Art Spectrum

PR

OFE

SSION

AL

QU

AL

ITY

AR

TIS

TS’O

ILC

OL

OU

RS

Art Spectrum

PR

OFE

SSION

AL

QU

AL

ITY

AR

TIS

TS’O

ILC

OL

OU

RS

Titaniu

m Yello

wS2****

ASTM

I s

Ind

ian Yello

wS2****

ASTM

I o

Spectru

m V

ermilio

n

S1***A

STM II n

Spectru

m C

rimso

nS1****

ASTM

I o

Cad

miu

m M

aroo

nS5****

ASTM

I n n

Flind

ers Blu

e Vio

letS3****

ASTM

I s

Spectru

m B

lue

S1****A

STM I s

Sapp

hire

S2****A

STM I o

Terre Verte Trad

ition

alS1****

ASTM

I o

Au

stralian G

reyS2****

ASTM

I n

Italian Pin

kS3****

ASTM

I oTran

sparen

t Oran

ge O

xide

S1****A

STM I o

Paynes G

reyS1****

ASTM

I s

Lemo

n Yello

wS1***

ASTM

II s

Cad

miu

m Yello

w D

eepS4****

ASTM

I n n

Cad

miu

m R

edS4****

ASTM

I n n

Perman

ent R

ose

S4****A

STM I o

Flind

ers Red

Vio

letS3****

ASTM

I o

Min

eral Vio

letS4****

ASTM

I s

Co

balt B

lue

S4****A

STM I s

Turq

uo

iseS3****

ASTM

I n

Oxid

e Of C

hro

miu

mS3****

ASTM

I n

Nap

les Yellow

S1****A

STM I n

Au

stralian R

ed G

old

S3****A

STM I o

Transp

arent R

ed O

xide

S2****A

STM I o

Zinc W

hite

S1****A

STM I n

Cad

miu

m Yello

w Lig

ht

S4****A

STM I n

n

Spectru

m O

rang

eS1***

ASTM

II n

Spectru

m R

ed D

eepS1***

ASTM

II n

Alizarin

Crim

son

S4** A

STM III o

Perman

ent M

agen

taS3****

ASTM

I o

Perman

ent M

auve

S2****A

STM I o

Co

balt B

lue D

eepS4****

ASTM

I s

Co

balt G

reenS4****

ASTM

I s

Cad

miu

m G

reenS4****

ASTM

I n n

Jaun

e Brillian

tS1****

ASTM

I n

Bu

rnt Sien

na

S1****A

STM I s

Permanent Vandyke Brow

nS1****

ASTM

I s

Titaniu

m W

hite

S1****A

STM I n

Spectru

m Yello

wS1***

ASTM

I s

Cad

miu

m O

rang

eS4****

ASTM

I n n

Flesh Tin

tS1****

ASTM

I n

Perman

ent C

rimso

nS3****

ASTM

I o

Co

balt V

iolet

S5****A

STM I o

LilacS2****

ASTM

I n

Phth

alo B

lue

S1****A

STM I o

Au

stralian Leaf G

reen B

lue

S3****A

STM I n

Spectru

m G

reen Lig

ht

S1***A

STM II s

Nap

les Yellow

Red

dish

S1****A

STM I n

Bro

wn

Pink

S3****A

STM I o

Raw

Um

ber

S1****A

STM I s

Titaniu

m W

hite 2

S2****A

STM I n

Au

reolin

S5***A

STM II o

Co

ralS3****

ASTM

I s

Flesh Tin

t Deep

S1****A

STM I n

Pilbara R

edS3****

ASTM

I s

Co

balt V

iolet D

arkS5****

ASTM

I o

Tasman

Blu

eS3****

ASTM

I n

Man

gan

ese Blu

e Hu

eS1****

ASTM

I s

Spectru

m Em

eraldS1***

ASTM

II n

Au

stralian Leaf G

reen Lig

ht

S3****A

STM I s

Yellow

Och

reS1****

ASTM

I n

Bu

rnt U

mb

erS1****

ASTM

I s

Go

ld

S3 BW

S8 n

Un

derp

aintin

g W

hite

S1****A

STM I n

Cad

miu

m Yello

wS4****

ASTM

I n n

Cad

miu

m Scarlet

S4****A

STM I n

n

Ro

se Do

reS4****

ASTM

I o

Qu

inacrid

on

e Maro

on

S4****A

STM I o

Spectru

m V

iolet

S1****A

STM I s

French

Ultram

arine

S3****A

STM I s

Spectru

m C

erulean

S1****A

STM I s

Virid

ianS4****

ASTM

I o

Au

stralian G

reen G

old

S3****A

STM I s

Transp

arent G

old

Oxid

eS2****

ASTM

I o

Ligh

t Red

S1****A

STM I n

Transp

arent B

row

n Earth

S1****A

STM I o

Clear O

ilS2****

ASTM

NT o

Go

lden

Yellow

S2***A

STM II n

Spectru

m R

edS1***

ASTM

II n

Ro

se Mad

der

S5****A

STM I o

Cad

miu

m R

ed D

eepS4****

ASTM

I n n

Flinders Blue Violet D

arkS3****

ASTM

I sU

ltramarin

e Blu

eS1****

ASTM

I s

Ceru

lean B

lue

S4****A

STM I s

Phth

alo G

reenS1****

ASTM

I o

Au

stralian Leaf G

reen D

arkS3****

ASTM

I s

Ind

ian R

edS1****

ASTM

I nSilver

S3 BW

S8 n

Transp

arent B

lackS1****

ASTM

I o

Prussian

Blu

eS1****

ASTM

I s

Spectru

m V

iridian

S1****A

STM I o

Sap G

reenS2****

ASTM

I o

Mars V

iolet

S1****A

STM I n

Co

pp

er S3 B

WS8 n

Ivory B

lackS1****

ASTM

I n

Ind

igo

Blu

eS2****

ASTM

I s

Terre Verte

S1****A

STM I s

Olive G

reenS2****

ASTM

I s

Raw

Sienn

aS1****

ASTM

I s

Transp

arent Pin

k Oxid

eS1****

ASTM

I o

Bro

nze

S3 BW

S8 n

Lamp

Black

S1****A

STM I n

Au

stralian Yello

w G

reenS2****

ASTM

I sA

ustralian

Green

Grey

S1****A

STM I s

Art Spectrum

oil colours give the artist coloursw

hich are pure, brilliant and intense, and which

remain that w

ay. Only the very best pigm

entshave been used and are stated on every tube.

For more inform

ation, visitw

ww

.artspectrum.com

.au.LE

GEN

D:

ASTM

Ap

pro

ved Perm

anen

t Co

lou

rs. Am

erican So

ciety for Testin

g an

dM

aterials, con

form

ing

to stan

dard

D4302-90.

ASTM

I:Excellen

t Ligh

tfastness

ASTM

II:V

ery Go

od

Ligh

tfastness

ASTM

III: Fair Lig

htfastn

essO

ur aim

is to p

rod

uce th

e finest, p

erman

ent artists’ co

lou

rs. On

go

ing

research an

d d

evelop

men

t may m

ean th

at specificatio

ns m

ay chan

ge

with

ou

t prio

r no

tice.Perm

anen

ce Ratin

g: ****

Excellent ***Very G

ood

Our aim

is to produce the finest, permanent artists’ colours. O

ngoing research and development

may m

ean that specifications and colour may change w

ithout prior notice. Refer to our website

for more up to date inform

ation. Colours are as close as possible using m

odern printing techniques.

WA

RN

ING

oTransparent

sSem

i-transparentn

Opaque

Do

no

t spray ap

ply C

adm

ium

colo

urs. If sw

allow

edseek m

edical ad

vice. Keep

ou

t of reach

of ch

ildren

.

BW

S8:

Blue Wool Scale, M

aximum

Lightfastness

1232_newoilchart#1_Layout 1 12/02/13 4:39 P

M P

age 1

Professional Quality Artists’ Oil ColoursProfessional Quality Artists’ Oil ColoursMaintaining the Classic TraditionArt Spectrum are Australia’s most respected oil paints because they conform tothe classic tradition. To make a permanent artists’ paint, it is of the utmostimportance to thoroughly mill lightfast pigments in pure linseed oil. Sunfloweroil is used in whites to enhance their brilliance, and in Clear oil for greater transparency. All colours are triple-milled to ensure that every pigment particle iscompletely coated with the vehicle, and evenly dispersed. This results in a stablepaint film which has even surface tensions. Genuine oil colours characteristicallysmell of pure and natural vegetable oils.

All our beautiful oil colours are permanentImproved permanency information and new pigments have enabled us to replacethe toxic and fugitive colours with non-toxic and cleaner colours of superiorlightfastness. Pigments are chosen for purity and clarity. Art Spectrum oil coloursgive lasting brilliance and luminosity to paintings. The finest pigments are usedat maximum working strength to impart the best colour quality. Ongoingresearch and development is dedicated to maintaining or improving the permanency, safety and performance of our colours.

Colour mixingArt Spectrum’s careful selection ofpigments ensures clean colours andsuperior colour mixing withoutmuddiness. More than 50 colours inthe range are single pigment only.

Unique coloursArt Spectrum oil colours include abeautiful and unique range ofcolours developed for theAustralian landscape. Colours suchas Australian Red Gold, AustralianGrey, Tasman Blue, Pilbara Red andso on provide exciting possibilitiesfor artists worldwide.

MEETING ARTISTS’ NEEDS - POPULAR SIZES FOR LARGER WORKSAll colours are avail-able in 40ml and 150mltubes and 500ml tins†.(Art Spectrum pioneered the extralarge 150ml tubes ofgenuine artists’ qualityoil colours.) TitaniumWhite available also in1 litre and 4 litre tins. Metallics only availablein 40ml tubes. †500mltins available in allcolours from series 1-4.

MEDIUMS & OILS

Art Spectrum painting mediums are based on sound painting principles. Today’sadvanced testing indicates that the use of turpentine alone as a diluent for oilpaints is to be avoided, as it is too easy to destroy the binder and benefits ofcarefully milled paint. Sound painting principles involve painting from ‘lean’mixtures to ‘fat’ mixtures of paint – essential when paintings are completed overa period of time. This ‘fat over lean’ technique prevents cracking in the paint filmduring drying. Art Spectrum mediums are easy to use and accurately labelled,and available in a wide range of sizes for convenience and economy.

PAINTING MEDIUM NO.I (The Leanest) Medium No.1 represents the first link in the progressive “fat over lean” system ofpainting described in the previous paragraph, and is the leanest medium thatshould be mixed with paint. It is ready to use, straight from the container, andwill dry overnight depending on climate. Mix with paint to achieve thin colourwashes for underpainting and “watercolour effects” without destroying thebinder. Also can be used to clean and key a pre-primed canvas prior to painting.

PAINTING MEDIUM NO.2 (Medium Fat) Formulated with more oil than No.1, and is used as the next “fattest’” medium.It can be added progressively to No.1 to gradually fatten the paint if many glazing layers are required.

PAINTING MEDIUM NO.3 (Fattest Medium) Thickest and oiliest, slowest drying medium. Used as the final medium in the progressive sequence of Nos.1, 2 & 3 when paintings are completed over manydays or weeks. Can be intermixed with No.2 to create extra progressive steps inthe “fat over lean” sequence.

LEAN MEDIUM (Reduced Odour)Has the same applications as Medium No.1, but is made with Odourless Solventrather than Gum Turpentine.

FAT MEDIUM (Reduced Odour)A thick, oily, slow drying medium made with Odourless Solvent rather thanGum Turpentine. Can be mixed progressively with Lean Medium or used lastin the “fat over lean” painting sequence.

LIQUOL PAINTING MEDIUM A quick drying alkyd resin medium which mixes easily with oil colour. It isexcellent for smooth brush work, fine detail and multiple glazes. Very adaptable, it can be used for many-layered glazing where it will give greatdepth and subtlety of colour. Liquol can be painted wet on wet, or left to drybefore painting the next layer – usually the next day.

ART SPECTRUM GLAZING GEL Another quick drying medium, this thixotropic gel becomes more fluid whenworked. It is ideal to use for moderate impasto and glazing techniques, anddries with a soft sheen. Add colour to gel and mix well with a palette knife toachieve the degree of transparency required.

WAX MEDIUM Mixture of oil and wax. Add oil colour to wax medium to achieve a translucent effect. Imparts a lustrous, satin finish. Not suitable for impasto.

REFINED LINSEED OIL Pure refined linseed oil has been used for the finest artists’ oil colour for centuries. For use with artists’ colours and mediums.

STAND LINSEED OIL Heat thickened linseed oil. For use with artists’ colours to reduce consistencyand enhance flow, and also in the preparation of oil painting mediums. Driesto a tough elastic film.

Art SpectrumArtists’Oil Colours

Professional Quality

Art SpectrumArtists’Oil Colours

Professional Quality

Available from

Art SpectrumACN 007 394 998

Telephone +61 3 9387 9799, Fax +61 3 9380 4825

Email: enquiries@artspectrum.com.auWeb: www.artspectrum.com.au

SOLVENTS & CLEANERS

ODOURLESS SOLVENTIdeal solvent for anyone sensitive to the odour of Turpentine or working in apoorly ventilated area. Odourless Solvent can be used to make traditionalmediums as well as for clean up purposes.

PURE GUM TURPENTINE A natural solvent for oils, used in most painting mediums. Double distilledfrom pine deoresin. Dissolves Damar crystals.

ARTISTS’ TURPENTINE Gum turpentine alternative containing white spirit. Solvent for oils. Ideal forpreparation of painting mediums. Has slightly less odour than gum turpentine.

CITRUS TURPENTINE Double distilled for artists’ use. Citrus aroma for those allergic to other turpentines. Made from orange zest.

ART CLEANA pleasant, citrus scented cleaning solution. Ideal for cleaning brushes, studioequipment, hands, as well as a variety of household uses. This is an all-naturalproduct which is completely bio-degradable.

BRUSH & HANDCLEANERNon-toxic, non-abrasive,biodegradable and contains no harsh solvents. Art SpectrumBrush & Hand Cleaner iscomprised of natural oilsand waxes, and will cleanand restore even old, stiffbrushes.

VARNISHES

RETOUCH VARNISH A temporary picture varnish. A thin coat restores luminosity to dull areas to aidcolour matching. Sealer for painting grounds if the surface is too porous.

MATT WAX VARNISH A satin-matt varnish for paintings. Can be rubbed on straight from the tin, orbrushed on if heated first by placing tin in a container of very hot water. Can bebuffed-up to a sheen with a lint free cloth. Removable with gum turpentine ifnecessary.

DAMAR VARNISH For use as a final varnish for oil paintings,Damar Varnish is alsoused as a basis for making some paintingand glazing mediums.For varnishing egg tem-pera, dilute with anequal amount of gumturpentine.

GLOSS VARNISH High-gloss, non-yellow-ing acrylic varnish.Removable with mineral turpentine. Gloss finishcan be modified by diluting with mineral turpentine.

GESSO & PRIMERS

Art Spectrum manufacture a comprehensive range of gessos and primers, including the unique water wash up Oil Prime. Please refer to our website for further information..

1232/newoilchart#1_Layout 1 14/01/13 12:16 PM Page 2