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WINSOR & NEWTON™ | Artists' OIL COLOUR™ — individual tubes

4 Review(s)

This range offers a wide and balanced spectrum of colours. Made using only the purest pigments resulting in very clean, bright colours that deliver optimum colour mixing. Available in 2 sizes. More

from £ 7.99

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Click on the color to see more:

674

Series 1

Underpainting white

748

Series 1

Zinc white

644

Series 1

Titanium white

242

Series 1

Flake white hue

330

Series 1

Iridescent white

NEW

429

Series 1

Warm white

347

Series 4

Lemon yellow hue

722

Series 2

Winsor lemon

086

Series 4

Cadmium lemon

898

Series 4

Cadmium-free lemon

025

Series 4

Bismuth yellow

294

Series 2

Green gold

653

Series 4

Transparent yellow

730

Series 2

Winsor yellow

149

Series 1

Chrome yellow hue

118

Series 4

Cadmium yellow pale hue

907

Series 4

Cadmium-free yellow pale hue

320

Series 2

Indian yellow deep

319

Series 2

Indian yellow

731

Series 2

Winsor yellow deep

108

Series 4

Cadmium yellow

890

Series 4

Cadmium-free yellow

425

Series 2

Naples yellow deep

426

Series 1

Naples yellow light

422

Series 1

Naples yellow

333

Series 1

Jaune brilliant

111

Series 4

Cadmium yellow deep

891

Series 4

Cadmium-free yellow deep

089

Series 4

Cadmium orange

899

Series 4

Cadmium-free orange

416

Series 2

Orange laque mineral

650

Series 4

Transparent orange

647

Series 1

Transparent red ochre

724

Series 2

Winsor orange

362

Series 1

Light red

097

Series 4

Cadmium red deep

895

Series 4

Cadmium-free red deep

411

Series 3

Ruby madder alizarin

106

Series 4

Cadmium scarlet

903

Series 4

Cadmium-free scarlet

094

Series 4

Cadmium red

901

Series 4

Cadmium-free red

603

Series 2

Scarlet lake

042

Series 1

Bright red

726

Series 2

Winsor red

725

Series 2

Winsor red deep

257

Series 2

Pale rose blush

576

Series 5

Rose dore

004

Series 2

Alzarin crimson

468

Series 4

Permanent alzarin crimson

548

Series 4

Quinacridone red

479

Series 2

Permanent carmine

587

Series 5

Rose madder genuine

502

Series 2

Permanent rose

543

Series 2

Purple madder

544

Series 1

Purple lake

545

Series 2

Quinacridone magenta

489

Series 2

Permanent magenta

380

Series 2

Magenta

491

Series 4

Permanent mauve

192

Series 5

Cobalt violet

733

Series 2

Winsor violet (dioxazine)

672

Series 2

Ultramarine violet

400

Series 1

Mauve blue shade

NEW

045

Series 2

Royal blue

321

Series 4

Indanthrene blue

710

Series 2

Smalt (Dumont's blue)

706

Series 2

Winsor blue (red shade)

707

Series 2

Winsor blue (green shade)

538

Series 1

Prussian blue

414

Series 2

Oriental blue

180

Series 5

Cobalt blue deep

667

Series 1

Ultramarine (green shade)

263

Series 2

French ultramarine

178

Series 4

Cobalt blue

137

Series 4

Cerulean blue

379

Series 1

Manganese blue hue

191

Series 4

Cobalt turquoise light

526

Series 1

Phthalo turquoise

322

Series 2

Indigo

190

Series 5

Cobalt turquoise

NEW

424

Series 1

Ultramarine ash

147

Series 1

Chrome green deep hue

412

Series 3

Mineral green deep

720

Series 2

Winsor green (phthalo)

721

Series 2

Winsor green (yellow shade)

708

Series 2

Winsor emerald

481

Series 2

Permanent green

483

Series 2

Permanent green light

482

Series 2

Permanent green deep

184

Series 5

Cobalt green

NEW

696

Series 2

Viridian hue

NEW

420

Series 2

Cinnabar green

084

Series 4

Cadmium green pale

897

Series 4

Cadmium-free green pale

599

Series 2

Sap green

540

Series 2

Prussian green

183

Series 4

Cobalt chromite green

637

Series 1

Terre verte

459

Series 4

Oxide of chromium

447

Series 2

Olive green

558

Series 1

Raw umber (green shade)

554

Series 1

Raw umber

676

Series 1

van Dyck brown

076

Series 1

Burnt umber

395

Series 2

Mars violet deep

413

Series 2

Warm brown pink

074

Series 1

Burnt Sienna

657

Series 2

Transparent maroon

317

Series 2

Indian red

678

Series 1

Venetian red

635

Series 1

Terra rosa

648

Series 1

Transparent brown oxide

056

Series 1

Brown madder

285

Series 1

Gold ochre

646

Series 2

Transparent gold ochre

552

Series 1

Raw Sienna

744

Series 1

Yellow ochre

059

Series 1

Brown ochre

745

Series 1

Yellow ochre light

746

Series 1

Yellow ochre pale

557

Series 1

Raw umber light

217

Series 2

Davy's grey

465

Series 1

Payne's grey

505

Series 1

Perylene black

331

Series 1

Ivory black

386

Series 2

Mars black

142

Series 1

Charcoal grey

337

Series 1

Lamp black

034

Series 1

Blue black

NEW

427

Series 1

Mineral grey

511

Series 2

Pewter

617

Series 2

Silver

283

Series 2

Gold

573

Series 2

Renaissance gold

058

Series 2

Bronze

214

Series 2

Copper

Key to symbols

opaque

semi-opaque semi-transparent

semi-transparent

transparent maximum lightfastness

maximum lightfastness maximum lightfastness ASTM I

maximum lightfastness ASTM I excellent lightfastness

excellent lightfastness very good lightfastness ASTM II

very good lightfastness ASTM II

good lightfastness bleached by acids, acidic atmospheres

bleached by acids, acidic atmospheres Series Price series

Best described as rich, this classic oil colour has a full and buttery consistency. Because WINSOR & NEWTON™ Artists' OIL COLOUR™ is slightly stiffer, it retains the characteristic touch of your brush and palette knife.

The wide and well-balanced range includes some 125 bright and pure colours rubbed in linseed and safflower oil, which mix well with each other. Only the best pigments are used, in a high concentration: a little goes a long way! Even when mixed with white, the tinting strength remains. Except for alizarin crimson, all colours have the highest lightfastness.

The longer drying time is typical of oil paints: this gives you plenty of time to build up your work, make changes and achieve typical effects. Drying times also vary by colour. Some pigments absorb less oil and dry faster, others absorb more oil and dry more slowly. Apart from this, some pigments have an inherent drying accelerating effect, while others have a drying retarding effect. After the diluent has evaporated, oil colours dry by oxidation: the oil changes its chemical structure through contact with oxygen. This process is accelerated by lower humidity, higher temperature and air circulation, and exposure to daylight. High humidity or lack of daylight is fatal for good thorough-drying!

All WINSOR & NEWTON™ Artists' OIL COLOURS™ feel touch-dry after 2-12 days. You can slow down or speed up the drying time by using mediums. After about 6 - 12 months, your painting will be sufficiently dry to varnish it. An oil painting can take decades to dry thoroughly!

Below are some examples of the drying time of WINSOR & NEWTON™ Artists' OIL COLOURS™ .

Short drying time, approx. 2 days:

491 Permanent mauve ○ 178 Cobalt blue ○ 180 Cobalt blue deep ○ 538 Prussian blue ○ 552 Raw sienna ○ 554 Raw umber ○ 557 Raw umber light ○ 558 Raw umber (green shade) ○ 076 Burnt umber ○ 242 Flake white (hue) ○ 674 Underpainting white

Medium drying time, approx. 5 days:

706 Winsor blue (red shade) ○ 707 Winsor blue (green shade) ○ 720 Winsor green ○ 721 Winsor green (yellow shade) ○ 074 Burnt sienna ○ 192 Cobalt violet ○ 184 Cobalt green ○ 667 Ultramarine (green shade) ○ 263 French ultramarine ○ 599 Sap green ○ 468 Permanent alizarin crimson ○ 285 Gold ochre ○ 646 Transparent gold ochre ○ 744 Yellow ochre ○ 059 Brown ochre ○ 745 Yellow ochre light ○ 746 Yellow ochre pale ○ 086 Cadmium lemon ○ 118 Cadmium yellow pale ○ 108 Cadmium yellow ○ 111 Cadmium yellow deep ○ 089 Cadmium orange ○ 097 Cadmium red deep ○ 106 Cadmium scarlet ○ 094 Cadmium red ○ 644 Titanium white ○ 748 Zinc white ○ 337 Lamp black ○ 331 Ivory black

Long drying time, more than 5 days:

730 Winsor yellow ○ 548 Quinacridone red ○ 545 Quinacridone magenta ○ 004 Alizarin crimson

What is the best white to use? With the exception of Underpainting white, which is rubbed in linseed oil, all WINSOR & NEWTON™ whites are rubbed in safflower oil. Safflower oil is lighter in colour and less prone to yellowing than linseed oil. However, it dries more slowly and 'works' more during drying. Therefore, do not use safflower oil in underpainting. However, for normal applications or as a mixing white, a white based on safflower oil is perfect.

No 2 whites are the same!

674 Underpainting white is a mix of titanium and zinc white. It dries quickly and is perfect for underpainting.
748 Zinc white is the subtlest and most transparent white. Cool, tending towards blue. An excellent mixing white, suitable for tints and glazing layers.
644 Titanium white is the most widely used, most modern and opaque white. A hard white that quickly dominates in blends and tends to make colours chalky.
242 Flake white hue is a modern approach to the classic lead white. Good mixing white, more subtle than titanium white, warmer than zinc white.
330 Iridescent white is a mica-based pearlescent white. TIP! — You get the best results if you mix it with transparent colours!

Price per tube.

Review this product

08.08.2015

Janina

Reliability over the years - Despite all the different oils on offer, I prefer this range. Quality and good value combined. The colours handle well and are of the consistency I like. I have always used them.

01.08.2014

Alan James

Grade A artist's paint - Superb quality paint. They're always improving the range and introducing new colours.

The new(isn) Cobalt Chromite Green is a superb mixing colour for foliage, and the Chrome Green Deep Hue is an excellent opaque dark green. Also, the Permanent Alizarin Crimson fills a gap in the colour wheel in terms of permanence.

20.05.2014

Sarah

tried and tested quality paint - My art teacher recommended this range of paints which I love for the range and mixability. Always very good value with Great Art.

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Please note: Due to the limited size of our London shop, not all items on the website are in stock in London. To avoid disappointment, we recommend contacting the shop to reserve or order the product.

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