Art Spectrum are Australia's most respected oil paints because they conform to the classic tradition. To make a permanent artists' paint, it is of the utmost importance to not only have lightfast pigments and pure linseed oil (safflower oil in whites) but to ensure they are thoroughly milled as well. All colours are triple-milled to ensure that every pigment particle is completely coated with the vehicle, and evenly dispersed. This results in a stable paint film which has even surface tensions. Genuine oil colours characteristically smell of pure and natural vegetable oils.
All our beautiful oil colours are permanent
Improved permanency information and new pigments have enabled us to replace the toxic and fugitive colours with non-toxic and cleaner colours of superior lightfastness. Ongoing research and development is dedicated to maintaining or improving the permanency, safety and performance of our colours.
Superior pigment-concentrated colours
Pigments are chosen for purity and clarity. Art Spectrum oil colours give lasting brilliance and luminosity to paintings. The finest pigments are used in the maximum working strength to impart the best colour quality. It is not Art Spectrum's policy to substitute pure pigments with blanc fixe (a heavy filler) to simulate quality by artificially increasing the weight of oil paints.
Colour mixing
Art Spectrum's careful selection of pigments ensures clean colours and superior colour mixing without muddiness.
Unique colours
Art Spectrum oil colours include a beautiful and unique range of colours developed for the Australian landscape. These colours provide exciting possibilities for artists worldwide.
Meeting artists' needs - popular sizes for larger works
All colours are available in 40 ml and 150 ml tubes and 500 ml tins.* (Art Spectrum pioneered the extra large 150 ml tubes of genuine artists' quality oil colours). Whites available also in 1 litre and 4 litre tins.
*500 ml tins available in all colours from series 1-4
Burnt Sienna AS OIL
$7.50
Burnt Umber AS OIL
$7.50
Flesh Tint AS OIL
$7.50
Flesh Tint Deep AS OIL
$7.50
Indian Red AS OIL
$7.50
Ivory Black AS OIL
A semi transparent black with a warm, slightly brown undertone. By far the most widely used and popular black today.
$7.50
Juane Brilliant AS OIL
$7.50
Lamp Black AS OIL
The most opaque and blackest black. Lamp Black is a cool, very slow drying black with a slightly blue undertone.
$7.50
Lemon Yellow AS OIL
$7.50
Light Red AS OIL
$7.50
Mars Violet AS OIL
$7.50
Manganese Blue Hue AS OIL
$7.50
Naples Yellow AS OIL
$7.50
Naples Yellow Reddish AS OIL
$7.50
Paynes Grey AS OIL
$7.50
Permanent Van Dyke AS OIL
$7.50
Prussian Blue AS OIL
$7.50
Phthalo Blue AS OIL
$7.50
Phthalo Green AS OIL
$7.50
Raw Sienna AS OIL
$7.50
Raw Umber AS OIL
$7.50
Spectrum Blue AS OIL
$7.50
Spectrum Cerulean AS OIL
$7.50
Spectrum Crimsion AS OIL
$7.50
Spectrum Emerald AS OIL
$7.50
Spectrum Green Light AS OIL
$7.50
Spectrum Orange AS OIL
$7.50
Spectrum Red AS OIL
$7.50
Spectrum Red Deep AS OIL
$7.50
Spectrum Vermilion AS OIL
$7.50
Spectrum Violet AS OIL
$7.50
Spectrum Viridian AS OIL
$7.50
Spectrum Yellow AS OIL
$7.50
Terre Verte AS OIL
$7.50
Terre Verte Traditional AS OIL
$7.50
Titanium White AS OIL
Titanium is extremely opaque and is the whitest of all whites. Its covering power and resistance to yellowing makes it a popular choice where areas of pure white colour are needed. In mixes it produces opaque, more pastel shades, as distinct from the more luminous results obtained with Zinc White.
$7.50
Transparent Black AS OIL
A wonderful addition to the range. Transparent Black enables the artist to mix glowing, vibrant darks without the overpowering effect of Lamp or Ivory blacks. On its own Transparent Black is a neutral black with a mid grey undertone, as distinct from the cool undertone of Lamp Black and the warmth of Ivory Black.
$7.50
Ultramarine Blue AS OIL
$7.50
Underpainting White AS OIL
A fast drying oil-resin white ideal for priming and under painting. Straight from the tube it has a soft, cottage cheese like consistency which becomes smooth when brushed out or worked with a palette knife. Underpainting white dries in around half the time of other whites.