wetting agent

Brilliant, lightfast white with highest opacity and strongest lightening power.

Cold, pure, lightfast traditional zinc white with good white lightening power; slightly cold bluish nuance. Due to transparency the best mixing white.

Semi-opaque light yellow.

Semi-opaque, cold light yellow for soft colour layers.

Highly opaque, slightly greenish, cool yellow. Heavy metal free alternative to cadmium yellow lemon. Creates brilliant mixtures.

Pure yellow based on a modern, organic pigment.

Slightly transparent pure yellow or lemon yellow, when applied in thin layers. In stronger layers tendency to ochre.

Highly transparent lemon yellow. Alternative to the original toxic chromium yellow lemon.

Highly transparent light yellow. Mixture of two modern, organic pigments. Alternative to the original toxic chromium yellow.

Reddish yellow. Alternative to the original used toxic chromium yellow deep. Tendency to orange.

Alternative to the original toxic chromium orange by using a lightfast, organic pigment.

Greenish yellow. Heavy metal-free alternative to cadmium yellow lemon. Basic yellow with good painting- and mixing properties. Creates brilliant mixtures with phthalogreen.

Brilliant yellow with modern, organic pigment. Heavy metal-free alternative to cadmium yellow. In thick layers semi-opaque, in thin layers transparent. Good lightfastness and mixing properties.

Intense brownish gold. Very good mixing properties. Perfect for warm green shades. Imitation of Pigment PO 49 which is no longer available.

Brilliant orange-red with an organic, lightfast pigment. Mixed with ultramarine finest soft, neutral greys are achieved. The intensive reddish character is ideal for mixtures of very light reds.

Light, semi-opaque orange-yellow.

Modern replacement of former animal metabolism product from India, which was prohibited long ago. Classic, very transparent, mix of two pigments.

Traditional colour from anorganic pigments. Often used for portrait_x000D_ and nude painting.

Brilliant, transparent and light orange.

Traditional colour. Cool lemon-cadmium-pigment. Alkali-resistant. Especially for mixing yellow-greens and greens.

Strong, brilliant yellow with opacifying character. In the Colour Theory often used as primary yellow (Y).

Highly brilliant, strong yellow with opacifying character.

Brilliant cadmium yellow with opacifying character.

Strong and brilliant with good mixing properties.

Brilliant, strong orange. Opacifying character. Good mixing properties.

Imitation of the originally toxic lead pigment with anorganic pigments. _x000D_The white contents creates opacifying character.

Traditional colour, opacity effected by white content. Mixed from 4 pigments, _x000D_to achieve the traditional reddish-yellow. Recommended for portrait and nude painting.

Very intense, semi-transparent and warm red. Darker and more yellowish than vermilion light.

Lightest and most yellowish transparent red. More reddish than transparent orange.

Transparent red. Less yellowish than vermilion light.

Warmer deep red with higher lightfastness, replaces dark red (14 345).

Dark, cold red. More light and bluish than dark red.

Expanding range of cadmium reds. Medium red with opacifying character.

Brilliant colour with opacifying character. To be used as lightest red.

Warm, brilliant red.

Deep red with slight brownish tendency. Opacifying character.

Transparent, bluish red. Modern, lightfast, organic pigment. Different colour layers have strong influence on the character from red to deep red.

Primary colour magenta (M) in Colour Theory.

Originally obtained from real Cochenille-louses. Modern pigment allows today lightfast alternative.

Cool, saturated deep red with good transparency. Alternative to madder lake deep (14 358) with better lightfastness.

Warmest, transparent dark red.

Traditional colour. Soft pink mixed from two pigments. The manganesian lake pigment creates bluish reds. Light resistance of stronger layers is rather good.

Cool, saturated deep red, good transparency. Originally an alumina pigment lake of alizarine, the main dyestuff of the former important madder plant. Synthetic production of alizarin since 1870.

The lightfastness of the traditional alizarin-hue has been improved by anthrachinone pigments. The colour is deeper now.

Cadmium-free, semi-transparent orange.

Cadmium-free alternative to cadmium red orange (14 348) with lightfast organic pigments.

Cadmium-free alternative to cadmium red.

Intense dark red similar to alizarin but warmer. Transparent.

Modern alternative for the traditional dyestuff crimson or Cochenille with good lightfastness and opacifying character.

Metal-free alternative to the traditional vermilion. Organic pigment with good lightfastness and opacifying character.

Cadmium-free alternative to cadmium red deep (14 350). Lightfast, organic pigment with high tinting strength.

Original dyestuff replaced by organic quinacridone pigment. _x000D_Bluish alternative to primary colour magenta (14 352).

Red-violet produced from one organic pigment.

Red violet between purple magenta and quinacridone violet._x000D_ Intense and lightfast.

Historical pigment. Brownish, dull, very light rose red. Strongly granulating.

Dark wine red. Brownish intense violet. Very lightfast. _x000D_Ideal as shadow colour for reds.

Blue-violet between quinacridone violet and manganese violet. _x000D_Intense and lightfast.

Soft blue-violet. Strongly granulating. More bluish than Schmincke violet.

Lightfast, soft, brilliant red violet.

Greenish blue. Metal-free Phthalocyanine pigment.

Traditional colour. Bluish violet, cannot be mixed from other pigments.

Warmest Phthalocyanine. More reddish than the replaced helio blue reddish._x000D_ Now one-pigment-colour.

Cerulean blue based on phthalocyanine. Pigment specially treated to be used_x000D_ for watercolours. Basic blue for mixtures. Close to cyan (C).

Traditional colour. The pigments mixed with white result in a lightfast light _x000D_blue. Ideal for neutral, soft blues.

Cobalt-free cerulean blue. The zinc oxide preserves the character of the colour. _x000D_Similar to primary colour (C) of Colour Theory. Similar to helio cerulean.

Strong blue. High tinting strength. Modern, lightfast, organic pigment._x000D_ Warm, deep blue with strong depth effect.

Soft, greenish light blue. Sky blue for landscape painting._x000D_ Strongly granulating.

Traditional deep greenish blue. High tinting strength. Creates very brilliant _x000D_greens by mixing with yellow.

Originally traditional plant dyestuff from India. Perfect for shading and_x000D_ deepening of colours.

Metalfree alternative to cobalt blue. Semi-transparent blue due to _x000D_zinc white content.

Clear blue. Best suited for landscape and blue sky painting.

Very lightfast, deep blue, more reddish than cobalt blue light (14 487)._x000D_ Granulating. Tone and chemistry very similar to smalts blue of the late_x000D_ Middle Ages. Often used to paint sky and horizon.

Traditional deep blue. High tinting strength and good lightfastness. Colour is_x000D_ achieved by mixture of 3 pigments. Slightly more greenish than Prussian blue_x000D_ (14 492).

Traditional colour with high lightfastness.

Reddish, granulating ultramarine blue.

Synthetic alternative of a classic ultramarine extracted from the semiprecious_x000D_stone lapis lazuli. Also used as basic colour for mixing violets.

Blue violet cannot be achieved by any other colour. Good lightfastness like _x000D_all other ultramarine pigments and little tinting strength. Granulating.

Strong, saturated blue. Two-pigment mix. Slighly dimmer than ultramaine _x000D_finest (14 494).

Lightfast, slightly warmer alternative to indigo (14 485). Modern, organic_x000D_ pigment.

Cobalt blue with greenish tendency.

Very lightfast turquoise, opacifying character. Very brilliant.

More greenish than cobalt cerulean (14 499) with equally high lightfastness.

Highly transparent, cool, very lightfast standard colour._x000D_ Well suited for mixing brilliant greens.

Opaque green with very high tinting strength. Recommended for _x000D_landscape painting.

Granulating, soft blue-green.

Transparent, brilliant green. Warmer than phthalo green (14 519).

Neutral olive green with excellent mixing properties. Important basic_x000D_ colour for green nuances in landscape painting.

Contains pure natural earth. Not very colourful, but perfect transparent._x000D_ Recommended for toning down flesh tints in the portrait and nude painting.

Extremely brilliant transparent green. Alternative to chromium oxide green _x000D_brilliant (14 511). Well suited for mixtures with yellows and reds._x000D_ Recommended for landscape painting.

Lightfast alternative to mixture of gamboge gum, Prussian blue and_x000D_ partly indigo.

Traditional brilliant yellow-green. Contains 2 transparent, lightfast pigments._x000D_ Recommended for landscape painting.

Traditional green. Contains 2 lightfast pigments. Recommended for _x000D_landscape painting.

Brilliant yellow-green. Mixed colour of two lightfast pigments._x000D_ Slightly more neutral than may green (14 524).

Lightfast alternative to mixed colour from Prussian blue and not lightfast_x000D_ yellow lake. Well suited for bluish shadings in landscape painting.

Highly transparent green. More lightfast alternative to the classic pigment _x000D_formerly made from berry juice.

Deep opaque cobalt green. Very lightfast.