“Dave and I are crackheads for Natural Pigments products. For many years we dabbled around with different brands—Winsor and Newton, Rembrandt-Talens, Old Holland, Mussini, Vasari, Blue Ridge, Daler-Rowney. They all work, and they each have certain colours that we love, but we like Rublev Colours best. We know George and Tania, we’ve seen their factory, and we know their paints are made the way we would make them ourselves if only we weren’t completely lazy and incapable. That is, they are made with a mind towards longevity. I want to say they’re archival, but George will just correct me because that’s the wrong word to use (can someone please come up with a word that we can use?).
“Rublev Colours Artist Oils have personality. Some feel very much like other brands in their handling, but others are wacky—ropy, gritty, grainy, stiff, tacky—-and that’s the fun part. I produced some good paintings before converting to Rublev Colours, but I don’t think I was a good painter until I made the switch. My paintings now have a tactile quality that they didn’t have before, because with Rublev Colours paints I find it easy and natural to build up impastos, or drag out a gritty scumble. Painting is never boring and I love how these paints sometimes make decisions for me.
“If you’re going to start with one paint, buy Rublev Colours Lead White #1 or #2. This is the single most important change you can make to your palette. Titanium whites are generally cut with zinc white, which we all know is bad. What you probably don’t know is that titanium white itself is almost just as bad. You will wind up with cracked paintings, especially if you work on flexible supports (stretched canvas). And besides, titanium white kills chroma and is brutally opaque. The only thing titanium white is good for is bone implants.”
Kate’s Palette (usually six to twelve of the following colors)
Ultramarine Blue (Green Shade)—Wonderful goopy texture. Nicosia Green Earth—Pretty green, texture is rather dense, not a strong tinter. Lemon Ocher/Blue Ridge Yellow Ocher—The latter has a more conventional texture. Primrose Chrome Yellow Orange Ocher/Italian Ocher Dark—A go-to for flesh. Hematite Madder Lake/Alizarin Crimson—I mix this with the above to get a spectrum of fleshy reds from cool to warm. French Raw Sienna French Burnt Sienna—Has some interesting grittiness. My go-to for painting red hair. French Raw Umber—Rather like raw umber. Cyprus Raw Umber Dark—Lovely and dark dark dark. Makes an inky heart of darkness when mixed with Ultramarine Blue. Cyprus Burnt Umber Warm Italian Raw Umber Green—Slightly greenish umber. Lead White #2—Creamy and easy to blend. If you are used to Titanium White, this is an easy transition. Flemish White—Stiff. Paint some crisp drapery with this. Bone Black—I cut this colour with a bit of umber paint to help it dry hard. Super black. Roman Black—A very light black. I've been using this to neutralize flesh tones.
Basic Palette Colors
Colors included in the Kate Stone Basic Palette
Rublev Colours Ultramarine Blue (Green Shade) is an intense deep blue with greenish-undertones when mixed with white from inorganic pigment of sodium aluminum silicate composition. It is a transparent, fine grained color with high tinting strength. Kate Stone:Wonderful goopy texture.
Rublev Colours Blue Ridge Yellow Ocher is a semi-transparent golden yellow, very fine grained and has a buttery consistency. Our yellow ocher is a single pigment color made of natural earths from ocher deposits in the Blue Ridge mountains of Virginia.
Rublev Colours Chrome Yellow Primrose is lead chromate/lead sulfate, obtained synthetically as a yellow crystalline powder by precipitation from a solution of a lead salt. Chrome yellow primrose has good hiding power with bright yellow hue and average tinting strength.
Rublev Colours Orange Ocher is an opaque orange yellow with good tinting strength, fine grained and brushes "long" in the direction of the brush stroke. Kate Stone:A go-to for flesh.
Rublev Colours Hematite is bluish red with above average tinting strength. It is opaque, fine grained, goes on smoothly and brushes "long" in the direction of the brush stroke.
Rublev Colours Alizarin Crimson is a translucent bluish red with high tinting strength, fine grained and a 'short' buttery paint. Kate Stone:I mix this with French Burnt Sienna to get a spectrum of fleshy reds from cool to warm.
Rublev Colours Cyprus Raw Umber Dark is a semi-transparent dark, almost black, brown with good tinting strength, medium grained and, like most Rublev Colours Artist Oils brushes long in the direction of the brush stroke. Kate Stone:Lovely and dark, dark, dark. Makes an inky heart of darkness when mixed with Ultramarine Blue.
Rublev Colours Cyprus Burnt Umber Warm is a semi-transparent reddish brown with good tinting strength, medium grained and, like most Rublev Colours Artist Oils brushes long in the direction of the brush stroke.
Rublev Colours Lead White #2 in filtered, pale walnut oil is an opaque white that is soft and slightly ropy. Lead White #2 is a brighter white than our first flake white (also known as Cremnitz white) because of the paler walnut oil. Kate Stone:Creamy and easy to blend. If you are used to Titanium White, this is an easy transition.
Rublev Colours Bone Black is an semi-opaque black with good tinting strength, fine grained and brushes long in the direction of the brush stroke. Kate Stone:I cut this colour with a bit of umber paint to help it dry hard. Super black.
Rublev Colours Roman Black iis a single-pigment color comprised of a natural black earth; a dense, opaque, heavy color that is permanent. It is comparatively neutral in undertone and is non-greasy, when compared to carbon blacks. Kate Stone:A very light black. I’ve been using this to neutralize flesh tones.
Note: Colors swatches are shown in mass tone, straight from the tube, on the left, and mixed with an equal amount of white on the right. All pictures of color swatches in this web site are only approximations of the actual color of the oil paint. We taken every care to match the color in these pictures on calibrated color monitors to the actual color. However, because of the wide variance in color monitors the results you get may vary.
Click here for the Safety Data SheetCalifornia Proposition 65: This product contains a chemical known to the State of California to cause cancer and birth defects or other reproductive harm.Hazard PictogramsGHS07:
EnvironmentSignal Word: DangerHazard DesignationH302 Harmful if swallowed.H332 Harmful if inhaled.H360 May damage fertility or the unborn child.H373 May cause damage to organs through prolonged or repeated exposure.H410 Very toxic to aquatic life with long lasting effects.Safety DesignationP260 Do not breathe dust/fume/gas/mist/vapours/spray.P261 Avoid breathing dust/ fume/ gas/ mist/ vapors/ spray.P280 Wear protective gloves/ clothing/ eye/ face protection.P281 Use personal protective equipment as required.P405 Store locked up.P501 Dispose of contents/ container according to regional, national and international regulations.
Natural Pigments is a limited liability company based in Willits, California. We manufacture and distribute rare and hard-to-find materials for fine artists and decorators. We specialize in supplying artists' materials that were used in historical painting since pre-historic times up to and including the nineteenth century.
We constantly search for materials and products of the finest quality so that we can bring them direct to you from the source. To do so, we travel the world to find materials specifically for use by professional artists and decorators. We obtain minerals from mines in Afghanistan, Chile, Russia, Ukraine and Uzbekistan, to name a few places, processing these into natural pigments. We purchase resins, gums and plants from India, Kenya and Malaysia to make natural varnishes and painting mediums.
Our mission is to provide the largest variety of natural pigments, paints and other professional artists' supplies, enabling us to bring you a selection that makes shopping for rare and hard-to-find art materials easy. Our objective is to promote the education and use of these materials among artists by providing detailed information for their employment in encaustic, fresco, oil, watercolor and tempera painting.
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