A beautifull and luminous red. More pinkish than the red cadmium light
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This pure and luminous bright red has a high tint power.
Cadmium red is obtained by replacing a tiny percentage of sulphur with selenium when combined with cadmium. This red has a very pure hue. So, mixed with white his undertone is red and not pink such as with organic reds.
The deepest of the Isaro's cadmium range. This red have a slight hint of violet in its undertone
A dark red brown, very beautifull for glazings.
A strong blue. Mixed with the phtalo green, it produces a luminous range of turquoise.
Very beautiful green, turning blue. When mixed with phthalo blue, it gives a very nice range of turquoises. With the yellows to obtain a very wide range of greens. With the earths of earthy greens and with the burnt umber a dark green.
The bluest of the blues. This blue becomes even brighter when mixed with whites. Very useful for mixing.
This splendid greenish blue is used to create very beautiful range of greens.
This blue is very drier-reactive, accelerating the drying power of the colours with which it is mixed. Tint power is extremely strong.
Very beautiful green tone less dynamic than phthalo green. The emerald green is bluish.
Very beautiful earthy green and mono pigment.
Magnificent bright green with an underlying shade of yellow.
A splendid blue with a rich purple blue undertone.
A deep and intense blue with a touch of red.
A rich and earthy burnt orange
A rich and earthy burnt orange.
Very beautiful blue with a shade having an underlying green tone. Very bright and frank.
With phthalo green it forms very beautiful turquoise. With the yellows of the beautiful greens. With the ocher of the more muted greens and with the pink or the purple Isaro a beautiful range of mauves.
Magnificent blue with an underlying shade of mauve. Very useful for composing magnificent mauves, especially with quinacridones like Isaro pink for example.
With black or burnt sienna, it makes it possible to obtain very beautiful Payne grays and with burnt umber to create a beautiful indigo.
Real cobalt blue with a great purity of tone. Bright and close to primary blue. We can define it as the most blue of blues because it does not draw on green (like Prussian blue) or red (like overseas).
Close shade of natural indigo.
This vivid and strong bluish greens a good staple green to produce a large range of greens.
Dark blue with an underlying green hue. This blue is very useful for creating greens, it is actually the blue of greens.
It is a dark blue, which corresponds to a dark reddish blue. It is ideal for nuancing cool colors like violets and blues by giving them more depth. Also useful for forming greens, especially with chartreuse yellow.
This earthy green is very Opaque.Â
Mixed with yellows or earths (ochre, umber, sienna), it produces a usefull range of greens for the landscapists
Very beautiful light blue, which pulls slightly towards green. Particularly suitable for working the sky.
This colour is more Transparent and less dull than chromium oxide green. Emerald green produces splendidly luminous green when mixed with cadmium yellow. Landscapists and some portraitists prefer it because his undertone is less vivid than the phtalo green.
Magnificent red which turns brown. More transparent than burnt Sienna and less grainy, it can perfectly replace it for watercolorists who prefer a more transparent and reddish tone.
Very beautiful dark red tending to burgundy.
This very beautiful red whose shade can make one think of madder lacquer does not have the lack of stability over time.
With a little burnt umber, it is perfectly darkened and you easily get a crimson alizarin shade.
Very beautiful red, lively and bright with an underlying note colder than Scarlett red.
One of the flagship colors at Isaro. Very popular with watercolorists, it is one of the essentials on a palette.
This red has a great purity of tone. It draws very slightly on the yellow.
Very beautiful brick red, with an underlying shade of orange-yellow.