Opaque Color Temperature: Warm
[H3] Cadmium Lemon
Cadmium Lemon is the coolest in temperature of our cadmium yellows. In comparison to our Artist Grade Cadmium Lemon, we chose to make Cadmium Lemon 1980 slightly cooler and paler. Pigment: PY35, PY3Vehicle: Alkali refined linseed oilLightfastness II, Series 3, Opaque Color Temperature: Cool
[H3] Sevres Blue
1980 Sevres is a lighter, crisp blue compared to our Artist Grade formulation. In mixtures, Sevres can be used to amp up the intensity of Cerulean Blue. Great for depicting open skies, Sevres can be particularly useful towards the top of a composition, where the sky radiates deep rich blues, evoking the clarity and depth of the upper atmosphere. Pigment: PB15:2, PB15:4, PW6Vehicle: Alkali refined linseed oilLightfastness I, Series 2, OpaqueColor Temperature: Cool
[H3] Kings Blue
A traditional Kings Blue, indispensable for painting sky and water. Our 1980 formulation is lighter in value than our Artist Grade interpretation of this color. Warmer than our Radiant Blue and slightly deeper in value. Kings Blue brings out a warm rich tint, and was prized by royal families of 18th and 19th century Western Europe. Less violet and more opaque than blues formulated with smalt.Pigment: PB29, PW6Vehicle: Alkali refined linseed oilLightfastness I, Series 2, Opaque Color Temperature: Warm
[H3] Natural White
Of all the whites in the natural world, very few are pure, perfectly neutral, gallery wall whites. With Natural White, our intention was to create the perfect white for mixing colors of the natural world. A truly useful tool for painting both people and places. Natural White is ideal for mixing the colors of birches, aspens, fields, prairie, and so on. Simply put, Natural White helps your mixtures get where you want them to be. More neutral and muted than the Warm White in our Artist Grade Range. Lighter, warmer, and less saturated than Titanium Buff.Color Temperature: WarmPigments: PBr7, PW6Binder: Safflower OilLightfastness: IOpaqueSeries 1
[H3] Denim
Indigo and Denim Blue were developed for our AG and 1980 palette, drawing inspiration from the timeless character of mid-century selvedge denim workwear and British Royal Airforce blues. Denim Blue 1980 is a versatile, muted blue with a subtle indigo undertone. We liked one of Indigo’s

[H1] Contact Gamblin
[H5]
Our website offers an extensive range of technical knowledge. Please take time to look around as you may find your answers here.Is your question related to Gamvar Picture Varnish?Check out our Gamvar F.A.Q resources page before submitting an email.  Still have questions? Utilize the email submission form below.
[H5] Email Gamblin
Need more support?Click Here to book time to speak with our Product Specialist.
[H5]
[H3] Curious about how our colors are made and the people behind your paint?
[H5]
[H2] Company Information
[H5] Samples and free products
[H3] Do you have samples?
Gamblin does not have any samples at this time.
[H3] Do you have a sponsorship program?
Gamblin supports artists through several different channels.To name a few, we support senior painting students at art schools and universities throughout the US, we support arts organizations and museum conservation laboratories, and through our website and painter support line, we offer painters access to the most current information on oil painting materials and techniques.As a small manufacturer, we do not have a sponsorship or samples program for individual artists. Indeed, it would be very difficult to choose from so many talented oil painters making such requests.
[H5] Awards and donations
[H3] Do you make donations to events and organizations?
Yes, we do! We have a limited number of Gift Packages that we award every quarter. Please fill out the Gamblin Donation Application to be considered.
[H5] Tours
[H3] Do you offer factory tours?
Yes! We offer tours on a scheduled basis and would love to meet you. To request a tour of the factory please contact devin@gamblincolors.com. Tours typically take place on Monday, Wednesday, and Thursday mornings.Please understand that we cannot accommodate all dates and scheduling at least two weeks in advance is highly recommended.
[H5] Employment
[H3] Is Gamblin hiring?
We are not currently hiring.   Open post by gamblincolors with ID 17994885152959448
[IMG: Introducing: Cobalt Turquoise. Initially debuted as a complimentary sample at the 2017 Plein Air Convention and Expo, Cobalt Turquoise has officially joined our Artist Grade oil colors. Pigments have to be truly useful and create meaningful, new possibilities to earn a place on our palette. Cobalt Turquoise is one of them and stands out as the only single-pigment turquoise available to artists. Within our family* of Cobalt colors, Cobalt Turquoise occupies the space between Cobalt Teal and Cobalt Green, offering a livelier alternative to Cobalt Green. While many mineral inorganic pigments lose their vibrancy when mixed, Cobalt Turquoise maintains exceptional chroma when tinted with Titanium White. Meanwhile, when compared to Phthalo Turquoise, this pigment is more natural looking and less intense. We hope this color earns a place on your palette and serves you well, whether you are utilizing it as a mixing tool for skin undertones or for capturing everything from underwater seascapes to deep evergreen trees. * One other special member of our Cobalt family was left out for this video, Cobalt Violet! Stay tuned for a feature on that one in the future. #gamblincolors #welovehue #oilpainting #turquoise #color]
Open post by gamblincolors with ID 18073890878288806
[IMG: Hands down the loudest color we’ve ever made: 1980 Hot Pink - with @andrewcadima Inspired by the Hot Pinks of the 1980s. Even more intense. Barbie’s pale in comparison. Formulated with a Fluorescent Pink pigment for maximum pop. So bright our Master Paintmakers have to wear safety glasses with green lenses when they mix and mill it. Using specialty grade daylight fluorescent pigment, we were able to hit peak ‘80s Pop intensity with this one. Use the intensity to amplify all your cooler green, blue and violet colors. “Sleep” by Andrew Cadima
11” x 17” oil on panel #gamblincolors #welovehue #oilpainting #hotpink #color]
Open post by gamblincolors with ID 18114667000797675
[IMG: Dive into our new 1980 Teal with @andrewcadima … this color is a throwback to the bold geometry and bright palette of the LA ‘84 Summer Olympic Games, and a companion to the Hot Pink and Hot Violet duo. We developed this color as a way to bring the brilliance of Artist Grade Radiant Turquoise and Green into the 1980 collection. Like the Radiant series, Teal is a high key tint composed of modern organic pigments, Phthalo Emerald and Phthalo Green. “Sleep” by Andrew Cadima
11” x 17” oil on panel #gamblincolors #welovehue #oilpainting #paintingtimelapse #teal]
Open post by gamblincolors with ID 18174525544399951
[IMG: Dial up some #skyblue with Sevres Blue, one of our newest colors available in both Artist Grade and 1980. Inspired by the iconic glazes of 18th-century Sevres Porcelain, Sevres Blue is a modern interpretation of a classic. We combined both the red and green shade of phthalo blue in order to create a more balanced true blue. Mid-range in tint, this color formulation allows the modern blue pigments to be as bold as they are bright. Sevres Blue is especially effective for depicting open skies, evoking the clarity and depth of the upper atmosphere. Enhance your color palette and embrace a pronounced look with Gamblin Sevres Blue. #gamblincolors #sevres #oilpainting #experiencecolor]
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