Williamsburg handmade artists oil paints, a selection of my favourite colours in 37ml tubes.

The Williamsburg colours are incredibly pigment rich, with a dense yet buttery texture; each colour has its own finish and feel creating not only a palette of colour, but also texture. Williamsburg has an extensive range of Cobalt and Cadmium colours, as well as has a number of unique colours, particularly within the wide range of earth colours. Examples include: The Native Italian Earth Colours, Courbet Green, Persian Rose, Cyprus Orange, Montserrat Orange, Stil de Grain and Turkey Umber.
Each pigment is milled to its own unique standard, developing the richest expression of colour and undertone. This approach preserves the range of texture oil paints had in the past. These variations in grind are categorized into four groups: Very Fine, Fine, Medium and Coarse.
Getting the proper pigment is just the beginning. So much of the quality of oil paint is in the milling. With Williamsburg, each colour is milled to enhance the beauty and luminosity specific to that particular pigment. Some colours will feel slightly gritty; others extremely smooth, preserving the wider range of differences oil paints had in the past. Cerulean Blue will have a beautiful velvet, light-absorbing surface with an extremely strong covering power; the Siennas will often have a lesser grind and feel slightly gritty due to the larger pigment particle size. This grind allows light to travel through the vehicle, exposing rich golden or mahogany undertones instead of just heavy, dull browns.
Those who know me know that I am a oil painter threw and threw, I never thought I would swap my lovely Sennelier oil for anything but have to say I have. I still use both but bring out the Williamsburg for my final pieces. The colour is worth the cost (when you’re not using a palettes knife costs soon add up, but either use other cheaper paints or as I do not use the wax medium.).

Useful PDF on how quickly the different colours dry.

“Titanium White
#6000101
PW 6 – Titanium Dioxide Rutile
h Opaque Very Fine
Lightfastness: I – Excellent
The most opaque white. Very strong covering
power.”
“Cadmium Lemon
#6000246
PY 35 – C.P. Cadmium Zinc Sulfide
h Opaque Fine
Lightfastness: I – Excellent
Very high-pitched, slightly acidic and greenish.
Electric.

Cadmium Yellow Medium

#6000366
PY 35 – C.P. Cadmium Zinc Sulfide
h Opaque Fine
Lightfastness: I – Excellent
The most popular yellow we sell.
Strong and warm”
“6000607 Cadmium Red Medium 34ml

Cadmium Red Medium
#6000607
PR 108 – C.P. Cadmium
Sulfo-Selenide
h Opaque Fine
Lightfastness: I – Excellent
A true medium.

Alizarin Crimson
#6000684
PR 83 – 1, 2 Dihydroxy
Anthraquinone
i Transparent Medium
Lightfastness: III – Fair
Easily the strongest Alizarin you can find.
Incredibly beautiful, this shade is versatile
because it can go sweet (pink) or sour (orange)
very easily, depending on how it’s used.

Cobalt Violet Light
#6000728
PV 49 – Cobalt Ammonium
Phosphate
i Transparent Very Fine
Lightfastness: Excellent*
Ethereal, delicate, sublime. Not a strong tinter.

Cerulean Blue (Genuine)
#6000848
PB 35 – Cobalt Stannate
h Opaque Fine
Lightfastness: I – Excellent
Velvety, changeable blue. Greenish? Greyish?
Warm? Cool? Light and airy or dense and
opaque. Absorbs and reflects light in an
interesting way.

Ultramarine Blue French
#6000962
PB 29 – Polysulfide of Sodium
Alumino Silicate, PV 15 –
Polysulfide of Sodium AluminoSilicate
i Transparent Very Fine
Lightfastness: I – Excellent
After testing dozens of samples from around
the world we finally found one that fits our
requirements. Beautifully transparent, rich,
deep, with a hint of red in the undertone.

Cadmium Green
#6001186
PY 35 – C.P. Cadmium Zinc
Sulfide, PG 18 – Anhydrous
Chromium Sesquioxide
h Opaque Fine
Lightfastness: I – Excellent
A beautiful, soft, medium green. “Sits” well on
canvas without popping. Not electric.

Viridian
#6001245
PG 18 – Hydrous Chromium
Sesquioxide
k Semi-Transparent Fine
Lightfastness: I – Excellent
What the French call Vert Émeraude.
A beautiful, translucent, slightly milky,
velvety green.

Permanent Green
#6001263
PY 3 – Arylide Yellow 10G,
PG 7 – Chlorinated Copper
Phthalocyanine
j Semi-Opaque Very Fine
Lightfastness: II – Good
Slightly less bluish than other makes of
permanent and very intense.

Sap Green
#6001303
PY42 – Synthetic Hydrated Iron
Oxide, PY129 – Azomethine
Copper Complex, PG7 –
Chlorinated Copper Phthalocyanine
k Semi-Transparent Medium
Lightfastness: I – Excellent
Absolutely permanent but slightly cooler in tint.
Not as yellowish as some others.

Raw Sienna
#6001501
PY 43 – Natural Hydrated Iron Oxide
j Semi-Opaque Fine
Lightfastness: I – Excellent
A beautiful, transparent, golden undertone, very
luminous in washes and glazing.
Relatively strong.

Payne’s Grey
#6001703
PB 29 – Polysulfide of Sodium
Alumino-Silicate, PBk 9 –
Amorphous Carbon produced by
charring animal bones
j Semi-Opaque Fine
Lightfastness: I – Excellent
A traditional formulation, extremely dark in
masstone. It reveals deep bluish undertones in
glazes, or cooler grays when mixed with white.

Ivory Black
#6001721
PBk 9 – Amorphous Carbon
produced by charring animal
bones
j Semi-Opaque Fine
Lightfastness: I – Excellent
Cool black. Often used as a standard.
Slight grit gives a velvet surface.