Warmest Gamblin black. Good glazing color and useful for adding “gallery tone.”

“I absolutely love this as a warm black and use it all the time.”

Vigorous drier due to high manganese content (which also gives Umbers their dark color).

“It is really interesting as it tints up with that pinkish color.”

Vigorous drier due to high manganese content. Burnt Umber is useful as an underpainting drawing color. Because of high oil content, use thinly in under layers.

“This tints up even more pink. Great for keeping skin tones more neutral.”

A transparent brownish-black. One of the most popular colors of the 18th century recreated by Robert Gamblin, whose version is true to historic working properties – but lightfast and permanent.

“A beautiful and transparent neutral. Tints up a bit more orange.”

Natural calcined (roasted) earth pigment. More opaque today than 200 years ago. For greater transparency, consider Gamblin Transparent Earth Colors and Van Dyke Brown.

“Classic color to get to a skin tone, but be careful cuz it can become sickly pink quite easily.”

A color prized by contemporary masters, this is a truly transparent version of Burnt Sienna. These new hydrated Mars colors give painters more clarity in transparency and higher tinting strength. Excellent for glazing.

“I love this color and use it in skin tones frequently. I will also use it as a first color layer on my canvas/panel.”

Historically used as a bole for gilding and as underpainting for flesh tones in Medieval painting (verdaccio), Terre Verte, or green earth, was made from volcanic celadonite and/or a mineral of sedimentary origin; Robert Gamblin mixed this color because true natural green earth pigment is unpredictable in color and availability. Gamblin Terre Verte is an excellent color for grisaille; it has a weak mass tone and very muted tint.

“A relatively new find for me. When tinted it creates the most gorgeous grey-green.”