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October Great Paint & Canvas Values

Tusc & Pine Artist Oil Paints

Developed One Color At A Time For Painters Who Love To Paint

Tusc & Pine Artist Oil Paints celebrate the fusion of traditional paint-making methods and state-of-the-art technology. We painstakingly developed each color until we had an entire range of paints that we knew could elevate the painting experience. Our paint is made for painters who love to paint.

Skilled artisans carefully make the colors in small batches based on each pigment's unique properties. A computer-automated 3-roll milling machine records and implements a special milling routine for each color. This high-tech process ensures that every batch of paint is consistent and perfectly formulated every time.

Tusc & Pine is the first and only line of oil paints to be made with this level of precision and accuracy.

Imagine having the right colors to paint the drops of dew on a blade of grass or the vibrant golden hues of an inspiring sunset. Tusc & Pine has all of those colors and more. For those seeking to capture the night, 5 exclusive nocturne colors bring shadowy figures and moonlit scenes to life.

Excel beyond your limits with Tusc & Pine Oils

The professional colors are packed with the maximum amount of pigment and can be thinned to create fine, rich glazes. No unnecessary additives are used, and all of the colors have outstanding lightfastness. Alkali refined linseed oil gives the paint its creamy texture and helps prevent yellowing over time. Tusc & Pine Artist Oil Colors deliver exceptional results for any painter in any style.

  • Range of 96 oil colors
  • Made in partnership with Jerry's Artarama
  • Maximum pigment load
  • Highest-quality pigments
  • Cosmetic grade triple roller mills
  • Mixed and milled in small batches
  • Outstanding lightfastness
  • Alkali refined linseed oil binder helps prevent yellowing over time
  • No unnecessary additives
  • Rich, creamy consistency
  • Pigments sourced from all over the world
  • Handpainted labels show true color
  • Made in North Carolina

Professional Quality Oils Made In Partnership With Jerry's Artarama

Michael Gorak has been making professional artist materials for over 30 years. In 2020, he founded MG Art Products in North Carolina to pass on his knowledge to the next generation and make the finest paints on the market!

His small creative team includes chemical experts and professional artists from around the country. Their mission is to develop new modern processes and pigment formulations that go beyond the status quo while respecting the theories of the Old Masters.

In 2021, Jerry's Artarama partnered with MG Art Products to create a line of professional oils under the Tusc & Pine name. Heather Goldstein, Director of New Product Development and Jerry's granddaughter, worked closely with Michael to formulate the colors. As a skilled painter with a BFA in studio art, Heather was able to bring a painter's perspective to each color.

Discover the Full Range of Tusc & Pine Artist Oil Paints

Click to expand each color to see more information and view the complete swatch, including mass tones, glazes, tints, tones, and shades.

  • Mass Tones shown are the unaltered colors, applied in a gradient thicker at the top and thinner at the bottom.
  • Glazes shown have been thinned with clarified linseed oil.
  • Tints shown are a 1:1 mixture of the color and Great White Oil Paint.
  • Tones shown are a 2:1:1 mixture of the color, Tusc & Pine Ivory Black, and Great White Oil Paint.
  • Shades shown are a 1:1 mixture of the color and Tusc & Pine Ivory Black.
Meet the Colors

Click On Each Color To See Color Like Never Before

Titanium White (in Safflower)

  • Series I
  • PW6
  • Opaque
  • Lightfastness I - Excellent

Titanium dioxide has twice the covering power of lead white while remaining highly stable and lightfast. We used a light-colored, non-yellowing safflower oil as the binder for this pale color.

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Titanium White (in Linseed)

  • Series I
  • PW6
  • Opaque
  • Lightfastness I - Excellent

Titanium dioxide has twice the covering power of lead white while remaining highly stable and lightfast. Alkali refined linseed oil gives the paint its creamy texture and helps prevent yellowing over time.

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Zinc White

  • Series I
  • PW4
  • Semi-Opaque
  • Lightfastness I - Excellent

Zinc White is a highly opaque, cold, flat white often chosen as a mixing white because it complements other colors rather than overpowering them. It is favored by many artists for glazing and alla prima painting. Our Zinc White inhibits the yellowing of artist oils and maintains a bright white color far beyond any other white. It is crucial to note that Zinc Oxide's surface layer and underbelly cure at different rates, heightening the risk of the paint film cracking. To ensure proper curing, artists should follow the fat-over-lean rule and other established oil painting practices.

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Warm White

  • Series II
  • PW6, PY42
  • Opaque
  • Lightfastness I - Excellent

Warm White has the correct amount of orange and yellow to brighten and warm other colors. It is ideal for painting outdoors during sunrise or sunset. The color has an antique-aged quality that is soft and not as harsh as brighter whites.

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Unbleached Titanium White

  • Series I
  • PW6:1
  • Opaque
  • Lightfastness I - Excellent

Unbleached Titanium White is a warm, antique white with hints of yellow age. The natural iron oxides in titanium dioxide help create the ‘unbleached’ buff color. Use it to tone an underpainting or to tint other colors.

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Yellow Citron

  • Series II
  • PY3
  • Semi-Transparent
  • Lightfastness I - Excellent

"When we made the hand-painted labels, we had to turn the lights down and put music on for this color. Not because this color was hot but because it is the coolest, brightest yellow we have worked with, and we were blinded by its brightness. We strongly recommend artists try glazing this yellow over blacks, blues, deep reds, and greens; it produces what looks like a neon light."
- William Shade, Tusc & Pine Chemist

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Bismuth Vanadate Yellow

  • Series IV
  • PY184
  • Opaque
  • Lightfastness I - Excellent

This clean, vibrant, banana popsicle color is an excellent alternative to lighter shades of Cadmium Yellow. The pigment, Bismuth Vanadate, isn't as intensely saturated as Cadmium Yellow, making it easier to work with on a mixing palette. It's an incredibly versatile, highly opaque, brilliant yellow perfect for mixing.

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Cadmium Yellow Lemon

  • Series IV
  • PY35
  • Opaque
  • Lightfastness I - Excellent

Bam, Bam! This color is as bright as a yellow kitchenette from the 70s or a lemon wedge on top of a dessert. The Cadmium Sulphide in this paint makes it one of the most robust and vibrant yellows with the highest degree of lightfastness.

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Cadmium Yellow Light

  • Series IV
  • PY35
  • Opaque
  • Lightfastness I - Excellent

Use this lively, bright Cadmium Yellow to paint a yellow canary or a bright yellow buttercup. The Cadmium Sulphide in this paint makes it one of the strongest and most vibrant yellows with the highest degree of lightfastness.

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Permanent Yellow Light

  • Series II
  • PY74
  • Semi-Transparent
  • Lightfastness I - Excellent

This bright, light yellow is just as tart as a lemon wedge. We use a high-grade synthetic pigment to produce Permanent Yellow Light. The automotive and aerospace industries developed PY74 to withstand intense conditions. Because of this, our Permanent Yellow Light has one of the highest lightfastness performance ratings on the market.

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Cadmium Yellow Medium

  • Series IV
  • PY35
  • Opaque
  • Lightfastness I - Excellent

This warm yellow-orange is full of pigment. If paint tubes could be put on a parade, Cadmium Yellow Medium would be at the front, leading the band. It is incredibly rich in its opacity, and a little goes a long way. The Cadmium Sulphide in this paint makes it one of the strongest and most vibrant yellows with the highest degree of lightfastness.

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Permanent Yellow Medium

  • Series II
  • PY139
  • Transparent
  • Lightfastness I - Excellent

We worked hard to find a robust yellow pigment with a clean, vibrant undertone that could withstand mixing. Ultimately, we decided to use PY139, a high-grade synthetic pigment developed by the automotive industry with one of the highest lightfastness performance ratings on the market.

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Cadmium Yellow Deep

  • Series IV
  • PY35
  • Opaque
  • Lightfastness I - Excellent

When looking at this color, an orange sherbert melting in the sun comes to mind. Cadmium Yellow Deep radiates warmth and nostalgia. The Cadmium Sulphide in this paint makes it one of the strongest and most vibrant yellows with the highest degree of lightfastness.

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Permanent Yellow Deep

  • Series II
  • PY83
  • Semi-Opaque
  • Lightfastness I - Excellent

This sunny yellow brings to mind an ice-cold popsicle melting in the summer heat. We use a high-grade synthetic pigment to produce Permanent Yellow Deep. The automotive and aerospace industries developed PY83 to withstand intense conditions. Because of this, our Permanent Yellow Deep has one of the highest lightfastness performance ratings on the market.

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Gamboge Pastiche

  • Series II
  • PY83, PY129
  • Semi-Transparent
  • Lightfastness I - Excellent

This warm golden yellow with earthy orange undertones is perfect for painting a setting sun. Natural gamboge is highly toxic and comes from the resin of the garcinia evergreen trees in Southeast Asia. We created this non-toxic pastiche of gamboge to closely mimic the natural color.

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Indian Yellow Pastiche

  • Series III
  • PY139, PR101
  • Transparent
  • Lightfastness I - Excellent

Genuine Indian Yellow was made in the past by feeding cows a restricted diet of mango leaves and water. The bright yellow cow urine was boiled into a syrup before being dried. Our Indian Yellow Pastiche has a warm rusty red undertone even though no cows were involved! The word pastiche indicates that this color is imitating the style and look of traditional Indian Yellow.

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Cadmium Orange

  • Series V
  • PO20
  • Opaque
  • Lightfastness I - Excellent

Cadmium Orange: Sweet and tangy like the fruit, this orange has a dash of spicy intensity that is undefinable. The Cadmium Selenosulphide in this paint makes it one of the strongest and most vibrant oranges with the highest degree of lightfastness.

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Alizarin Orange

  • Series III
  • PY139, PR177
  • Transparent
  • Lightfastness I - Excellent

Think of a passionate, all-consuming love affair or a burning inferno, and you will see this color in your mind. Alizarin and other Madder Lake colors are derived from the roots of the Madder plant. Archeologists have found cloth dyed with the Madder root in Pompeii's ruins.

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Permanent Red Light

  • Series II
  • PR168
  • Semi-Transparent
  • Lightfastness I - Excellent

This light red is more demure than Permanent Red Medium but still packs a powerful punch. We use a high-grade synthetic pigment to produce Permanent Red Light.

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Cadmium Red Light

  • Series V
  • PR108
  • Opaque
  • Lightfastness I - Excellent

Cadmium Red Light is a happy and bright electric coral red. Thin applications of the color have a nice matte finish. This particular Cadmium comes from a Cadmium Selenosulphide compound, which is also used to make solar power cells and LED lights.

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Brilliant Pink

  • Series II
  • PW6, PR112
  • Opaque
  • Lightfastness I - Excellent

Think pink champagne on ice and bubble gum ice cream! This pink is a pink-pink ocean coral. Mixing your own pink is not necessary with this Brilliant Pink.

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Permanent Red Medium

  • Series II
  • PR112
  • Semi-Opaque
  • Lightfastness I - Excellent

We use a high-grade synthetic pigment to produce this fire engine red color. The automotive and aerospace industries developed PR112 to withstand intense conditions. Because of this, our shade of Permanent Red Medium has one of the highest lightfastness performance ratings on the market.

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Cadmium Red Medium

  • Series V
  • PR108
  • Opaque
  • Lightfastness I - Excellent

Cadmium Red Medium captures the essence of vintage red. When used as a shade with black, the color takes on a deep maroon quality. Cadmium Selenide is used in solar power cells and LED lights, as well as this particular paint color.

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Permanent Red Deep

  • Series II
  • PR170
  • Semi-Opaque
  • Lightfastness I - Excellent

This color is classic candy apple red without the sugar rush! We use PR170, a high-grade synthetic pigment to produce this incredibly lightfast red.

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Quinacridone Red

  • Series III
  • PV19
  • Transparent
  • Lightfastness I - Excellent

We use PV19 to create this medium red with a hint of violet. This warm red recalls a classic convertible with the top down, cruising down the highway— 50s rock-n-roll coming out of the speakers. Tusc & Pine Magenta and Quinacridone Red Deep yield a nice spectrum of reds alongside this Quinacridone Red.

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Cadmium Red Deep

  • Series VI
  • PR108
  • Opaque
  • Lightfastness I - Excellent

This deep, moody red is full of passion and can raise your blood pressure with just a glance! Cadmium Selenide is used to create solar power cells and LED lights, as well as this particular paint color. Cadmium Red Deep has a higher density of Cadmium Selenide than lighter reds and oranges containing Cadmium Sulphide.

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Alizarin Crimson

  • Series III
  • PR83
  • Transparent
  • Lightfastness III - Fair

Alizarin and other Madder Lake colors have been derived from the roots of the Madder plant since the beginning of time. Archeologists have found cloth dyed with the Madder root in Tutankhamun's tomb. This Alizarin is slightly more red-purple than orange-red.

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Alizarin Crimson Pastiche

  • Series III
  • PR177
  • Transparent
  • Lightfastness I - Excellent

This deep, cool red holds a million secrets in its mass tone. It is highly staining and has great tinting strength. The word pastiche indicates that this color is imitating the style and look of true Alizarin Crimson.

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Quinacridone Red Deep

  • Series III
  • PV19
  • Transparent
  • Lightfastness I - Excellent

Infused with PV19, this Quinacridone embodies a dark, muted red with a subtle hint of violet. When thinned, it evolves into a mesmerizing magenta and reveals a delicate pink hue when used as a glaze. Use it as a tone or a shade to create moody shadows. Tusc & Pine Quinacridone Red and Magenta yield a nice spectrum of reds alongside this deep red.

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Cadmium Burgundy

  • Series VI
  • PR108
  • Opaque
  • Lightfastness I - Excellent

Cadmium Burgundy is the color of red velvet cake or a dragon's hide. It has a gorgeous matte finish in thick or thin applications. Cadmium Burgundy has a higher density of Cadmium Selenide in comparison to our lighter reds and oranges that contain Cadmium Sulphide.

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Magenta

  • Series III
  • PR122
  • Transparent
  • Lightfastness I - Excellent

Our Magenta has the power that a primary demands, along with a heaping dose of warmth and depth. We chose a slightly warmer PR122 because the pigment produced the cleanest mixtures with other colors during testing. Tusc & Pine Quinacridone Red and Quinacridone Red Deep yield a nice spectrum of reds alongside this Magenta.

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Cobalt Violet

  • Series VI
  • PV14
  • Opaque
  • Lightfastness I - Excellent

Indulge your senses in the enigmatic allure of Cobalt Violet, a captivating color that dances between mysterious violet-gray tones and the delicate petals of wisteria. This cobalt boasts unique versatility, whether used as a tint, tone, shade, or glaze.

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Dioxazine Purple

  • Series III
  • PV23
  • Transparent
  • Lightfastness I - Excellent

This rich, warm purple with deep jewel-like tones was first developed in 1928 when a German chemist synthesized carbonzole. The deep, transparent violet has exceptional color strength and is great for creating rich glazes and bright lilac tints.

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Ultramarine Violet

  • Series II
  • PV15
  • Semi-Transparent
  • Lightfastness I - Excellent

Thick applications of this violet plum color are dark and shadowy, but when thinned, the color becomes more transparent. PV15 is a synthetic, inorganic pigment made using the same process as Ultramarine Blue. We mix it with ammonium chloride, heat it, and expose it to air until the color turns violet.

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Amethyst

  • Series III
  • PR122 ,PB27
  • Transparent
  • Lightfastness I - Excellent

This high pigment load color has a deep violet tone, much like the gemstone. Amethyst remains luminous even when tinted with white, making it ideal for adding color to a landscape or still life.

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Kings Blue Light

  • Series II
  • PB29, PW6
  • Opaque
  • Lightfastness I - Excellent

As light as a Carolina blue sky on a spring day, this light ultramarine is brimming with possibilities. Use it to paint Forget Me Nots or a bird's egg.

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Kings Blue Deep

  • Series II
  • PB29, PW6
  • Opaque
  • Lightfastness I - Excellent

Kings Blue Deep plunges into the depths of regal splendor. Like a clear sky just before dusk, this ultramarine blue exudes defiant confidence. Use it to capture the cool water of a lake or the power of an ocean wave.

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Ultramarine Blue

  • Series I
  • PB29
  • Semi-Transparent
  • Lightfastness I - Excellent

Painters have prized ultramarine since the Renaissance when Lapis Lazuli was mined to make it. In 1824, France sponsored a competition to encourage the invention of an artificial version of the deep, vivid blue. Jean Baptiste Guimet won the prize and popularized his new economical version of ultramarine.

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Indanthrone Blue

  • Series III
  • PB60
  • Transparent
  • Lightfastness I - Excellent

When viewed from different angles thick applications of this color have hints of teal. Royal purple and blue tones are revealed as the brush strokes become thinner. Indanthrone was developed in the 19th century to replace Indigo. The pigment has a slightly warmer tone but is comparable to Prussian Blue. The key difference is that Indanthrone dries slower than Prussian Blue.

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Cerulean Blue

  • Series V
  • PB36
  • Opaque
  • Lightfastness I - Excellent

Soaring above the clouds, this blue looks like the space between heaven and paradise. The word cerulean comes from the Latin caeruleus and the word caelulum, which together mean “deep blue heaven sky.” We use the pigment Cobalt Stannate to make this angelic color.

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Cerulean Blue Pastiche

  • Series II
  • PW6, PB15:1
  • Semi-Opaque
  • Lightfastness I - Excellent

A touch darker than our Cerulean Blue, Cerulean Blue Pastiche has an otherworldly, majestic quality reminiscent of the blues used in religious iconography. Whether you're painting a postcard-perfect sky or ocean waves, this blue is just the ticket. The word pastiche indicates that this color is imitating the style and look of true Cerulean Blue.

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Manganese Blue Pastiche

  • Series IV
  • PB15:4, PB36
  • Transparent
  • Lightfastness I - Excellent

"My favorite blue, Manganese, is no longer produced, so it was not possible to find a quality standard to match, but we did our best to mimic the true nature of Manganese Blue. In its time, Manganese was mostly used in ceramics and other building materials. The most useful color standard I used to create this shade was from childhood memories of swimming in a pool that had these blue tiles. This color is like rippling blue waters dancing with the glistening sun."
- William Shade, Tusc & Pine Chemist

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Cobalt Blue

  • Series V
  • PB28
  • Semi-Opaque
  • Lightfastness I - Excellent

Cobalt Blue works very well as a tint, tone, and shade. As a glaze, it's out of this world. The name "cobalt" has its roots in the German word "kobold," which means "goblin." Medieval miners gave it this name because they believed that goblins replaced valuable metals in their ore with ones that emitted toxic fumes when smelted.

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Phthalo Blue

  • Series II
  • PB15:1
  • Transparent
  • Lightfastness I - Excellent

At its darkest, Phthalo Blue is reminiscent of midnight. Thinner applications reveal a reddish royal purple and sapphire blue color. Compared to Ultramarine Blue, Phthalo Blue is highly staining and has an overpowering tinting strength. Mix this clean sapphire blue with other colors to make extraordinary greens and violets.

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Prussian Blue

  • Series I
  • PB27
  • Semi-Transparent
  • Lightfastness I - Excellent

This regal royal blue was discovered in 1704 when a freak accident contaminated a chemist's experiment. Prussian Blue has powerful tinting strength but is clean and vivid when applied as a glaze. The iron in Prussian Blue causes the color to dry slightly faster than other blues.

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Indigo Pastiche

  • Series II
  • PBk9, PB27, PV15
  • Semi-Transparent
  • Lightfastness I - Excellent

This mesmerizing cool dark indigo transcends the ordinary, revealing ultra-black depths in thick applications, while delicate cooler blues emerge when used as a glaze. We chose this specific pigment mixture to produce a color that feels and looks like genuine indigo. Where genuine indigo fades, ours is permanent. The word pastiche indicates that this color is imitating the style and look of traditional Indigo Blue.

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Phthalo Turquoise

  • Series II
  • PG7, PB15:1
  • Transparent
  • Lightfastness I - Excellent

A deep watering hole on a deserted island would have the jewel-like transitions of Phthalo Turquoise. This color is for any artist who wants to paint the soul of a water nymph.

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Cobalt Caribbean

  • Series V
  • PG50
  • Opaque
  • Lightfastness I - Excellent

Cobalt Caribbean beckons with the allure of a tropical paradise. Imagine the crystal-clear waters of the Caribbean Sea shimmering under the golden sun. This color captures the essence of that azure expanse, blending Cobalt Blue with hints of turquoise and cerulean.

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Cobalt Teal

  • Series V
  • PG50
  • Opaque
  • Lightfastness I - Excellent

Full of pep and bounce, Cobalt Teal brings to mind tropical waters and white sandy beaches. The name "cobalt" has its roots in the German word "kobold," which means "goblin." Medieval miners gave it this name because they believed that goblins replaced valuable metals in their ore with ones that emitted toxic fumes when smelted.

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Viridian

  • Series V
  • PG18
  • Semi-Transparent
  • Lightfastness I - Excellent

Viridian captivates with its emerald brilliance, evoking the tranquility and allure of tropical waters. This cool green exudes a serene yet vibrant energy that invites exploration of the ocean.

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Phthalo Green

  • Series II
  • PG7
  • Transparent
  • Lightfastness I - Excellent

This green brings to mind the intoxicating potions a voodoo priestess might prepare. Chlorinated copper phthalocyanine is used to make this seductive color.

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Emerald Phthalo Green

  • Series IV
  • PG36
  • Transparent
  • Lightfastness I - Excellent

A slight hint of yellow gives Emerald Phthalo Green the allure of a real gemstone. Its powerful staining and tinting strength comes from bromated and chlorinated copper phthalocyanine.

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Cinnabar Green Light

  • Series IV
  • PG36, PY154
  • Transparent
  • Lightfastness I - Excellent

Use this bright yellow-green to paint the shoots of a seedling sprouting from the ground or sunlight streaming through a canopy of leaves. In the past, vermillion was used to make this color. Artists called it cinnabar because sulfur and mercury are found inside cinnabar. The old name stuck even though cinnabar is traditionally a red color.

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Permanent Green Light

  • Series II
  • PY74, PG7
  • Semi-Transparent
  • Lightfastness I - Excellent

Almost acidic in its brightness, this green looks equally at home on a speeding race car or the sunlight-dappled leaves of a tropical jungle. The automotive and aerospace industries developed PY74 and PG7 to withstand intense conditions. Because of this, our shade of Permanent Green Light has one of the highest lightfastness performance ratings on the market.

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Cobalt Green

  • Series V
  • PG50
  • Opaque
  • Lightfastness I - Excellent

This color harkens back to the green we all know and love from our school days. Its bouncy playfulness recalls the innocence of experimenting with color for the first time.

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Chromium Oxide Green

  • Series III
  • PG17
  • Opaque
  • Lightfastness I - Excellent

Imagine a whispering canopy of trees, where sunlight and shadow dance together to create enchanting mid-tones, and you'll see Chromium Oxide Green.

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Sap Green

  • Series II
  • PY83, PB15:1, PBk7
  • Semi-Transparent
  • Lightfastness I - Excellent

This dynamic green is ideal for painting leaves and grasses. Sap Green recalls springtime and plants sprouting from the ground. With each stroke, the color promises warmer days and the beauty of nature.

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Olive Green

  • Series II
  • PY83, PBr7, PB27
  • Semi-Opaque
  • Lightfastness I - Excellent

Picture this deep, passionate color in the shadows of a martini glass. The spirit of Olive Green invites the imagination to wander through its rich and mysterious terrain.

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Wellington Vert Noir

  • Series IV
  • PBk9, PY35
  • Semi-Opaque
  • Lightfastness I - Excellent

Wellington Vert Noir is the brainchild of artist John Wellington and was crafted specifically for Tusc & Pine. Drawing inspiration from the techniques of the old masters, John sought to create a natural green ideal for landscapes straight from the tube. With over two decades of experience as a traditional painting instructor at The New York Academy of Art, John's expertise shines through in his meticulously crafted hues.

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Wellington Vert Noir Deep

  • Series IV
  • PY35, PBk7, PY139, PB27
  • Semi-Opaque
  • Lightfastness I - Excellent

Wellington Vert Noir Deep is the brainchild of artist John Wellington and was crafted specifically for Tusc & Pine. Drawing inspiration from the techniques of the old masters, John sought to create a natural green ideal for landscapes straight from the tube. With over two decades of experience as a traditional painting instructor at The New York Academy of Art, John's expertise shines through in his meticulously crafted hues.

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Green Gold

  • Series IV
  • PY129
  • Transparent
  • Lightfastness I - Excellent

Green Gold is an earthy, muted green perfect for adding warmth and depth to any scene. The color has a gritty truth and gravitas that can't be found in other greens. It's a must-have for landscape painters.

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Mars Yellow

  • Series I
  • PY42
  • Semi-Opaque
  • Lightfastness I - Excellent

Mars Yellow is an intense ochre yellow with a warm mustard tone. In the eighteenth century, it was known as jaune de Mars and has continued to be a popular Iron Oxide pigment. Finely ground pigments give this yellow a rich, deep intensity.

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Yellow Ochre Light

  • Series I
  • PY43
  • Semi-Transparent
  • Lightfastness I - Excellent

A lighter version of Yellow Ochre with hints of orange, brown, and gold. The crunch of crisp fall leaves and the smell of fresh bread come to mind when looking at Yellow Ochre Light.

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Yellow Ochre

  • Series I
  • PY43
  • Semi-Transparent
  • Lightfastness I - Excellent

Yellow Ochre embodies the essence of autumn with its rich mustard hue, tinged with warm, golden undertones. The color radiates a comforting warmth that adds depth and richness to any composition.

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Raw Sienna

  • Series I
  • PY43
  • Semi-Opaque
  • Lightfastness I - Excellent

This color has a warm, rusty golden quality. It is made of Yellow Iron Oxide Earth. The color owes its name to the Italian city of Siena, where it was famously mined during the Renaissance.

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Transparent Yellow Oxide

  • Series II
  • PY42
  • Transparent
  • Lightfastness I - Excellent

Transparent Yellow Oxide has a warm orange-brown mustard mass tone that is perfect for painting fall foliage. Synthesized Yellow Iron Oxide has a more uniform size and produces a cleaner, more vibrant color than Natural Yellow Iron Oxide.

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Transparent Orange Oxide

  • Series II
  • PY42, PR101
  • Transparent
  • Lightfastness I - Excellent

Transparent Orange Oxide is a rusty earth orange, much like the red-orange clay of North Carolina, where Tusc & Pine was born. Thicker applications of this color lean more toward a burnt brown. The color is very strong and dominant.

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Burnt Sienna

  • Series I
  • PR101:1
  • Semi-Opaque
  • Lightfastness I - Excellent

This rusty brown earth color is a necessary foundation color for all painters. Burnt Sienna is made by roasting Iron Oxide Earth pigments at high temperatures to create a warm, burnt appearance. It owes its name to the Italian city of Siena, where it was initially mined and produced during the Renaissance.

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Appalachia Brown Oxide

  • Series I
  • PR101:1
  • Semi-Opaque
  • Lightfastness I - Excellent

As its name suggests, Red Iron Oxide from the soil of the Blue Ridge Mountains is used to make Appalachia Brown Oxide. Interestingly, Red Iron Oxide was called "bloodstone" in ancient Greece because of its blood-red color. The color closely resembles the signature red clay of North Carolina.

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English Red

  • Series I
  • PR101
  • Opaque
  • Lightfastness I - Excellent

English Red has a warm russet quality and a brownish-red hue. It closely resembles the muted colonial reds used to paint barns in the 18th century.

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Transparent Red Oxide

  • Series II
  • PR101
  • Transparent
  • Lightfastness I - Excellent

This is a very dominant, strong Red Iron Oxide. Thick applications have a rusty red-brown tone. Thin or use as a glaze to show off the transparency of this oxide.

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Mars Red

  • Series I
  • PR101
  • Opaque
  • Lightfastness I - Excellent

Mars Red is a slightly lighter version of English Red. The color is warm, with hints of russet and maroon. Mars Red is permanent and made of finely ground Iron Oxide that has high-tinting strength.

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Brown Pink Granular

  • Series II
  • PR102
  • Transparent
  • Lightfastness I - Excellent

Brown Pink Granular has a gritty texture and a red-brown color. Granules of pigment are visible when thinned or used to paint a glaze. You can mix Brown Pink Granular with Titanium White to create a delicate peachy pink tint.

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Burnt Umber Warm

  • Series I
  • PBR7
  • Semi-Transparent
  • Lightfastness I - Excellent

Burnt Umber Warm brings to mind the sweet taste of chocolate. The color is made by roasting Iron Oxide earth pigments at high temperatures to create a warm, burnt appearance.

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Burnt Umber Cool

  • Series I
  • PBr7
  • Semi-Transparent
  • Lightfastness I - Excellent

Wiggling earthworms come to mind when looking at this cool brown color. The name Burnt Umber most likely comes from ombra, the Italian word for "shadow," which makes sense because the color is helpful for painting dark, shadowed areas.

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Raw Umber Warm

  • Series I
  • PBr7
  • Semi-Transparent
  • Lightfastness I - Excellent

Raw Umber Warm is the color of roasted coffee in thick applications and yellow-orange-brown when used as a thin glaze. This color has a warm, earthy quality. Use its versatile tint, tone, and shade to create depth and warmth in your paintings.

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Raw Umber Cool

  • Series I
  • PBr7
  • Semi-Transparent
  • Lightfastness I - Excellent

Italian treatises from the 16th century are the first to mention umber as a type of brown earth. Raw umber most likely comes from ombra, the Italian word for shadow. This umber has a cool, relaxed tone compared to Raw Umber Warm.

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Van Dyke Brown

  • Series I
  • NBr8
  • Semi-Opaque
  • Lightfastness II - Good

Our Van Dyke Brown is much more complex than just a mixture of umbers, making it much softer than the Van Dyke hue that most people are used to, and also why it has a reduced lightfastness. You can find this color in the paintings of the old Dutch masters, including the color's namesake Anthony van Dyke.

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Nocturne Violet

  • Series III
  • PBr28
  • Semi-Opaque
  • Lightfastness I - Excellent

Nocturne Violet is designed to bring shadowy figures and moonlit scenes to life. We made this color with a modern synthesized pigment that reflects infrared light, giving it a unique violet-brown shade not present in Iron Oxide pigments.

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Nocturne Mauve

  • Series IV
  • PBk7, PV19
  • Semi-Transparent
  • Lightfastness I - Excellent

Nocturne Mauve is suffused with the soft glow of twilight. With each brushstroke, this elusive color unveils the secretive beauty of the evening sky. When light hits it from a certain angle, Nocturne Mauve shimmers with the jewel tones of an oil slick.

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Nocturne Blue

  • Series II
  • PBk7, PB15:1
  • Semi-Transparent
  • Lightfastness I - Excellent

This color embodies the mystery and intrigue of the night. The deep mass tone verges on black midnight while a vivid blue undertone whispers of the approaching sun.

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Nocturne Green

  • Series II
  • PBr7, PB27
  • Semi-Transparent
  • Lightfastness I - Excellent

"This color is what you could call a “happy accident.” To develop Payne’s Grey, I mixed some of our Prussian Blue with Burnt Umber Cool on a palette. This made a black that resembled Payne’s Grey. However, when I mixed the raw pigments and milled them, the color chose a different path you can not achieve just by mixing. Nocturne Green is a unique color that we developed on a high-quality mill."
- William Shade, Tusc & Pine Chemist

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Payne's Grey

  • Series I
  • PBk9, PB29
  • Semi-Transparent
  • Lightfastness I - Excellent

Many artists prefer to use Payne's Grey as a neutral black on their palettes. Payne's Grey is more saturated than Ivory Black and leans more to the cool side of the spectrum. It mixes well with Yellow Ochre and Prussian Blue to create lively greens and blues. We spell grey with an ‘e’ out of respect for the British artist William Payne, who invented this famous grey.

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Warm Gray

  • Series II
  • PW6:1
  • Opaque
  • Lightfastness I - Excellent

We use a single pigment to create this gray, giving it a higher capacity to neutralize colors without muddying them. With its subtle warmth and remarkable clarity, Warm Gray opens a world of creative possibilities.

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Neutral Gray 7

  • Series II
  • PW6, PBk7, PBr7
  • Opaque
  • Lightfastness I - Excellent

Seven is the lightest of the Neutral Grays and is reminiscent of overcast skies. It has a calming influence and is ready to let other bolder colors shine.

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Neutral Gray 5

  • Series II
  • PW6, PBk7, PBr7
  • Opaque
  • Lightfastness I - Excellent

Neutral Gray 5 is the perfect midtone gray for balancing light and dark. Use it straight from the tube to neutralize and ground intensely bright colors.

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Neutral Gray 3

  • Series II
  • PW6, PBk7, PBr7
  • Opaque
  • Lightfastness I - Excellent

Neutral Gray 3 is the boldest of the Neutral Grays. Its darker tone is perfect for adding depth and contrast to your paintings. Use it straight out of the tube to balance and ground brighter colors.

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Ivory Black

  • Series I
  • PBk9
  • Semi-Transparent
  • Lightfastness I - Excellent

Charred bovine and swine bones are used to imitate the ivory tusks, which are no longer used to make this all-purpose black paint. As a result, the pigment is not vegan, kosher, or halal but retains the historical color used for centuries. The pigment's large, coarse particle size allows you to mix shades and tones without desaturating other colors.

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Lamp Black

  • Series I
  • PBk7
  • Semi-Transparent
  • Lightfastness I - Excellent

More than 4,000 years ago, Egyptians used this warm blue-black pigment to paint tombs and murals. Traditionally, Lamp Black is made by collecting soot from oil lamps. We still make the pigment by burning oil, but the oil is generated in a clean and controlled process that eliminates impurities.

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Mars Black

  • Series I
  • PBk11
  • Opaque
  • Lightfastness I - Excellent

This super opaque color has a cool mass tone and performs like Lamp Black but with less of a jet finish. An intensely pigmented color, Mars Black has about three times the tinting strength of Ivory Black. Use the Iron Oxide in Mars Black to speed up the drying time of other colors mixed with it.

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White Pearlescent

  • Series II
  • Mica PW20
  • Transparent
  • Lightfastness I - Excellent

This pristine white has a gossamer shimmer that adds depth and dimension to your work. The paint is infused with titanium dioxide-coated mica pigments that shimmer beautifully under light. Mix it with any color from the line to add luminosity and richness.

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Silver Pearlescent

  • Series II
  • Mica PW20
  • Transparent
  • Lightfastness I - Excellent

This captivating color has a clean, bright tone reminiscent of sterling silver. The paint is infused with titanium dioxide-coated mica pigments that shimmer beautifully under light. It is the perfect color for painting moonlight.

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Gold Pearlescent

  • Series II
  • Mica PW20
  • Transparent
  • Lightfastness I - Excellent

This brilliant color radiates warmth and boasts a lustrous golden tone. The paint is infused with titanium dioxide-coated mica pigments that shimmer beautifully under light.

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Copper Pearlescent

  • Series II
  • Mica PW20
  • Transparent
  • Lightfastness I - Excellent

Copper Pearlescent is a warm, lustrous color with subtle hints of gold and bronze. The paint is infused with titanium dioxide-coated mica pigments that shimmer beautifully under light. From a distance, the color has a pink champagne glow.

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Nocturne Black Pearlescent

  • Series II
  • Mica PW20
  • Transparent
  • Lightfastness I - Excellent

An enchanting spell is cast by the specs of starlight in this rich, velvety black. Titanium dioxide-coated mica pigments are infused throughout the paint and shimmer beautifully under light. Mix it with any color from the line to add luminous depth and richness.

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Tusc & Pine Artist Oil Color 40ml Starter Sets

Tusc & Pine Oil Color Basic Colors Starter Set of 5, 40ml Tubes Basic Colors
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Tusc & Pine Oil Color Classic Colors Starter Set of 5, 40ml Tubes Classic Colors
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Tusc & Pine Oil Color Earth Colors Starter Set of 5, 40ml Tubes Earth Colors
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Tusc & Pine Oil Color Grays Starter Set of 5, 40ml Tubes Grays
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Tusc & Pine Oil Color Green Colors Starter Set of 5, 40ml Tubes Green Colors
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Tusc & Pine Oil Color Mixing Colors Starter Set of 5, 40ml Tubes Mixing Colors
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Tusc & Pine Oil Color Nocturne Colors Starter Set of 5, 40ml Tubes Nocturne Colors
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Tusc & Pine Oil Color Ocean Blues Starter Set of 5, 40ml Tubes Ocean Blues
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Tusc & Pine Oil Color Portrait Colors Starter Set of 5, 40ml Tubes Portrait Colors
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Tusc & Pine Oil Color Red Colors Starter Set of 5, 40ml Tubes Red Colors
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