Each of the more than 70 Lilly Artists' Oil Colour is mixed over several passages by hand, pre-dispersed and then compressed in a three-roll mill until the desired result is achieved. Some pigments make it necessary to repeat the whole process, while other pigments require the paint to rest for a while between the individuall manufacturing tasks.
Quality and properties of our oil paints
For all Lilly Artists Oil colors only carefully selected artists' pigments are used which meet the highest demands on light fastness. The light fastness of our colors will be shown at the respective color descriptions in the ASTM standard.
Selection of oils
Lilly Artists Oil colors are made only with high-quality oils. The properties of the pigments and thus the colors are significantly influenced by the oils used.
The following types of oil are used in our standard program:
• Refined linseed oil - the most common binding agent in oil paints. It dries the fastest, but unfortunately, yellows most. Refined means that the oil has been cleaned and bleached.
• Refined safflower oil - We put this oil in blue, zinc and titananium white paints. Linseed oil would make the paint appear yellowish after a few months. Safflower oils dry slower than linseed oil, but hardly yellow.
• Refined walnut oil - in certain paints we also use walnut oil in order to highlight the charakter of the paint.
Note: Did you know that walnut oil is excellent for cleaning of painting equipment? That way you can even do away with chemical cleaners such as white spirit.
The use of the right oils is an essential ingredient for the production of high-quality oil paints.
The separation of oil and pigment which may occur due to the storage of oil paint in a tube must not be a sign of poor quality of color. Our aim, however, is to avoid this.
Therefore, we use if absolutely necessary (as with mineral pigments) the least possible amount of aluminum stearate. We've chosen this addition, because the alternative use of bee or castor wax leads only in higher amounts to the same result, where as the drying time is prolonged and the painting behaviour of the paint is impaired (the color is a bit too buttery for our taste). These stabilizers are not needed by painters who grind their colors themselves.
With careful use this has no impact on the quality or longevity of the color which has been confirmed by many studies.
For instance see the study on the use of stabilizers of the University of Venice.
Since our paints are supplied directly from the paint mill with an extremely short shelf life, these additives are reduced to an absolute minimum.
Furthermore in Phtalocyanin paints (PB15.1, PDB15.3, PB16, PG7, PG36), and Naphtol red (PR112) we use some barium sulphate (barytes or blanc fixe) to reduce the color intensity of these pigments. Otherwise the colors would be intense.
The color saturation does not suffer thereby. This we have verified through extensive testing.
Aluminum stearate and barium sulfate are classified (GHS / CLP) as non-hazardous according to the European directives.
Some colors do not require any drying accelerator, other colors turn this is as good as inevitable.
The amount of added drying accelerator depends on the type of pigment and is between 0.5% and 1%.
The individual drying information is given on the relevant product page.
However, the cited drying times may vary somewhat, since they depend on the ambient temperature, humidity, ventilation and thickness of the layer of paint applied. For an overview of the drying times per type of pigment here.
When we use a drying accelerator, it is described for each color in the online shop and on the paint tube.
Color strength defines that degree to which a color pigment obtains its characteristic color. The higher the color strength, the more "foreign pigment" is required to change a default color depth. Tests comparing the color intensity are typically accomplished by gradually adding pure Titanium White.
We fill in our colors the absolute maximum amount of pigment.
This illustrates our test is displayed for each color in the online shop.
We use a mixing ratio of 1: 1 (1 part paint: 1 part pure Titanium white) and a mixing ratio of 1: 9: to illustrate (1 part paint 9 parts pure Titanium white) to show the degree of color strength change.
This shows the high color intensity of Lilly Artists' Oil Colours.
The lower the opacity, the worse may be a color cover a different color.
If you want to produce glazes with a color, it is quite desirable that a pigment has a low opacity. The opacity of our colors ranging from opaque, semi-opaque, semi-transparent to transparent and will be shown at the respective color descriptions.
Lilly Artists Oil colors are mixed over several passages of time by hand, pre-dispersed and then compressed in a three-roll mill so long and refined until the best possible color quality is achieved.
Then the colors are filled by hand in 15ml, 40ml or 150ml tubes and delivered fresh from the color mill.
The fineness range of Lilly Artist Oil Paints is between 0 and 10 micro-millimeters (μ).
Three roll mill