You fi nd detailed information about mediums in our special leafl et Lukas Mediums for Oil Painting which your retailer gladly places at your disposal. Zinc White Opaque White Titanium White Sky Blue Cyan Blue (Primary) Cerulean Blue (hue) Burnt Umber Raw Umber Van Dyck Brown 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml, 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 0204 0207 500ml, 2l, 5l 0338 0320 0321 0311 0310 0312 Protection for oil paintings: When fi nished, all oil ✩✩✩ (7-8) / ✩✩✩ (7-8) / 0208 ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / PW4 PW5 ✩✩✩ (7-8) / PW5/PB29 PW6/PB15:3 PW6/PB15:1/PB16 PY42/PR101/PBk7 PR101 PBr7 paintings should be protected from dirt, dust, ni- PW6 cotine deposits and other negative environmental infl uences with a varnish. Prior to varnishing, the painting must be allowed to dry completely - and this can easily take some months if the colour Flesh Colour Beige Brilliant Yellow Cobalt Blue (hue) Ultramarine Phthalo Blue Indigo Payne’s Grey Ivory Black layers are thicker. Therefore: do not rush! We rec- 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml, 0222 0209 0212 0323 0337 0345 0322 0384 500ml, 2l, 5l ommend LUKAS aerosol varnish sprays. They are ✩✩ (6-7) / ✩✩ (6-7) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩ (6-7) / ✩✩✩ (7-8) / 0382 PW5, PY35, PO20 PW6/PW4/PY35 PW4/PY35 PW6/PB29/PG7 PB29 PB15:3 PR176/PB29/PB15:1/ PR264/PG7 ✩✩✩ (7-8) / available in three sorts: gloss (Art. No. 2321), matt PBk7 PBk7 (Art. No. 2322) or silk brilliant (Art. No. 2324). Signs and Symbols: Colour, Filling Size, Art. No., Lightfastness, Opacity, Pigment Name The Colour Range: The LUKAS Studio oil colour Lightfastness: ✩✩✩ = excellent up to outstanding lightfast Naples Yellow Naples Yellow reddish Lemon Yellow (Primary) Prussian Blue Turquoise Emerald Green (7-8 on the blue wool scale) range consists of a wide spectrum of 48 colour 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml ✩✩ = very good to excellent lightfast 0234 0236 0210 0334 0355 0356 (6-7 on the blue wool scale) shades, available in 20 ml, 37 ml, 75 ml and 200 ✩✩✩ (7-8) / ✩✩ (6-7) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ml tubes. Titanium White and Ivory Black are also PW5/PY3/PY42/PR101 PW5/PY3/PY42/PO34 PY3 PB27 PW5/PB15/PG7 PW5/PG7 Opacity: = transparent = semi-transparent available in 500 ml tins as well as in 2 l and 5 l = semi-opaque = opaque plastic buckets. The extremely well balanced co- Pigment Name: The two preceding letters determine the type of colourant used (P=Pigment) and the dye (e.g. W=White), followed by lour spectrum of the LUKAS the digits of the pigment type. Studio oil assortment com- Cadmium Yellow light Cadmium Yellow (hue) Indian Yellow Permanent Green Viridian (Phthalo) Green yellowish This colour chart is produced within the limitations of printing and is intended as a bined with a high intensity (hue) 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml guide only. and covering power fulfi ls 20ml, 37ml, 75ml, 200ml 0227 0224 0363 0354 0375 0226 ✩✩ (6-7) / ✩✩ (6-7) / ✩✩ (6-7) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / the demands of hobby ✩✩ (6-7) / PY65 PY83/PO36 PW6/PY1/PG7 PG7 PW6/PY3/PG7 artists and professionals. PW6/PY1

Cadmium Orange (hue) Cadmium Red light (hue) Vermilion Sap Green Green Earth Olive Green 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 0229 0272 0286 0365 0358 0357 ✩✩ (6-7) / ✩✩ (6-7) / ✩✩ (6-7) / ✩✩ (6-7) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / PO34/PO62 PO34 PR9 PY42/PY83/PG7 PG23 PY42/PG7/PBk11 a brand of Dr. Fr. Schoenfeld GmbH & Co. Artists’ Colours Düsseldorf · Germany www.lukas.eu · Phone: +49 (0) 2 11 - 78 13 -0 Cadmium Red deep Carmine Magenta Red (Primary) Yellow Ochre Raw Sienna Burnt Sienna (hue) 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml Your retailer: 20ml, 37ml, 75ml, 200ml 0261 0250 0231 0239 0309 0274 ✩✩ (6-7) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩ (6-7) / PR170 PR122 PY42 PBr7 PR101 PR112 STUDIO ÖL

Alizarin Crimson (hue) Mauve Cobalt Violet (hue) English Red Caput Mortuum Cassel Earth 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml 20ml, 37ml, 75ml, 200ml Fine Artists’ Oil Colours 0266 0329 0327 0254 0252 0301 ✩✩ (6-7) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩✩ (7-8) / ✩✩ (6-7) / The Professional Assortment

PR101/PR176/PBk11 PV23/PR19 PV23 PR101 PR101 PY74/PR176/PBk7 WERB 2302 GB Stand 03/2012 Introduction The typical drying time for oil colours straight through In the LUKAS STUDIO Oil Assortment Box you will Painting Surface Dilute, solve, clean: As classic oil colours can not Since 1862, Dr. Fr. Schoenfeld and LUKAS have been a all shades amounts on average from 2 to 4 days find a well-coordinated colour palette. In addition LUKAS Studio oil colour can be used on various be mixed with water, special mediums must be sign of top quality artists’ colours. Even Vincent van with thin brushstroke strength (100 to 120 µ m). to this the LUKAS STUDIO Oil wooden boxes in- painting surfaces. used. Gogh, as can be proved, has used the products of clude several brushes and a painting medium. our house - the well known master ordered the po- The exclusive use of high-quality linseed and sunflower Stretched Canvas: Stretchers which are covered with These are Balsam Turpentine and Turpentine Sub- pular colour extra from Düsseldorf. oils of pharmaceutical quality guarantee good and primed linen or cotton canvas are undoubtedly stitute. Both are used to dilute oil colours or me- even drying of the colours. The risk of cracking considered the classic painting surface. diums. They are used also as a solvent for resins of the surface while the colours are drying is mini- like mastic or dammar. We recommend LUKAS mised, when used properly. Cotton Painting Boards: painting boards or oil pads balsam turpentine rectified (Art. No. 2211), a top are suitable particularly for smaller works or also quality turpentine which is cleaned several times. Sunflower oil is used in the manufacture of pale shades for study purposes. to greatly reduce the traditional „yellowing“ that There are also special mediums for cleaning of tools. occurs when made with linseed. Wooden Boards of every kind can also be used for the The LUKAS Brush Cleaner (Art. No. 2286) is re- oil painting - the old masters like Raffael or Leo- commendable. This cleaner dissolves dried oil The famous „buttery“ consistency of LUKAS Oil col- nardo da Vinci have already used these! However, paint from brushes more effectively than turpenti- ours is achieved by only using real Bees Wax during it is in every case important to prime the surface. ne and is much kinder to brushes. manufacturing. The primer isolates the surface to avoid the absorb- ing of the binder. The colour remains brilliant and Painting in thick layers: To keep paints thick and but- The range has a well balanced colour spectrum of does not crack. Easy and safe to use are all ready tery, while at the same time avoiding the„wrinkling“ 48 colours. It offers the ideal opportunity to work in prepared LUKAS surfaces, for example stretched of the colours when drying, we recommend using the area of the creative-artistic oil painting. The ran- Brushes and Palette Knives: Brushes are important canvas, cotton painting boards and oil pad. These LUKAS Medium 5 „Painting Butter“ (Art. No. 2225). Up to the current day numerous artists all over the world ge allows painting directly from the tube with a fine tools for the artist. They influence the artist’s tech- are all ready to paint, no preparation is required. This medium gives the colours more body and still trust the 150-year-old tradition of our house. We nuance. nique. A good quality brush is of great importance. Nevertheless, if you like to prime yourselves, we enables oxygen to reach the lower layers. also do not breach this trust in the classic area of oil A bristle brush should be used when painting with recommend the LUKAS White Primer / Gesso (Art. painting. Since for the typical effect of an oil paint- LUKAS Studio Oil colour can be mixed with all of the a thick colour application. This results in clearly No. 2335). ing the correct material is important in every case. LUKAS Oil colours (LUKAS 1862 oil colour, LUKAS visible brush strokes. TERZIA oil colour or LUKAS Berlin water mixable oil Therefore, we apply only the highest stan- colour) and with the LUKAS painting mediums for dards to our products. This standard is also ap- oil colours. Accessories and Mediums plied during the development and production Useful Tools: In the Lukas range of products you find of our fine artists’ oil paint in Studio Quality. On Equipment various accessories which are optimally adjusted that basis we can provide an oil colour with a Colours: Initially, we recommend for the start the three for the work with oil colours and which fulfil the balance of performance and cost, compared to Mas- primary colours: Lemon Yellow (Primary Yellow), Ma- For the beginners, we recommend LUKAS Studio needs and demands of the artists. ter qualities, which fulfils the demands of beginners genta (Primary Red) and Cyan (Primary Blue) com- bristle brush (Art. No. 5483), available in different and professional artists. pleted with Titanium White and Ivory Black. A useful sizes. Where colour and glazes are applied more For example Palettes in order to mix shades. Palettes combination is the following six shades: Titanium thinly a thicker haired brush is necessary. Initially are available in wood, metal or porcelain. Plastic White, Cadmium Yellow were commend the fine pointed LUKAS Red- palettes are not always suitable as they can be light (hue), Cadmium Taklon brush (Art. No. 5439), the flat LUKAS Red- sensitive to turpentine. Change of drying time: A typical characteristic of oil Characteristics Red deep (hue), Cobalt Taklon brush (Art. No. 5441) and the filbert-form colour is the slow drying. Therefore, there are dif- An exemplary covering power is ensured through a Blue (hue), Burnt Sienna LUKAS Red-Taklon brush (Art. No. 5444). Very useful are the Palette Dippers. These are small ferent mediums which accelerate the drying time. high concentration of valuable pigments, significant- and Ivory Black. metal pots for mediums, which can be fixed to the Classic mediums are for example Cobalt Sicca- ly higher than in typical economic colours. Very interesting tools for works with LUKAS Stu- palette. tive (Art. No. 2229) or Siccative de Haarlem (Art. dio oil colour are also palette knives with which No. 2226) Attention: The first one should be used The pigments used guarantee excellent levels of light- the colour can be applied „Impasto“ and in thick Easels in various types and sizes are responsible for only extremely economically! The drying is also fastness. No colour has a lower light fastness than layers (e.g., with additional use of painting butter). a perfect support during the work. For the begin- accelerated with LUKAS Medium 1, 3 and 4. The 6-7 on the international 8-step blue wool scale. They are available in various forms and sizes and ner we recommend the mobile LUKAS Field Easel slower drying of an oil colour can be achieved by allow accurate modelling of structures. (Art. No. 5590 C) or the stable LUKAS Academy the addition of suitable oil as well as of LUKAS Easel (Art. No. 5591 C). Medium 2 (Art. No. 2220).