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Blacks & Greys
At least since the time of the Neo-Impressionists there has been a controversy about making greys. Thinking greys made from black are lifeless, some painters never allow black on their palettes; they only make greys from complements.
While overusing black in a painting will make it look dirty, neutral greys made from black and white are the same as neutral greys made from exact complements. Greys made from complements are more lively because they are incomplete mixtures of one color next to another. So come back to black with Gamblin Chromatic Black, a neutral, tinting black made from complementary colors.
An interesting alternative to mixing with white, the Portland Greys quickly lower the intensity of a color without changing its Munsell value.
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Van Dyke Brown: Warmest Gamblin black. Good glazing color and useful for adding "gallery tone." Completely lightfast and permanent, it's made from bone black and iron oxide.
Pigment: Bone black, iron oxide (PBk 9, PBr 7)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, SEMI-TRANSPARENT,
MSDS
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Ivory Black: A good, all-purpose black that's a solid choice for mixing greys, tinting, and mixing with other colors. Slightly warm in its transparency with a weak tinting strength.
Pigment: Bone black (PBk 9)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, SEMI-TRANSPARENT,
MSDS
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Chromatic Black: A neutral, tinting black made from complementary colors rather than the usual carbon or iron oxide blacks.
Pigment: Chlorinated and bromated phthalocyanine, quinacridone red b (PG36, PV19),
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, TRANSPARENT,
MSDS
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Mars Black: Slightly warm in its tint, this leanest (more matte) black dries more quickly than Ivory Black. Though not as black as Ivory Black, Mars Black has approximately three times the tinting strength and is very opaque. Cool in its masstone and strong, Mars Black is often the choice of the Neo-Expressionists and others who want to make black opaque marks in thick wet paintings.
Pigment: Synthetic black iron oxide (PBk 11)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 1, OPAQUE,
MSDS
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Black Spinel: This most permanent of blacks is the only truly neutral black in masstone and tint. Because of its pigment's crystalline shape, Black Spinel dries to a matte finish when no painting mediums are added. Long and ropey in texture, it contains no carbon. Costs as much as Cadmium Yellows - but well worth the money.
Pigment: Copper chromite black spinel (PBk 28)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 4, OPAQUE/MATTE,
MSDS
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Portland Greys: Named for our not always sunny city, the Portland Greys offer an interesting alternative to mixing with white. Formulated using the Munsell System for painters who work with value, they can mute the high key tints of the modern colors for more natural-looking mixtures.
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Portland Grey Light
Pigment: Titanium dioxide, zinc oxide, bone black
(PW 6, PW 4, PBk 9)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, VALUE 8/OPAQUE,
MSDS
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Portland Grey Medium
Pigment: Titanium dioxide, zinc oxide, bone black
(PW 6, PW 4, PBk 9)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, VALUE 6/ OPAQUE,
MSDS
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Portland Grey Deep
Pigment: Titanium dioxide, zinc oxide, bone black
(PW 6, PW 4, PBk 9)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, VALUE 4/ OPAQUE,
MSDS
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Payne's Grey: Coolest Gamblin black. Moderate tinting strength. Excellent match to popular watercolor.
Pigment: Complex silicate of sodium & aluminum, bone black
with sulfur, synthetic iron oxide (PB 29, PBk 11, PY 42)
Vehicle: Alkali refined linseed oil
Lightfastness I, Series 2, SEMI-TRANSPARENT,
MSDS
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