Langridge Handmade Oil Colour Chart with studio descriptions on the individual qualities of handling and performance of each colour.
Titanium White (Series 1) Cadmium Red Light (Series 6) Prussian Blue (Series 2) Transparent Yellow Oxide (Series 3) The most opaque white. Excellent covering power. Langridges’ warmest yellow, starting to move Very intense, cool blue. Manufactured with an extremely fine pigment Very, very intense white. Milled in non-yellowing Refined towards orange. Luminous and radiant, this colour Perfect night sky starting point in landscape. particle size to create luminous bright gold through Safflower oil. Highly permanent. is as tough as it is delicate . Very slight green undertone. to honey-like tones.
Titanium Zinc White (Series 1) Naphthol Red (Series 3) Phthalo Blue (Series 3) Raw Sienna (Series 2) A combination of titanium’s tinting strength and zinc’s A modern warm primary red with an impressively A jewel-like versatile blue with green undertone. Beautiful, genuine Italian semi-transparent creamy texture. All round mixing white. Milled in high chroma. No fillers have been added to our Phthalo Blue making golden ochre. The slight gritty quality allows for non-yellowing Refined Safflower oil. A clean alternative for mixing. it a powerful tool for painting exquisite undertones. Zinc White (Series 1) Pyrrole Red (Series 4) Video Blue (Series 2) Gold Oxide (Series 1) Coldest white with slight transparency. Opaque, modern red with a very slight yellow hue. Built to generate light. This intense warm azure blue is An oxide with superior opacity. A warm golden earth Excellent tinting white. Soft buttery consistency. Yields cleaner mixes than cadmiums. full of depth and space. tone essential for portrait, landscape Milled in non-yellowing Refined Safflower oil. and contemporary techniques.
Unbleached Titanium (Series 1) Quinacridone Red (Series 4) Cobalt Blue (Series 6) Mars Orange (Series 1) Titanium dioxide with naturally occuring A modern synthetic primary red. This beautiful jewel-like blue is a clean, An earthy orange that blends to create elegant muted impurities remaining. Highly opaque pale Beautiful in glazes and produces glowing rich colour with hints of warmth. tones. Combine with white to reveal a warm golden grey-brown, a superb mid-value mixing tone. blended colours. A favourite with landscape painters. apricot.
Zinc Yellow (Series 1) Cadmium Red (Series 6) Zinc Blue (Series 2) Transparent Red Oxide (Series 3) Mixture of Zinc White and Cadmium Yellow. Deep velvety red with a small tint of purple. Soft in One of the few mixed colours in the range, this is a A modern iron oxide with rich burnt treacle tones. Fine Very pale, it allows for less ‘bleached’ tints than mixing texture, excellent covering power. crisp, clean blue for a pure azure direct out of the pigment particles allow for illuminated with pure whites. Luminous quality. tube. glazing and glowing mixes of colour.
Titanate Yellow (Series 2) Brilliant Pink (Series 3) Cerulean Blue (Chromium) (Series 6) Red Oxide (Series 1 ) Nickel Titanate is opaque with a ‘sweet’ green cast making Contemporary high chroma deep pink with Cooler blue than our cobalt with the hint of green. An essential for painters with an earth toned palette. it hover on the surface. Very soft, brushes out to very excellent opacity. Slight hint of yellow for warmth. Velvety, muted tone, very valuable as a pure hue, Opaque and fast drying,with an uncommonly high smooth flat passages of colour. Very clean colour. light and airy once diluted. pigment load.
Arylide Lemon ( Series 2) Quinacridone Burnt Orange (Series 4) Cobalt Teal (Series 6) Burnt Sienna (Series 2) Cooler, green shade modern yellow. A rich mahogany in thicker passages with Deliciously soft blue with greenish cast. Genuine Italian sienna. Rich, warm, mahogany undertone. Mixes beautifully with blues for clean intensely a sweeping undertone of golden yellow. It has a melting warmth making it perfect for Luminous and reddish in washes and glazing. vibrant greens. Full strength, no fillers. A delicate and seductive glazing colour. skies and oceans.
Cadmium Yellow (Series 5) Quinacridone Magenta (Series 4) Turquoise Phthalo (Series 3) Caput Mortuum (Series 1) Cadmium Yellow that veers towards pale without being too A quintessential colour for every palette. A deep blue-green turquoise with a powerful tint Densely opaque iron oxide. A saturated red purple lemon, holding some warmth. Our magenta is a favoured colour for blending and strength. Yields immaculate blends and flawless that is essential to take into the landscape or use Good pigment load, short buttery consistency. glazing, bursting with pure pigment. glazes. with portraiture.
Arylide Yellow (Series 2) Brilliant Magenta (Series 2) Phthalo Green (Series 3) Raw Umber (Series 2) This modern colour is a beautiful clean yellow with high Blushed rose pink with a cool glow. A clean modern emerald green with an intense tinting Made with genuine Italian earth pigment. chroma. Makes intense secondary mixtures. Magnificent Excellent for landscapes, portraits and strength. Partner with Arylides and Whites for modern Rapid drying rate with a slightly cool green cast. glazing yellow. Full strength, no fillers. contemporary palettes. light greens. An indispensable colour for all painters.
Nickel Azo Yellow (Series 4) Quinacridone Crimson (Series 4) Cadmium Green (Series 5) Mars Brown (Series 1) Extraordinary modern yellow that has extreme ‘length’ Highly permanent. Cool in masstone, however, Sumptuous bright green based on cadmium yellow. A rich chocolate brown with a deep red when glazing. As the colour is extended more yellow tones reveals warm rose undertones in clear glazes. Excellent for landscape. undertone. Very opaque, it gives a good reveal themselves. Replaces Alizarin Crimson. Opaque with a soft brushability. recession of space for shadows
Diarylide Yellow (Series 2) Perylene Crimson (Series 6) Video Green (Series 2) Burnt Umber (Series 2) Modern transparent warm yellow. High-performance, very cold deep crimson in Modern electric green. Brightest and cleanest green Very warm and velvety. Deeper in tonal value Verging on Indian Yellow, a magnificent mixing masstone. Mixed with white this colour holds its’ available for artists to date. than Mars Brown, with warm red colour with bright reds. cool, almost blue, undertone. undertones. Genuine Italian umber.
Cadmium Yellow Deep (Series 5) Quinacridone Violet (Series 6) Brilliant Green (Series 2) Cold Brown Oxide (Series 1) Langridges’ warmest yellow, starting to move An elegant modern violet with a deep burgundy A blended cool lemon chartreuse with incandescent Iron oxide with a cold bitumen colour equivalent to cassel towards orange. Luminous and radiant, this colour is as mass tone and sweet violet undertones. Creates qualities. Bright and clean making is a earth. No red undertone. tough as it is delicate. cool but not cold tints and glazes. superior choice when mixing on the palette. Magnificent for creating filled shadows.
Nickel Azo Red Gold (Series 4) Manganese Violet (Series 5) Green Gold (Series 3) Titanium Grey (Series 1) Earthy red-gold of the suns’ last rays. Very rich in stronger Delicately rouged violet with a buttery texture. A modern, earthy and warm yellow-green. Perfect A very unusual pigment. This lovely applications, but golden undertones come through as it is Excellent for luminous shadows in landscape and for landscape and contemporary clean glazes greenish grey is an excellent mid-tone. extended. Semi-transparent. portraiture. Can be used as a neutral priming ground.
Neon Orange (Series 3) Ultramarine Violet (Series 2) Chromium Oxide (Series 3) Paynes Grey (Series 1) Exceptionally bright modern semi-opaque orange Transparent, delicate violet with relatively low A highly opaque warm earthy green. Master Paint maker, David Coles' favoured blend. This with glowing yellow undertones. Built to feel like tintorial strength. Exquisite subtle mixer. It has a pleasing gentle hue with relatively low blue-grey has no ochre incorporated, producing a it has been generated by cathode tube. Not as cold as Dioxazine Violet. tinting strength. uniquely exquisite violet cast.
Cadmium Orange (Series 5) Dioxazine Violet (Series 4) Yellow Ochre (Series 2) Carbon Black (Series 1) A brilliant and optically powerful mid orange Exceptional tinting strength. Genuine natural Italian golden ochre. Super dark black that absorbs enormous amounts with excellent opacity and warmth. Deep purple in mass tone. When used in glazes Less opaque than Yellow Oxide, it has great versatlity, of light. Our strongest black. it keeps its cold undertone. moving from cool to warm. Slow drying.
Pyrrole Orange (Series 6) Ultramarine Blue (Series 2) Yellow Oxide (Series 1) Mars Black (Series 1) Exquisite cool modern orange. Highly opaque. Beautifully clean, bright blue with good tinting A hot yellow iron oxide with good opacity and a Dense and opaque. Superior substitute for Cadmium Orange. strength. Not too violet. soft brushing consistency. Mars Black is a faster drying alternative to the Very pure chroma for clean colour mixing. Mixtures drop away and give airy depth. slow drying carbon blacks.