Art Spectrum Studio Blend Oil
French Ultramarine 40ml
The classic warm, violet-biased blue: the most versatile blue in the studio palette.

Art Spectrum Studio Blend Oil French Ultramarine 40ml is the warm, violet-biased blue that has been the foundation of western oil painting since it replaced natural lapis lazuli in the nineteenth century. Based on PB29 (synthetic Ultramarine Blue), it is a deep, rich, slightly violet blue with a semi-transparent quality that gives luminous depth in shadow passages and sky. French Ultramarine is warmer and more violet than Phthalo Blue or Cerulean Blue Hue, and it mixes differently: it granulates slightly, gives warm, slightly greyish-green when mixed with yellows, and produces rich, deep purples and violets when mixed with reds. It is the blue that belongs in every oil palette.

Pigment
PB29 (Ultramarine Blue)
Opacity
Semi-transparent
Lightfastness
ASTM I
Drying
Medium
Standard drying rate for ultramarine-based colours
★ Art Shed Staff Tip
French Ultramarine is the workhorse blue for Australian landscape painting. Used alone for the warm upper sky, it gives the deep, intense blue of the Australian inland sky at midday. Mixed with Burnt Sienna in varying proportions it gives a full range of neutral greys and near-blacks, from warm dark brown-grey to cool dark slate, without any manufactured black. This Ultramarine-Burnt Sienna pairing is one of the most powerful neutral-mixing combinations in oil painting.
Perfect For
Australian sky: deep, warm midday blueNeutral dark mixing with Burnt Sienna or Burnt UmberDeep shadow colour in landscape and portraitureWarm purple and violet mixing with redsUnderpainting and tonal drawing in oilsSea and coastal work: deep ocean tones

What Makes This Colour Essential

Temperature
Warm, Violet-Biased Blue
French Ultramarine is the warmest blue in the Studio Blend range. Its violet undertone means it shifts toward purple when mixed with red, and toward a warm, slightly muted green when mixed with yellow. This warmth makes it ideal for warm-light landscape work and for the deep blue of an Australian midday sky.
Transparency
Semi-Transparent with Depth
French Ultramarine is semi-transparent: applied thinly it gives luminous, glowing blue-violet glazes; applied thickly it is opaque enough to cover. This range of behaviour makes it versatile across impasto, glazing, and alla prima techniques.
Mixing Power
The Definitive Neutral Dark Mixer
French Ultramarine mixed with Burnt Sienna in varying proportions produces a full value range of neutrals: from warm grey-brown to deep, near-black slate. This is arguably the most useful complementary dark-mixing pair in oil painting and eliminates the need for manufactured black in many landscape palettes.
Origin
Australian-Made Since 1966
Art Spectrum has manufactured artists' materials at their Epping, Victoria facility for over six decades. Studio Blend Oil is triple-milled in refined linseed oil with ASTM I rated pigments throughout the 26-colour range.

Mixing With French Ultramarine

French Ultramarine is one of the most versatile mixing blues in oil painting. Mixed with Burnt Sienna in a roughly equal ratio it gives a neutral grey-brown that is warm and rich rather than flat. Tilted toward more Ultramarine it gives cool grey; tilted toward more Burnt Sienna it gives a warm brown-grey. These mixes replace the need for black in many palette configurations and give more interesting, luminous shadow tones than Ivory Black alone. Mixed with Titanium White it gives a range of sky blues from pale horizon to deep zenith, always retaining the characteristic warm, violet quality of ultramarine.

Mixed with Quinacridone Magenta or Cadmium Red Hue, French Ultramarine gives rich, warm purples and violets. A small amount of Dioxazine Purple added to French Ultramarine gives the very deep violet-blue of twilight sky and deep shadow in water. In landscape, French Ultramarine in the shadow areas of green foliage (mixed with Sap Green or Yellow Ochre) gives cool, believable shadow without the greenish cast that mixing a blue-green with yellow gives. For distant, atmospheric landscape recession, French Ultramarine mixed with Titanium White and a touch of Raw Sienna gives warm atmospheric haze.

About Art Spectrum Studio Blend Oil: Melbourne Made Since 1966

Art Spectrum Studio Blend Oil is the rebrand of the former Art Prism range, with fresh new packaging and artwork. The formula is unchanged: same pigments, same linseed oil base, same manufacturing standards. Made in Epping, Victoria since 1966. The 26-colour range is fully compatible with all Art Spectrum oil mediums and varnishes, and is also available in 150ml tubes.

What is the difference between French Ultramarine and Phthalo Blue?

French Ultramarine (PB29) is warm, violet-biased, semi-transparent, and granulating. Phthalo Blue (PB15) is cool, green-biased, transparent, and extremely powerful in tinting strength. French Ultramarine mixes more gently and gives warmer results. Phthalo Blue is brighter and more intense but can easily overpower a mixture. For sky and atmosphere, most painters reach for French Ultramarine first.

Why is it called French Ultramarine?

Ultramarine was originally made from the semi-precious stone lapis lazuli. In the nineteenth century, French chemists developed a synthetic version that replicated the colour at a fraction of the cost. The synthetic pigment (PB29) became known as French Ultramarine to distinguish it from the natural mineral, and the name has stuck ever since.

Is French Ultramarine suitable for Australian landscape painting?

Yes: it is arguably the most essential blue for Australian landscape. The deep, warm blue of the Australian inland sky is exactly the tone French Ultramarine delivers, especially mixed with Titanium White in decreasing proportions from zenith to horizon. Combined with Burnt Sienna for shadow and earth tones, a two-colour palette of French Ultramarine and Burnt Sienna can cover most of an Australian bush landscape.

Is Art Spectrum Studio Blend Oil the same as Art Prism?

Yes. Art Spectrum Studio Blend Oil is the direct successor to the Art Prism range with new packaging and artwork only. The formula, pigments, and linseed oil base are unchanged.

Does French Ultramarine granulate in oil paint?

PB29 does have some granulating tendency, but it is far less pronounced in oil paint than in watercolour. In oil, it gives a slightly textured, depth-rich quality when used thickly or applied with a dry brush that other blues do not, which many painters find adds life and character to sky passages.

Art Shed Online is an authorised Australian stockist of Art Spectrum products. All Art Spectrum Studio Blend Oil products are sourced through official distribution channels. We ship Australia-wide.

Available at Art Shed Online, Australia's specialist art supply store. Questions? Contact us at customerservice@artshedonline.com.au.

(APFU4)

SKU APFU4
Barcode # 93446181
Brand Art Spectrum
Shipping Weight 0.0730kg
Shipping Width 0.040m
Shipping Height 0.030m
Shipping Length 0.120m
Shipping Cubic 0.000144000m3