Natural Pigments OLD

Every tube of Rublev I have ever purchased has been of the best quality. My favorites have beem lead-tin yellow and white lead #2. Service has also been wonderful.

I have avoided Kead White in my Figure painting in and off throughout my art career. Mostly because the leads I tried were stiff and did not really give me the results I wanted until a month ago. Julio Reyes and his wife, Candance Bohanon came over to my studio to paint from a Model. They started talking to me about Natural Pigments and the difference of Lead White #2. We did a test on the cadmium reds with Lead White #2 versus titanium and it convinced me to try the paint. I was not disappointed! I have started incorporating Lead White #2 as well as bone black into my palette. I also love the richness and intensity of Bone black! I have typically used Ivory black but I am a true believer of Bone Black now! Can’t wait to order a broader spectrum of colors!

Fabulous, worth every cent. Smooth, creamy and full of body. The colors are intense and rich. So glad I tried these oils.

I have been waiting for years to get my hands on silverpoint natural pigments made a long time dream possible thank you

Rublev's lead whites are my preferred white oil paint whites for all of my paintings. Lead White #1 and Stack Process White Lead begin to set up in 6 to 8 hours, more or less, which suits my ways of painting perfectly. These create very durable paint films that should last for centuries. Lead White #2 is my favorite for painting skies, because it allows more working time to create the soft transitions of tones that make for compelling skies in a painting. The Stack Process White Lead is especially suited for painting faces in portraits, it being essentially the same kind of white used by Rembrandt in the 17th century. I also appreciate the availability of a number of other paints that are not available from mainstream paint companies. Among them are Lead-tin Yellow, Naples Yellow, and several varies of siennas, all composed of the natural pigments that those names denote, rather than approximations composed of combinations of synthetic pigments and dyes whose lightfastnesses are inferior to the real thing. These wonderful oil paints do not need mediums added to them in order to improve them in any way, in my experience. The need for mediums with some other brands is due to the too-thick consistency that is the result of stabilizers added to the paints by the manufacturers, which turn the paints into something like window putty that doesn't lend itself to good control under the brush. Thus painters feel the need to add mediums to overcome the stiffness caused by the stabilizers. Rublev oil paints have no stabilizers, so there is little or no need to add anything to them to achieve good control. These are the kinds of paint the Old Masters used. I'm a frequent buyer and constant user of Rublev oil paints.