Ideal for lightening multicoloured shades. Semi-transparent alternative for titanium white (opaque).

Pure, brilliant white. Possesses best opacity and tinting power.

Pure white. Enhances the consistency of fine reliefs.

Opaque, pale greenish yellow which imitates the original lead-tin yellow.

Light greenish yellow which cannot be obtained by mixing.

Brilliant, green-tinted basic yellow. Brilliant, semi-opaque green tones can be obtained in mixtures with phthalo blue cyan (439).

Brilliant yellow with a greenish tinge based on an inorganic pigment with high tinting power. Good mixing properties with phthalo blue cyan (439), produces clear, brilliant and opaque green tones.

Strong, brilliant yellow.

Opaque, imitates the original chrome yellow. Suits well as alternative for cadmium yellow.

Pure, brilliant, warm yellow. Ideally suited for obtaining light, pure yellow and green tones.

Modern opaque pigment with high tinting power. Produces a slightly dull yellow.

Brilliant, red-tinted basic yellow. Mixes well with cadmium red light (317) and produces opaque orange tones.

Translucent orange-yellow colour. In former times, Indian yellow was produced in India from the urine of cows which were fed with mangoleafes.

Opaque, brilliant orange-yellow.

Brilliant orange with high tinting power.

Pure, fire red orange colour.

Glowing, transparent orange.

Yellow-tinge basic red with high tinting power. Opaque orange tones can be obtained in mixtures with cadmium yellow medium (211).

Brilliant, glowing red. Imitates the mineral cinnabar.

Brilliant variant of alizarine, the main dyestuff contained in the madder plant. Based on organic pigments.

Brilliant, yellow tinted scarlet red; between vermilion red (318) and carmine (321).

Glowing, strong medium red. Imitates the colour made of cochineal louses.

Brilliant red, not as glowing as ruby (323).

Glowing red. Bluer and more opaque than madder brilliant (319).

Dark red with brown tinge.

Light, transparent purple red.

Translucent blue-tinted basic red. Mixtures with ultramarine blue (433) produce brilliant, transparent violet tones.

Light red with a violet tinge.

Very transparent, dark purple violet.

Opaque violet colour.

Blue-tinted violet; very dark; very brilliant in glazes.

Deep, midnight blue with strong tinting power. Lightfast imitation of the original indigo.

Finely transparent, red-tinted blue. Very deep full colour due to hight tinting power.

Pure basic blue with a reddish tinge. Mixtures with quinacridone magenta (326) produce brilliant, transparent violet tones.

Deeper and more reddish than cobalt blue light (435).

Clear blue; very good base for blue sky colours.

Light blue colour, obtained by a cobalt pigment.

Opaque deep blue with high tinting power.

Reddish variant of phthalo blue cyan (439).

Transparent basic blue. Brilliant, semi-opaque green shades can be obtained by mixing with lemon yellow (205). Mixtures with quinacridone magenta (326) produce brilliant, transparent violet shades.

Black blue in full shades; produces a green-tinted blue in mixtures with white or in glazes.

Turquoise tinted blue. Good basis for marine colours.

Opaque, green-tinted medium blue.

Finely transparent, brilliant turquoise blue.

Semi-opaque, clear, light turquoise.

Very greenish turquoise, similar to the aquamarine. Suits well for greenish marine colours.

Opaque, bluish deep green. Similar to the tourmaline (dark blue greenish tinge).

Glowing, semi-transparent green with a blue tinge; similar to an emerald green and the classic veridian.

Full, brilliant green; cannot be mixed.

More yellow and lighter than the phthalo green blue shade (563).

Opaque medium green with high tinting power.

Warm, slightly dull green shade. Less brownish than olive.

Brilliant green shade. More neutral than vanadium green (568).

Brilliant, yellow light green.

Green shade with yellow tinge; slightly dull shade.

The full colour is very strong, if used for translucent paintings the colour is more yellow. Basis for various vegetable colours.

Semi-transparent, brown-tinted natural earth.

Ochre shade, light yellow with a green tinge.

Deeper and more reddish than Naples yellow light (672).

Brilliant yellow, ochre shade. Ideally suited for glazes.

Slightly brownish yellow ochre; obtained by a synthetic, hydrated iron_x000D_oxide.

More dull and opaque than light ochre.

Semi-transparent, strong and yellow-tinted brown. Obtained from French natural mineral.

Opaque brown with yellow tinge. French natural earth imitates the original from Italy. Deeper and warmer shade than light ochre (675).

Reddish brown pigmented with a burnt natural earth.

Corresponds to the dull, brownish-red English red.

The full colour is very brilliant and deep, in glazes the colour is a glowing red-brown.

Brilliant dark brown. Perfectly suited for glazes.

Medium brown, slightly dull shade.

Obtained from a French natural mineral, produces a slightly dull deep brown.

Strong, deep brown. Similar to Sepia if used in glazes.

Creamy white to sable coloured.

Red-tinted warm fl esh colour. Ideally suited for mixing further flesh tints.

Warm light grey.

Neutral, medium grey without black pigment.

Cold, blue-tinted Schmincke grey.

Deep black green, in mixtures with white or in glazes the colour produces greenish grey shades.

Opaque, slightly dull deep black.

Clear, opaque deep black.

Silver colour based on mica, coated with metal oxide.

Gold with yellow tinge based on mica, coated with metal oxide.

Gold with greenish tinge based on mica, coated with metal oxide.

Neutral gold based on mica, coated with metal oxide

Reddish gold based on mica, coated with metal oxide.