The Art Spectrum Oil Color range consists of 94 colors, all finely gound on triple-roll granite mills with the maximum pigmentation possible. Several features set the Art Spectrum range apart from other brands. The most notable is the unique “Australian” colors such as Pilbra Red, Australian Red Gold, Australian Leaf Green Dark, Tasman Blue and many more. Secondly, is the inclusion of Transparent Black, Clear Oil and Titanium White No.2 in the range. 

After exhaustive testing, Art Spectrum Oils have recently been selected by the Royal Academy in London, England as the only oil color brand to be offered for sale to members in it’s Academy Store. We invite you to experience perhaps the only commercially available range of professional oils available which are designed and manufactured by a practicing artist. Imported from Australia.

About Art Spectrum's Whites and Blacks - 

Clear Oil - A complete artist’s oil paint formula, but without colored pigment. Like colored oil paint, it stays exactly where and how the artist puts it, keeping every brushstroke down to the finest detail. It can reduce color to pale tints without loss of brilliance structure. Used with transparent oil color it allows colors to glow, or when mixed with small quantities of white or opaque color a pearly luminescence is achieved. Not recommended in thick impasto.

Titanium White - Titanium is extremely opaque and is the whitest of all the Art Spectrum whites. Its covering power and resistance to yellowing makes it a popular choice. In mixes it produces opaque, more pastel shades, as distinct from the more luminous results obtained with Zinc White. 

Titanium White No.2 - Formulated with more pigment and less oil than our standard Titanium, Titanium No.2 is milled for long periods of time which results in an extremely heavy bodied paint.

Underpainting White - A fast drying oil-resin white ideal for priming and under painting. Straight from the 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. 

Zinc White - Simply unbeatable as a mixing white because of the subtle luminous results when mixed with colors. Being one-third the opacity of Titanium White, it allows stronger, translucent tints to be mixed. It can also be used for subtle glazing effects—a pin head of zinc added to each color layer will identify that color within multiple layers of glaze. 

Ivory Black - A semi transparent black with a warm, slightly brown undertone. By far the most widely used black today. 

Transparent Black - Transparent Black enables the artist to mix glowing, vibrant darks without the overpowering effect of Lamp or Ivory blacks. On its own, it is neutral with a mid grey undertone, distinct from the coolness of Lamp Black and the warmth of Ivory Black. 

Lamp Black - The most opaque and blackest black. Lamp Black is a cool, very slow drying black with a slightly blue undertone.