Pinkish yellow, very close to Naples yellow.Â
Perfect for skin tones.
Pinkish yellow, very close to Naples yellow.Â
Perfect for skin tones.
It's a very pure cool soft white. It's highly regarded by artists.
This cool pink with a bluish undertone is very useful. Mixed with the blues, this quinacridone rose produces a rich range of violet. So Isaro pink is perfect to paint flowers. It's also a good glazing colour.Â
It's a basic earthy yellow, ideal for glazes but covers well.
This violet is the mixture of three pigments to created a unique shade of violet
A splendid blue with a rich purple blue undertone.
Pinkish yellow, very close to Naples yellow. Perfect for skin tones.
A mono pigmentary's orange. So this orange is very bright with a vibrant and very pure undertone.
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.
This bright, highly luminous yellow is an ultra-pure colour with a touch of green. This cadmium yellow lemon is a yellow much akin to primary yellow.Â
This deep and intense reddish brown has a high drying power. So, is excellent for making preliminary sketches with a very diluated first coat.
It's a good glazing colour with a subtil and interessant blueish shade. Mixed with white, we obtain a rich range of vivid purple. His tint power is very high.
This yellowish-brown is darker than yellow ochre but has the same undertone. This natural earth produces outstanding transparency effect.
A deep violet with a touch of red
A deep cool blue black.
It's a cool transparency withe. It's excellent for mixtures and glazes
This is a luminous transparent yellow with the same hue of the cadmium yellow light. Mixed with phtalo green,phtalo blue or indantrene blue, we obtain a interesant range of Transparent green. Mixed with titanium white the result is a very luminous and Opaque light yellow.
The bluest of the blues. This blue becomes even brighter when mixed with whites. Very useful for mixing.
This light blue produces a colour close to sky blue when mixed with white, hence the reference to "cerulean".
So this blue is very usefull to paint lanscape.
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.
This blue is a mixture of 3 pigments. Very useful for painting marine
A rich and earthy burnt orange
This is a rich orangey yellow. It's the warmest yellow cadmium. This yellow is , such as all cadmium, bright, very luminous and an ultra-pure colour.
This natural iron oxide is a fine rather cold brown with a greenish undertone.
This deep and intense reddish brown has a high drying power. So, is excellent for making preliminary sketches with a very diluated first coat.
A bright, very luminous yellow with an ultra-pure colour.
A warm yellow wich is very precious to produce warm mixes of all kinds
This Transparent iron oxyde with a orangey undertone is excellent for producing luminous and warm glazes.
A intense cold brown with a violet shade.
A strong blue. Mixed with the phtalo green, it produces a luminous range of turquoise.
It's a deep brownish green.
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
A dark red brown, very beautifull for glazings.
This vivid and strong bluish greens a good staple green to produce a large range of greens.
A warm deep black. Mixed with yellow ochre we obtain a warm black and mixed with ultramarine blue it produces a cold black.