{"title":"Wallace Seymour Artists' Oil Colours — Hand-Ground in the Yorkshire Dales","description":"\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eWallace Seymour Artists' Oil Colours — Hand-Ground in the Yorkshire Dales\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThese are not factory oils. Wallace Seymour's artist oil colours are prepared by hand in small batches in Settle, North Yorkshire, using pigments chosen for their purity, resonance, and historical significance.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eEach colour follows its own unique recipe. Depending on the pigment, colours are machine-ground, prepared in a hand-milling machine, or ground entirely by hand using a glass muller. They are then worked into English cold-pressed linseed oil from a single estate farm — a free-flowing, golden oil that allows brush marks to settle naturally into the paint film, without the addition of driers.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe range spans cadmiums, cobalts, ultramarines, earth colours, and a remarkable selection of rare and historical pigments not found in mainstream ranges — including native Yorkshire earths, ancient mineral colours, and carefully selected modern synthetics.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003ePractical notes for painters:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul class=\"[li_\u0026amp;]:mb-0 [li_\u0026amp;]:mt-1 [li_\u0026amp;]:gap-1 [\u0026amp;:not(:last-child)_ul]:pb-1 [\u0026amp;:not(:last-child)_ol]:pb-1 list-disc flex flex-col gap-1 pl-8 mb-3\"\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eBecause no drying agents are added, drying time is governed by the nature of each pigment. Earth colours and cadmiums will dry faster; blacks and some blues more slowly.\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eAdding 10–20% Wallace Seymour Fast Drying Oil Glaze Medium will bring drying times into balance across your palette.\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eThese paints are compatible with all standard oil painting mediums, varnishes, and grounds.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eWho are these paints for?\u003c\/strong\u003e Painters who take their craft seriously. Artists who want to understand exactly what is in their paint. Those who are tired of the homogenised quality of mass-market oils and want something with genuine character.\u003c\/p\u003e\n\u003chr class=\"border-border-200 border-t-0.5 my-3 mx-1.5\"\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eFAQ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eAre Wallace Seymour oils lightfast?\u003c\/strong\u003e Lightfastness varies by pigment, as it does in any honest paint range. Wallace Seymour does not compromise on pigment quality, and the technical information available from their website gives full detail on each colour's composition and permanence rating.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eWhat sizes are available?\u003c\/strong\u003e Wallace Seymour oils are available in 40ml tubes. If you need larger quantities for a specific project, contact us and we can advise.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eCan I use Wallace Seymour oils with other brands?\u003c\/strong\u003e Yes — they are compatible with standard artist oils from other manufacturers. Many painters use Wallace Seymour alongside other ranges to introduce specific colours or qualities not available elsewhere.\u003c\/p\u003e","products":[{"product_id":"wallace-seymour-artists-oils","title":"Wallace Seymour Artists' Oil Colours — Series 1 \u0026 2 — 40ml","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eWallace Seymour oil colours are hand-made in Settle, North Yorkshire by Rebecca Wallace and Pip Seymour — two practising artists who founded the company in 2011 out of genuine dissatisfaction with what mass-produced oil paint could offer. Every tube in the range is produced in small batches of up to one litre at a time, using methods that have largely disappeared from mainstream paint manufacture. This is not a marketing story. It is simply how the paint is made.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eSeries 1 and 2 form the working foundation of the Wallace Seymour oil range — a broad, carefully considered palette of colours built on high-quality modern pigments alongside traditional earth colours and historical hues. The Series distinction reflects pigment cost rather than quality: every colour across all series is made to exactly the same standard, with the same cold-pressed linseed oil binder and the same meticulous small-batch production. Series 1 contains the core working pigments — phthalocyanines, quinacridones, ultramarines, cadmiums, and synthetic organics — while Series 2 moves into pigments that carry a modest premium due to their raw material cost.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe binder is cold-pressed English linseed oil from a single estate farm — a limpid, free-flowing oil pressed without chemical additives or drying agents. Because no driers are added to the formulation, the paint dries according to the natural behaviour of each individual pigment, which varies considerably across the palette. Wallace Seymour recommend a 10 to 20% addition of their Fast Drying Oil Glaze Medium to balance drying times across colours — and caution against overuse of driers, which can cause paint films to crack, wrinkle, and lose sheen over time.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDepending on the pigment, colours are machine ground, hand-milled, or ground by hand using a glass muller — the method chosen to give each specific pigment the best possible result rather than a one-size-fits-all approach. The consistency is buttery and rich, with excellent pigment load and strong tinting strength.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe Series 1 \u0026amp; 2 colour list spans the full working palette including Brilliant Yellow, Nickel Titanium Yellow, Naples Yellow Light and Deep, Indian Yellow Hue, Chrome Yellow Hue, Flesh Tint, Buff Titanium, Florentine Golden, Venetian Rose Flesh, Fauve Orange, Coral Red, Permanent Red Light and Middle, Alizarin Crimson, Genuine Madder Lake Deep, Magenta, Ultramarine Pink, Ultramarine Red, Violet Grey, Royal Blue Light, Sky Blue, Azure Blue, Sansepolcro Blue, Cobalt Blue Hue, Ultramarine Blue Deep, Phthalocyanine Blue, Prussian Blue, Paris Blue, Indigo, Cerulean Blue Hue, Adriatica Turquoise, Permanent Green Lightest, Light, and Middle, Vert Paolo Veronese, Green Lake Deep, Oxide of Chrome, Green Earth Deep, Bohemian Green Earth, Raw Umber Greenish, Marron Brun, Iron Oxide Yellow, Yellow Ochre Light, Golden Brown, Raw Sienna, Gold Ochre, Brown Ochre, Venetian Red, and more. Available from £9.95 per 40ml tube.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eWho makes Wallace Seymour oil paints?\u003c\/strong\u003e They are made by Rebecca Wallace and Pip Seymour, two practising artists based in Settle, North Yorkshire. The company was founded in 2011, formerly trading as Pip Seymour Fine Art Products.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eWhat makes Wallace Seymour oils different from other professional oil paints?\u003c\/strong\u003e The combination of genuine small-batch hand production, single-estate cold-pressed linseed oil with no driers added, and a pigment palette that includes many colours unavailable elsewhere sets them apart from any mainstream manufacturer. These are paints made by artists for artists, with no compromises in raw material quality.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eWhy is no drying agent added?\u003c\/strong\u003e Wallace Seymour take the view that driers, while useful in the short term, can compromise the long-term integrity of a paint film. Overuse of driers is a known cause of cracking, wrinkling, loss of sheen, and excessive darkening in oil paintings. Their recommended approach is to use their Fast Drying Oil Glaze Medium at 10 to 20% to balance drying times in a way that does not risk the paint film.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eWhat is the difference between Series 1 and Series 2?\u003c\/strong\u003e The difference is purely one of pigment cost. Both series are made to the same quality standard with the same binder and production process. Series 2 colours use pigments that carry a modest premium in raw material cost — this is reflected in the price per tube but not in any reduction in quality or approach.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eCan Wallace Seymour oils be used with standard oil painting mediums?\u003c\/strong\u003e Yes — they are compatible with linseed oil, stand oil, dammar varnish, alkyd mediums, turpentine, and low odour mineral spirits. Wallace Seymour also produce their own range of mediums specifically formulated to complement their paints.\u003c\/p\u003e","brand":"Wallace Seymour","offers":[{"title":"Brilliant Yellow Series 1","offer_id":54991055454583,"sku":"101","price":12.25,"currency_code":"GBP","in_stock":true},{"title":"Lemon Yellow Series 1","offer_id":54991055487351,"sku":"199","price":12.25,"currency_code":"GBP","in_stock":true},{"title":"Brilliant Yellow Light  Series 1","offer_id":54991055520119,"sku":"102","price":12.25,"currency_code":"GBP","in_stock":true},{"title":"Brilliant Yellow Deep Series 1","offer_id":54991055552887,"sku":"103","price":12.25,"currency_code":"GBP","in_stock":true},{"title":"Permanent Yellow Light  Series 1","offer_id":54991055585655,"sku":"104","price":12.25,"currency_code":"GBP","in_stock":true},{"title":"Nickel Titanium Yellow  Series 1","offer_id":54991055618423,"sku":"105","price":12.25,"currency_code":"GBP","in_stock":true},{"title":"Permanent Yellow Middle Series 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The same cold-pressed linseed oil from a single English estate. The same glass mullers, hand-milling machines, and unhurried grinding methods. The difference, as you move into Series 3 and above, is the pigment itself — and in oil paint, the pigment is everything.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eWallace Seymour's price series exist for one reason: to reflect the raw material cost of the pigments used. There is no tiering of quality, no difference in care or production method, no compromise in binder specification. What changes is the nature of the pigments themselves — genuine cadmiums, genuine cobalts, rare earth colours sourced from specific historical deposits across England and Europe, plant-derived colours researched and sourced by Pip Seymour personally, and a small number of colours that are simply not available from any other commercial paint manufacturer. These are not hue substitutes or convenient approximations. They are the genuine article.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eSeries 3 includes genuine cadmium colours — Cadmium Red Light and Middle, Cadmium Orange Light and Deep — pigments valued for their opacity, saturation, and unmatched warm temperature. Series 4 moves into Cobalt Yellow Aureolin and genuine Cobalt Blue, where the raw pigment cost rises considerably but the optical quality of the colour — the way it sits in a mix, the granulation it produces, the depth it brings to a glaze — is unlike anything a hue equivalent can achieve. Series 5 and 6 venture further still, into colours that reflect Pip Seymour's particular interest in historical and rare pigments: plant-derived colours, genuine mineral pigments from named quarry sources, and colours drawn from a tradition of paint-making that predates industrial manufacture entirely.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eFor painters who care deeply about what is in the tube — who want a genuine cadmium red rather than a naphthol hue, a true cobalt blue rather than an ultramarine blend, or a native earth colour with provenance — this part of the Wallace Seymour range offers something that very few paint manufacturers anywhere in the world can match. These colours behave differently on the canvas, in the mix, and under glazing because the pigments themselves are genuinely different.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eAs with all Wallace Seymour oils, no driers are added. The paint dries according to the natural behaviour of each pigment — which varies considerably at this level of the range — and Wallace Seymour recommend a 10 to 20% addition of their Fast Drying Oil Glaze Medium to balance drying times. Overuse of driers is cautioned against, as it remains a common cause of long-term paint film failure.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eAvailable from £16.20 per 40ml tube, rising through Series 4, 5, and 6 as pigment rarity and raw material cost increase.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eWhy do genuine cadmium and cobalt pigments cost more than hue alternatives?\u003c\/strong\u003e Cadmium and cobalt are costly raw materials — the pigments themselves are expensive to produce and subject to significant regulation. A cadmium hue uses less costly organic pigments blended to approximate the colour, but cannot replicate the opacity, saturation, or mixing behaviour of a genuine cadmium. For painters who depend on these qualities, the genuine pigment is worth the premium.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eWhat is the difference between Series 3, 4, 5, and 6?\u003c\/strong\u003e The series number reflects only the cost of the raw pigment. Series 3 includes genuine cadmiums. Series 4 includes Cobalt Yellow Aureolin and genuine cobalts. Series 5 and 6 move into increasingly rare, precious, or historically sourced pigments — some of which are unique to Wallace Seymour and unavailable elsewhere commercially. Production method and quality are identical across all series.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eAre Series 3+ colours compatible with Series 1 and 2?\u003c\/strong\u003e Completely. All Wallace Seymour oil colours across all series use the same cold-pressed English linseed oil binder and are fully intermixable. You can build a palette freely across any combination of series without compatibility concerns.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eIs it worth using genuine cadmiums and cobalts if I already have hue versions?\u003c\/strong\u003e This depends on what you paint and how you paint. For direct, opaque work where you need the full intensity and opacity of a cadmium, the genuine pigment makes a noticeable difference. For mixing, glazing, and layered work, genuine cobalts behave quite differently to ultramarine-based hues — particularly in terms of granulation, transparency, and the quality of colour produced when mixed with other pigments. Many painters keep both — hues for practice and experimental work, genuine pigments for finished paintings.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eDo you stock all series at Craft and Canvas?\u003c\/strong\u003e Yes — we stock all series of Wallace Seymour oils, making us one of the most comprehensive stockists of the full range in the UK.\u003c\/p\u003e","brand":"Wallace Seymour","offers":[{"title":"Cadmium Yellow Lemon Series 4","offer_id":54991121875319,"sku":"401","price":33.5,"currency_code":"GBP","in_stock":true},{"title":"Cadmium  Yellow Light Series 4","offer_id":54991121908087,"sku":"402","price":33.5,"currency_code":"GBP","in_stock":true},{"title":"Cadmium Yellow Series 4","offer_id":54991121940855,"sku":"403","price":33.5,"currency_code":"GBP","in_stock":true},{"title":"Cobalt Yellow - Aureolin Series 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