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Home , Oil paint, Royal blue

You fi nd detailed information about mediums in our special leafl et LUKAS Mediums for Zinc Opaque White Titanium White Violet Royal Cyan Blue (Primary) Raw Van Dyck Brown Warm Grey which your retailer gladly places at your disposal. 37ml, 200ml 37ml 37ml, 200ml 37ml, 200ml 37ml 37ml, 200ml 37ml, 200ml 37ml, 200ml 37ml, 200ml 0004 0007 0008 0140 0150 0120 0110 0112 0190 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 2 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 PW4 PW5 PW6 PV15 PW5/PB29 PW6/PB15:3 PR101 PBr7 PW5/PY42/PBk7

Protection for oil : When fi nished, all the Flesh Colour Beige Brillant Yellow Cerlean Blue () Blue Manganese Cerulean Cold Grey Blue Black oil paintings should be protected from dirt, dust, 37ml, 200ml 37ml 37ml 37ml 37ml, 200ml 37ml, 200ml 37ml 37ml 37ml, 200ml 0022 0009 0012 0124 0121 0119 0192 0122 0186 nicotine deposits and other negative environmen- ✩✩ (6-7) / / 1 ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 4 ✩✩✩ (7-8) / / 2 ✩✩✩ (7-8) / / 1 ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 1 tal infl uences with a . Prior to varnishing, PW5/PY35/PO20 PW6/PW4/PY35 PW4/PY35 PW6/PB15:1/PB16 PW5/PB36 PB36/PG7 PW5/PG7/PBk7 PR176/PB15:1/PB29/PBk7 PR264/PB27/PG7 the painting must be allowed to dry completely - and this can easily take some months if the colour Naples Yellow Naples Yellow reddish Lemon Yellow (Primary) (hue) Cobalt Blue Ultramarine Payne’s Grey Ivory Black layers are thicker. Therefore: do not rush! We rec- 37ml, 200ml 37ml 37ml, 200ml 37ml 37ml, 200ml 37ml, 200ml 37ml, 200ml 37ml, 200ml 0034 0036 0010 0126 0125 0137 0184 0182 ommend LUKAS aerosol varnish sprays. They are ✩✩✩ (7-8) / / 1 ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 4 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 available in three sorts: gloss (Art. No. 2321), matt PW5/PY3/PY42/PR101 PW5/PY3/PY42/PO34 PY3 PW6, PB29, PG7 PB28 PB29 PR264/PG7 PBk7 (Art. No. 2322) or silk brilliant (Art. No. 2324). Cadmium Yellow lemon Permanent Yellow light Cadmium Yellow light Phthalo Blue Paris Blue Gold Metallic Silver Metallic 37ml, 200ml 37ml 37ml, 200ml 37ml, 200ml 37ml, 200ml 37ml, 200ml 37ml, 200ml 37ml 0025 0045 0026 0145 0134 0133 0198 0199 ✩✩✩ (7-8) / / 3 ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 3 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 2 ✩✩✩ (7-8) / / 2 The Colour Range: PY35 PW6/PY1 PY35 PB15:3 PB27 PB27/PG7 Pearlescent Pearlescent Pigment The carefully arranged colour palette of our best Signs and Symbols: Colour, Filling Size, Art. No., , Opacity, Price Group, Pigment Name artists’ oil colour offers you a wide spectrum of 70 Permanent Yellow deep Cadmium Yellow Indian Yellow Emerald Permanent Green yellowish 37ml 37ml, 200ml 37ml, 200ml 37ml, 200ml 37ml 37ml, 200ml Lightfastness: ✩✩✩ = excellent up to outstanding lightfast selected shades which are available in 37 ml and 0047 0027 0024 0155 0167 0175 (7-8 on the blue wool scale) ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 3 ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 44 shades are also available in 200 ml tubes. Se- ✩✩ = very good to excellent lightfast PY65 PY35 PY83/PO36 PW5/PB15/PG7 PW5/PG7 PW6/PY3/PG7 lected raw materials - such (6-7 on the blue wool scale) as pure Cadmium, Cobalt Opacity: = transparent = semi-transparent or Earth - care in Permanent Cadmium Orange Vermillon light Permanent Green Phthalo Green Virdian = semi-opaque = opaque 37ml 37ml, 200ml 37ml 37ml 37ml, 200ml 37ml, 200ml connection with the most 0048 0029 0085 0163 0194 0154 Price Group: Pigment prices are very different. This is particularly modern and nevertheless ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 2 ✩✩ (6-7) / / 1 ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 4 noticeable in high-pigmented artists’ colours. Therefore the PO34/PO62 PO20 PO34 PW6/PY1/PG7 PG7 PG18 LUKAS 1862 Oil is divided into different price groups. traditionally-minded ma- Pigment Name: The two preceding letters determine the type of colourant nufacturing processes as used (P=Pigment) and the dye (e.g. W=White), followed by well as continual quality Cadmium light Permanent Red Vermillon deep Oxide of Chromium Cobalt Green Sap Green the digits of the pigment type. 37ml, 200ml 37ml, 200ml 37ml 37ml, 200ml 37ml, 200ml 37ml, 200ml control for the goodness 0072 0100 0086 0153 0152 0165 This colour chart is produced within the limitations of printing and is intended as a ✩✩✩ (7-8) / / 3 ✩✩✩ (7-8) / / 4 ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 2 ✩✩✩ (7-8) / / 3 ✩✩ (6-7) / / 1 guide only. of this excellent colour. PO20 PR255 PR9 PG17 PG26 PY42/PY83/PG7 a brand of On that base, LUKAS 1862 Dr. Fr. Schoenfeld GmbH & Co. oil colour stands in for a Geranium Lake Lukas Red Cadmium Red deep Green Earth Bohemian Green Earth Yellow Artists’ Colours 37ml 37ml, 200ml 37ml, 200ml 37ml, 200ml 37ml 37ml, 200ml Düsseldorf · Germany quality which convinces 0080 0049 0074 0158 0157 0031 www.lukas.eu · Phone: +49 (0) 2 11 - 78 13 -0 ✩✩ ✩✩✩ ✩✩✩ ✩✩✩ ✩✩✩ ✩✩✩ even the most demand- (6-7) / / 1 (7-8) / / 3 (7-8) / / 3 (7-8) / / 1 (7-8) / / 1 (7-8) / / 1 PR112 PR254 PR108 PG23 PY42/PG7/PBk11 PY42 Your retailer ing artists for over 150 years. Carmine Magenta (Primary) Madder Lake (hue) Raw Sienna Burnt Sienna English Red 37ml 37ml, 200ml 37ml 37ml, 200ml 37ml, 200ml 37ml 0061 0050 0066 0039 0109 0054 ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 1 ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 PR170 PR122 PR101/PR176/PBk11 PBr7 PR101 PR101

Alizarin Mauve Cobalt Violet (hue) Caput Mortuum Cassel Earth Burnt Umber Finest Artists’ Oil Colour 37ml, 200ml 37ml 37ml 37ml 37ml 37ml, 200ml 0068 0129 0130 0052 0101 0111 Based on the Tradition of the Old Masters

✩✩ (6-7) / / 2 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩✩ (7-8) / / 1 ✩✩ (6-7) / / 1 ✩✩✩ (7-8) / / 1 WERB 2202 GB Stand 03/2012 PR83:3 PV23/PV19 PV23 PR101 PY74/PR176/PBk7 PY42/PR101/PBk7 Introduction The Drying Time is normally 2-4 days on average for all use Cadmium Yellow light, Cadmium Red deep Painting Surface Dilute, solve, clean: As classic oil colours cannot be Since 1862, Dr. Fr. Schoenfeld the colour shades where the artist has applied the and Cobalt Blue. To be able to start immediately, Basically the operational area of LUKAS 1862 oil col- mixed with water, special mediums must be used. and LUKAS have been a sign by brush at a medium thickness (100-120 µ m). we particularly recommend a complete set. This our is very wide. Therefore there are a large num- of top quality artist’s colours. set contains, in addition to the 10 colour tubes also ber of suitable painting surfaces. These are Balsam and Turpentine Subs- Even Vincent van Gogh, as The exclusive use of high-quality Linseed and Sun- accessories such as brushes, palette and painting titute. Both are used to dilute oil colours or me- can be proved, has used the flower of pharmaceutical quality guarantees medium (Art. No. 6065). Exceptional fine and high- Stretched Canvas: Stretchers which are covered with diums. They are used also as a solvent for resins products of our house - the good and even drying of the colours. The risk of quality equipped is the wooden mahogany stained primed linen or cotton canvas are undoubtedly like mastic or dammar. We recommend Lukas well known master orde- cracking of the surface while the colours are drying chest (Art. No. 6001) with 27 tubes, 7 mediums, considered the classic painting surface. balsam turpentine rectified (Art. No. 2211), a top red the popular colour extra is minimised, when used properly. brushes, painting knives and charcoal. Only the quality turpentine which is cleaned several times. from Düsseldorf. Up to the current day numerous painting surface is missing to start. Cotton Painting Boards, painting boards or oil pads artists all over the world trust the 150-year-old is used in the manufacture of the more are suitable particularly for smaller works or also These are also special mediums for cleaning of tools. tradition of our house. bright shades to greatly reduce the traditional for study purposes. The LUKAS Brush Cleaner (Art. No. 2286) is re- „yellowing“ that occurs when made with . commendable. This cleaner dissolves dried oil We also do not breach this trust in the classic area of Wooden Boards of every kind can also be used for the paint from brushes more effectively than turpenti- . Since for the typical effect of an oil paint- The famous „Buttery“ Consistency of our top oil colour oil painting - the old masters like Raffael or Leo- ne and is much kinder to brushes. ing the correct material is important in every case. assortment is achieved by only using real Bees nardo da Vinci have already used these ! Therefore, we apply only the highest standards to in combination with best Linseed and Sunflower oils Painting in thick layers: To keep thick and but- our products. during manufacturing. However, it is in every case important to prime the tery, while at the same time avoiding the „wrin- surface. The primer isolates the surface to avoid kling“ of the colours when drying, we recommend This standard is also applied during the development The perfect Balance of this special colour is based on the absorbing of the binder. The colour remains using LUKAS Medium 5 „Painting Butter“ (Art. and production of our best and traditional artists’ oil the recipe and production: The well balanced rela- brilliant and does not crack. Easy and safe to use No. 2225). This medium gives the colours more paint in Master Quality. tionship between the pigment and the binder, com- are all ready prepared LUKAS surfaces, for examp- body and still enables oxygen to reach the lower bined with the large scale production process on le stretched canvas, cotton painting boards and oil layers. Already in the year of the company foundation - triple roller mills guarantees that the colour is never pads. These are all ready to paint, no preparation therefore the name „1862“ - our finest artists’ oil col- too oily. is required. Nevertheless, if you like to prime your- our has been developed after the formulas of LUKAS selves, we recommend the LUKAS White Primer / founder Dr. Fr. Schoenfeld. The former demand, to The particularly wide Colour Spectrum of altogether 70 (Art. No. 2335). produce one of the best world-wide oil colours, was shades orientates itself by the creative needs of the Brushes and Palette Knives: Brushes are important maintained up to the current day. It has been cau- artists and leaves no wishes unfulfilled. All classic tools for the artist. They influence the artist’s tech- Accessories and Mediums tiously developed and always adapted to the most valuable shades (pure Cadmium, Cobalt, Ultrama- nique. A good quality brush is of great importance. Useful Tools: In the Lukas range of products you find modern scientific and artistic knowledge. LUKAS rine, Earth pigments, etc) are available to the artist. A bristle brush should be used when painting with various accessories which are optimally adjusted 1862 artists’ oil colour convinces as an absolute They were already found on the palette of the old a normal thick colour application. This results in for the work with oil colours and which fulfil the top product the most demanding artists all over the masters. clearly visible brush strokes. For the start with LU- needs and demands of the artists. world. KAS 1862 oil colour, we recommend LUKAS Stu- LUKAS 1862 oil colour can be mixed with all of the LU- dio bristle brush Art. No. 5481 available in several For example Palettes in order to mix shades. Palettes KAS Oil colours (LUKAS STUDIO oil, LUKAS TER- sizes. Where colour and glazes are applied more are available in wood, metal or porcelain. Plastic ZIA oil or LUKAS BERLIN water mixable Artists’ Oil thinly a thicker haired brush is necessary. Initially, palettes are not always suitable as they can be Change of Drying Time: A typical characteristic of oil Characteristics Colours) and with the LUKAS painting mediums for we recommend the fine pointed LUKAS Red-Tak- sensitive to turpentine. colour is the slow drying. Therefore, there are dif- An incomparable Colour Intensity of LUKAS 1862 oil oil colours. lon brush (Art. No. 5439) and the flat LUKAS Red- ferent mediums which accelerate the drying time. colour is guaranteed through a very high concen- Taklon brush (Art. No. 5441) available in several Very useful are the Palette Dippers. These are small Classic mediums are for example Cobalt Sicca- tration of high-quality pigments. sizes. metal pots for mediums, which can be fixed to the tive (Art. No. 2229) or Siccative de Haarlem (Art. palette. No. 2226) The highest Lightfastness for an oil paint of the top Equipment Very interesting tools for works with LUKAS 1862 class should be an absolute self-evident fact. Only Colours: Initially, we recommend to start with the three oil colour are also palette knives with which the Easels in various types and sizes are responsible for a Attention: The first one should be used only extre- exclusive outstanding artists’ pigments are used primary colours: Lemon Yellow (Primary Yellow), Ma- colour can be applied „“ and in thick lay- perfect support during the work. For the beginner mely economically! The drying is also accelerated which offer the highest lightfastness in the respec- genta (Primary Red) and Cyan (Primary Blue) com- ers (e.g., with additional use of painting butter). we recommend the mobile LUKAS Field Easel (Art. with LUKAS Medium 1, 3 and 4. The slower dry- tive pigment class. pleted with Titanium White, Burnt Sienna and Ivory They are available in various forms and sizes and No. 5590 C) or the stable LUKAS Academy Easel ing of an oil colour can be achieved by the additi- Black. Instead of the primary shades, you can also allow accurate modelling of structures. (Art. No. 5591 C). on of suitable oil as well as of LUKAS Medium 2.