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Williamsburg

Most Williamsburg Oil Colors are considered to have excellent lightfastness

(LF I), with the exception of Alizarin Crimson and Van Dyke Brown which have very poor lightfastness (LFIII)

WILLIAMSBURG HANDMADE OIL COLORS

Williamsburg offers one of the most extensive and unique lines of handmade oil paints in the world, including our famous Italian Earth Colours, Cadmiums and Cobalt colours
Williamsburg manufactures one hundred and forty seven specially selected oil colours available in tubes of 37ml & 150ml.

In the mid 1980s Carl Plansky began making paint for himself and his friends in the Williamsburg neighbourhood of Brooklyn, New York. He had no intention of turning his passion into a business, but the interest of his fellow artists escalated to a point where the
business of 'Williamsburg Art Supply' was established out of necessity. From the beginning, Williamsburg was guided by Carl Plansky's desire to create the richest and most beautiful colours imaginable.  It was a painter's paint in every way, infused with a painter's sense of touch and tone, and a belief that colour was more than a fixed formula but continually open to improvement and invention. New directions and additions were as likely to flow from Carl's experiences in the studio as from the particular orange of an opera singer's gown; from the garden, as much as the gallery. Beginning with a small milling machine provided by a former employer, Carl's paint making operation grew to employ several people
and was moved to Oneonta, New York. Never planning or aspiring to a take-over of the oil paint market, Williamsburg's oil paints accumulated a following and international presence while preserving the handmade integrity of the paint.

In France he bought colours from the houses that had made paints for Monet, Matisse, and Cezanne then analysed their paint to see how fine or coarse the grind was and to determine where they found their pigments and oils. With this same passion, he continued to search for the most beautiful raw materials in the world, importing pigments from dozens of countries so he could offer them to his fellow artists as paint and dry pigment.

The legacy and integrity of Carl's paint business survived his death in October of 2009. The team he built at Williamsburg Handmade Oil Colors has preserved the passion and creativity that Carl imparted under the leadership of Beverly Plansky, Carl's sister and business partner. In the Spring of 2010 Golden Artist Colors offered to assume responsibility for realizing Carl's dream for truly unique paints and mediums that reflect not only the traditions of painting in Europe and North America, but the artist's passion that drives them forward. Carl himself claimed that only Golden Artist Colors could make oil paints with the integrity and style of Williamsburg. GOLDEN and Williamsburg have shared more than geography (Oneonta and New Berlin are just 20 miles from each other), but very similar paths developing paint out of dialog with artists and growing as businesses by responding to artists' needs. Williamsburg Handmade Oil Colors is proud to now be a member of the GOLDEN family.

Alizarin Orange
Anthraquinone (PR 177), Diarylide Yellow (PY 83)
Transparent, clear, and rich. Beautiful as a golden glazing colour.
Very warm, almost sultry, in its colour saturation.

Fanchon Red
Naphthol AS-D (PR 112)
This is a very beautiful high-keyed red, different from Cadmium Red in that it leans toward warm, glowing pinks when added to white.
This is a very useful bright red for mixing. It stays cleaner and clearer than most other reds in mixes. Warmer than Quinacridone Red. Semi-Opaque.

Carl's Crimson
Naphthol AS (PR 187)
Carl Plansky's personal favourite when wanting a rich, permanent crimson. A touch warmer and slightly less translucent than our
standard Permanent Crimson. Transparent.

Persian Rose
Titanium Dioxide (PW 6). Zinc Oxide (PW 4), Dipyrrolopyrrol (PO 73), Quinacridone (PV 19).
A rich, intense colour with extremely good covering power.
Like an old world rose with a slight cool, bluish glow, but with a heart of orange. Semi-Opaque.

Provence Violet Reddish
Zinc Oxide (PW 4), Titanium Dioxide (PW 6), Quinacridone (PV 19)
Redder than Manganese Violet. Very close to Cobalt Violet Light but extremely opaque with good covering power.

Sevres Blue
Titanium Dioxide (PW6) Zinc Oxide (PW 4), Copper Phthalocyanine (PB 15:3)
Brilliant, warm, sky blue. Crisper and brighter than Cerulean.
Named after the famous blue enamel on Sevres porcelain. Opaque.

Cobalt Teal
Oxides of Nickel, Cobalt & Titanium (PG 50)
A very, very strong colour. This is not a mix or tint, but the absolutely most intense turquoise we have ever seen.
A pure cobalt with no adulterants. It is very exotic, almost Caribbean or Moroccan in feeling. Opaque.

Cinnabar Green Light
Arylide Yellow 1(0G), Polysulfide of Sodium-Alumino-Silicate (PB 29)
A very high-keyed, light-yellowish green.
Strong and powerful but does not go over the line and become florescent. Opaque.

Quinacridone Gold Brown
Quinacridone (PR 206), Diarylide Yellow (PY 83)
Really shows its beauty and versatility in mixing and glazing.
A deep rich brownish gold like a deep smoky topaz. Transparent.

Graphite Grey
Graphite (PBk 10)
Graphite ground in linseed oil. It retains the slight metallic, irridescent quality of graphite. Great for wash drawings on prepared paper. Opaque.

Italian Terra Verte
Natural Ferrous Silicate containing Mangnesium and Aluminium Potassium Silicates (PG 23) The true Brentonica earth. Semi-transparent, slightly gritty, with a velvet-like, soft, light-absorbing surface. A delicate green. Not an opaque,
olive or yellowish green. Giorgione's green.

6000013
Italian Terra Verte

6000014
Italian Lemon Ochre

6000015
Italian Yellow Ochre

6000016
Italian Orange Ochre

6000017
Italian Green Ochre

6000018
Italian Pompeii Red

6000019
Italian Rosso Veneto

6000020
Italian Pozzuoli Earth

6000021
Italian Terra Rosa

6000022
Italian Black Roman Earth

6000023
Italian Burnt Sienna

6000024
Italian Raw Sienna

6000025
Italian Raw Umber