Max Water Mixable Oil
Max is one of the first water mixable oils. A professional line of 59 colors, Grumbacher Max water mixable oil colors are solvent free and thin and clean up with water, but maintain the chroma, workability and lightfastness like a traditional oil color. Max oils employ the same finely ground pigments and superior quality linseed oil as our renown Pre-tested paints, and dry at a comparable rate. Max colors will retain water miscible properties when intermixed with traditional oil colors or oil painting mediums, as long as the artists uses at least 70% Max color and no more than 30% of regular oil colors or mediums. This paint formula eliminates the use of harsh solvents and is ideal for those sensitive to chemical fumes. Made in the USA. MSDS for Max Water Mixable Oils
Nickel Titanate Yellow
Size: 37 ml (1.25 oz) A muted yellow with a cool, greenish tint. Sometimes used as the cool version of a yellow in many palettes. Highly opaque with a high tinting strength, it holds up well when mixing. Useful for painting natural light.
Size: 37 ml (1.25 oz) An intense yellow with a cool tint. Often used as the cool version of a yellow in many palettes. Less opaque than Nickel Titanate Yellow, Zinc Yellow still maintains a high tinting strength. A great all-purpose cool yellow.
Cadmium-Barium Yellow Light
Size: 37 ml (1.25 oz) Grumbacher's Cadmium Yellow Light is warmer on the temperature scale than many others on the market. Its a bright, sunny yellow that mixes well with other primaries to create strong secondary colors. Like other cadmiums in the range, it boasts a high tinting strength. Its a favorite choice for a warm primary yellow in many palettes.
Cadmium-Barium Yellow Orange
Size: 37 ml (1.25 oz) A high chroma color that is too dark to be called a Yellow and too light to be called an Orange; thus, its color title. It enjoys an excellent tinting strength and has infinite uses for the creative artist.
Size: 37 ml (1.25 oz) A neutral orange between the warmer yellows and redder oranges in the Pre-tested Professional spectrum. Pumpkin-like in color, it is highly opaque with a moderate tinting strength. Mixes with other colors cleanly to create bright tertiary colors.
Size: 37 ml (1.25 oz) An opaque, mid-range bright Red with a slight Blue undertone. It is the lightest of the Cadmiums having a Blue undertone. It is a close replica of the classic Mercury Vermilions of the past that were, unfortunately, unstable and highly toxic.
Cadmium-Barium Red Light
Size: 37 ml (1.25 oz) A warm red that is slightly muted. Cadmium red light has been a staple warm red in color palettes for decades. Cadmium Red has a moderate tinting strength and is highly opaque, which makes for strong secondary colors.
Size: 37 ml (1.25 oz) Also known as Napthol Red, Grumbacher Red is a neutral red mid-range between the warm reds and the cool reds in the Pre-tested Professional color spectrum. When mixed with white, Grumbacher Red takes on a slight blue cast. This is a bright, intense, opaque color that is used as a primary red in many color palettes as it makes solid secondary mixes.
Size: 37 ml (1.25 oz) A cool, intense red with a moderate tinting strength, this color is semi-opaque and is slightly more complex than the Cadmiums when used straight from the tube. When mixed with white, Quinacridone Red becomes more muted. Can be used in place of Alizarin Crimson when a stronger and brighter mixture is desired.
Thalo Red Rose
Size: 37 ml (1.25 oz) Also known as Permanent Rose, Thalo® Red Rose is a cool, bright red with a lower tinting strength and higher transparency than Quinacridone Red. This color creates brilliant secondary colors when used as a mixture and works well as a glaze. Thalo® Red Rose is a popular cool red substitute for Alizarin Crimson in primary palettes when a brighter red is desired.
Size: 37 ml (1.25 oz) A must-have for any palette, Alizarin Crimson is most often used as the cool red in primary color palettes. It is highly versatile in mixing secondary colors, earth tones, skin tones, and more. Transparent, it is similar to Alizarin Crimson Golden in most properties and uses although becomes cooler in tints.
Size: 37 ml (1.25 oz) A unique permanent form of Ultramarine that has a mid-range, dull Red Violet masstone and a characteristic low tinting strength that makes brilliant glazes. Because of its low tinting strength it is easy to control in muting bright Greens and in creating shadows.
Size: 37 ml (1.25 oz) One of the most commonly used purples in oil painting, Dioxazine is a rich, complex color that is very dark in masstone so much so that it is sometimes used as a black. Creates vibrant tints when mixed with white. Its very cool on the temperature spectrum with an extremely high tinting strength that can quickly overpower other colors in mixes, its advisable to use sparingly.
Size: 37 ml (1.25 oz) A crisp, cool blue that is a staple in primary palettes. Creates beautiful violets when mixed with cool reds, especially with Alizarin Crimson, and makes brilliant greens when mixed with cool yellows like Zinc or Bismuth. Retains brightness in tints with a moderate tinting strength due to its semi-opaque nature.
Size: 37 ml (1.25 oz) A deep, intense, yellow-undertone blue with an iridescent sheen. Extremely dark in masstone, it can be used as a cool black. Very powerful tinting strength can overpower mixes and should be used in small amounts. Brilliant greens can be achieved when mixed with cool yellows like Bismuth or Zinc. Semi-opaque, small amounts create beautiful, complex glazes. Although not a staple in primary palettes due to its tinting strength it is a common item found in most painting studios.
Size: 37 ml (1.25 oz) A deep, warm blue also known as Anthraquinone Blue. Like Thalo Blue, a little bit goes a long way and can overpower mixes. Indanthrone Blue is an opaque color that is highly lightfast with a high tinting strength, remains vibrant even in tints.
Size: 37 ml (1.25 oz) A deep, muted blue that falls mid range in the temperature spectrum. It is slightly warmer than Thalo Blue but cooler than Indantrhone. Semi-opaque with a slight iridescent quality, Prussian Blue has been in artists palettes for over 3 centuries. When mixed with white tints have a lovely smoky quality which carries over to glazes as well.
Size: 37 ml (1.25 oz) A clear, intense blue that is difficult to obtain my mixing. Maintains chroma well in tints, and shifts from a cool blue in masstone to a bright blue with slight red undertones in tints. A good investment, as it is great for mixing or used by itself.
Size: 37 ml (1.25 oz) A semi-opaque blue that falls mid-range on the temperature spectrum. It has a low tinting strength and is semi-opaque. Ceulean Blue mixes well with other blues and whites and has been used extensively by artists to create skies in landscape work.
Size: 37 ml (1.25 oz) A turquoise that falls on the cooler end of the temperature spectrum as it displays yellow undertones. Its a vibrant, opaque color that maintains brightness in tints. Because of its fairly low tinting strength, it blends easily and creates beautiful glazes and subtle mixes.
Cobalt Titanate Blue
Size: 37 ml (1.25 oz) A deep sea green, this opaque color has a dusky, muted quality. With a low tinting strength, it mixes well with other yellow-toned blues and greens and is often used in seascapes as it creates beautiful glazes which add translucent depth to waves.
Permanent Bright Green
Size: 37 ml (1.25 oz) As its name implies, this is a bright, intense green color that is a more vibrant and opaque version of Viridian. It maintains chroma in tints which makes it ideal for mixing tertiary colors or adding richness to other green tones.
Thalo Green (Blue Shade)
Size: 37 ml (1.25 oz) A deep emerald green with strong blue undertones, this color is semi-opaque with a high tinting strength. When mixed with white it maintains a slightly muted quality making it a favorite choice for painting the natural world. When used for glazing, it can create rich, dramatic shadowing.
Size: 37 ml (1.25 oz) A deep mossy green with yellow undertones, this color is semi-opaque with a high tinting strength. When mixed with white it maintains a clear, clean tint, and is valued for its mixing qualities and for glazing. Like other Thalo colors, this green can be overpowering in mixes and its advised to use it in small amounts.
Size: 37 ml (1.25 oz) Very muted, Chromium Oxide Green is a very earthy, opaque green with yellow undertones. It has a moderate tinting strength and is a favorite amongst landscape painters as it is soft, natural green that blends easily and can be made slightly warmer or cooler depending on the colors it is mixed with.
Size: 37 ml (1.25 oz) A workhorse on the painters palette, Sap green is a neutral green with yellow undertones that can easily shift to warm or cool depending on the colors it is mixed with. Semi-opaque with a moderate tinting strength, Sap Green is a staple mixing green for colors in the natural world as it has a slight muted quality that still maintains chroma in tints and shades.
Size: 37 ml (1.25 oz) A wonderful mixing green, this green is evocative of Spanish olives. It mixes cleanly, creating surprisingly bright tints. It is considerably warmer than Sap Green and more transparent. This green is very useful in landscape and seascape painting.
Thalo Yellow Green
Size: 37 ml (1.25 oz) An intensely bright lime green that borders on neon, Thalo Yellow Green is a favorite for painting the new growth of spring shoots and leaves. With a high tinting strength, this color sings when mixed with white. When mixed with warm yellows, it creates beautiful chartreuse tones reminiscent of Granny Smith apples, also works beautifully in glazes for shadow work in yellow floral paintings.
Size: 37 ml (1.25 oz) A sunny, muted yellow with a high tinting strength. When mixed with white Naples Yellow displays slight red undertones. Old masters have used Naples yellow for creating atmospheric distance in landscapes as well as in mixes for skin tones.
Gold Ochre Hue
Size: 37 ml (1.25 oz) Slightly redder and more opaque than Transparent Yellow Iron Oxide, Gold Ochre is also a deeper color than Yellow Ochre. Excellent for mixing skin tones, Gold Ochre is also widely used for pale landscapes and mixes used in depicting hair and fur.
Size: 37 ml (1.25 oz) A traditional brown found in most palettes as it is highly versatile in mixing. Semi-opaque with a moderate tinting strength, it mixes well with other colors to make realistic skin tones. Its also a workhorse for making glazes for shadows, in landscapes and in other works depicting the natural world.
Size: 37 ml (1.25 oz) A reddish semi-transparent brown perfect for glazing and an excellent muted substitute for alizarin crimson. A nice addition to a floral or portrait palette, and creates beautiful shadows for items painted with Cadmium Red.
Size: 37 ml (1.25 oz) A classic color in Renaissance Palettes and extremely popular in portraiture painting, Venetian Red is an opaque brick color that falls in the mid-range of the temperature scale. Can be cooled by the addition of an Alizarin Crimson or warmed by adding Pyrrole. Excellent in mixing skin tones and for use as a glazing color.
Size: 37 ml (1.25 oz) Also known as burnt orange, Quinacridone Orange is a clear, muted pumpkin color that becomes a baked earth-like shade when mixed with white. Mixes cleanly with other colors and works well when developing ruddier areas in skin tones.
Size: 37 ml (1.25 oz) A standard color on most palettes, Burnt Sienna is a warm brown with high tinting strength and a semi-transparent opacity rating. A versatile earth tone, it is used in a wide range of painting techniques from masstone to mixes and glazes.
Size: 37 ml (1.25 oz) Warmer than Raw Umber, Burnt Umber takes on a reddish cast. In tints, Burnt Umber takes on a soft cashmere tone. This color is often used in portrait work as well as paintings of the natural world. Mixes well with other colors to make deeper tones, especially other earth tones, greens and yellows which makes it ideal for landscape painting.
Size: 37 ml (1.25 oz) A very intense neutral black with a high opacity and tinting strength. Only subtle shifts occur when mixed with white, although attractive shades of deep charcoal can be achieved. High coverage, dense color that should be used in small quantities.
Size: 37 ml (1.25 oz) A deep, cool black with the highest tinting strength of any black in the Pre-tested Professional line. Very subtle shifts occur when mixed with white, revealing the cool undertones of this black. Ideal for alla prima work, Mars black is highly opaque and dries to a matte sheen.
Size: 37 ml (1.25 oz) A staple deep brown earth tone, Raw Umber is a semi-opaque neutral brown with yellow undertones in masstone, but cool grey undetones in tints. Used in mixes, glazes and straight from the tube in a variety of subjects from landscapes to portraiture.
Van Dyck Brown
Size: 37 ml (1.25 oz) A very deep brown-black color in masstone, Van Dyck Brown has a moderate tinting strength. When mixed with white, a warm oyster gray color can be achieved. Semi-opaque this color is wonderful in creating glazes and for shadow work.
Size: 37 ml (1.25 oz) A clean, slow drying white ideal for alla prima painting. Its less opaque than Titanium White, which makes it an attractive alternative for mixing tints when subtle shifts are desired. Its transparency also makes it ideal for glazing, and scumbling. Zinc White has a tendency to yellow slightly over time when used straight from the tube, although this does not appear in mixes.
Oils: Fat Over Lean
General Tips: Using Gesso
Oils: Painting Medium Basics
Oils: How to Save Oil Mediums
General Tips: Color Theory
General Tips: Prepping Raw Canvas
Oils: Drying Paintings
General Tips: Neutralizing Bright Colors
General Tips: When to Use Varnish
Oils: Using Acrylics in Oil Painting