PURE BRILLIANCE

Transcription

1 PURE BRILLIANCE

2 A NEW ACRYLIC RANGE WITH PURE BRILLIANCE After significant development and research, we are proud to present the brightest ever range of Artists Acrylic. By combining our world-beating colour making experience with the latest developments in resin technology, we have taken brilliance to a new level. Our new Artists Acrylic colours are unrivalled in their richness, intensity and depth of colour. And that s not all. Not only are our colours brilliant when wet but they remain as bright when dry so no colour shift or darkening of tone. What you see is what you get. Working with artists around the world confirmed that above all else, acrylic artists want the brightest, most vivid colours that do not change as they dry. Our new range represents a significant breakthrough in achieving this and much more. THE NEW RANGE OFFERS: Unrivalled brilliance and depth of colour No colour shift from wet colour to dry colour The introduction of new unique pigments to professional acrylics Longer open time (working time) Popular and practical Extremely versatile, water-mixable and fast drying, acrylics have grown in popularity ever since they were introduced in the 1950 s. Their quality has steadily improved and they can be used easily and with confidence by all levels of artist. A GOOD ACRYLIC RANGE SHOULD OFFER: Adebanji Alade s studio Clean, bright and strong colours Individual formulations for each colour, to bring out the best in each pigment Permanence Winsor & Newton Artists Acrylic more than meets all these criteria, delivering brilliant, clean colours. This results from high pigmentation levels within the colour, the high proportion of single pigment colours within the range and the in-depth study of resin technology by our chemists to ensure no colour shift from wet to dry. Add to this a wide and balanced spectrum of 80 colours using unique pigments, a luxuriously thick and buttery consistency, excellent permanence and longer working time and it becomes clear why Artists Acrylic represents the most significant breakthrough for acrylic painters. PAGE 01 PAGE 02

3 UNRIVALLED BRILLIANCE & DEPTH OF COLOUR NO COLOUR SHIFT Brilliance - the richness, intensity and depth of the colour - is the most important characteristic to an acrylic artist. Brilliance does not mean the colours are garish. It is about clarity and purity of colour and this should be evident when the colour is applied straight from the tube as well as in its thinnest of films. Even the earths, blacks and whites should be clean and not dull. WET Our new range of Artists Acrylics provides a big step forward in brilliance and this is thanks to our combination of single high grade pigments, the highest pigmentation levels and revolutionary new transparent binder that ensures no colour shift from wet to dry. DRY Masstone Undertone COMPETITOR ARTISTS ACRYLIC Permanent Alizarin Crimson painted out with a palette knife and brushed out directly from the tube. Artists Acrylic is cleaner and more vibrant than the competitor colour which looks dark and dull When painted out thinner, Artists Acrylic is much stronger and more brilliant than the weak, rather tintlike competitor colour Until now acrylic paints have darkened in tone as they dry, making colour matching difficult, so artists have to remember to allow for this when mixing wet colours. However with our new range, acrylic painters no longer have to cope with colour shift. With Winsor & Newton Artists Acrylic, more than any other brand, what you see is what you get. Previous resin formulation which was more milky New clear resin Colour shift is due to the binder changing from white to transparent as it dries. Winsor & Newton were the first to introduce minimal colour shift to acrylics. Thanks to our expertise in colour making and resin technology, we ve now gone further in creating a range with virtually no colour shift at all - any change in colour between wet and dry is equal or less than the equivalent colours in Artists Oil Colour. I can achieve even greater subtleties and levels of depth in my paintings now. NICK MALONE The result is a range that allows artists to match colours more easily from palette to canvas and see a painting as it will actually look when finished. PAGE 03 PAGE 04

4 LONGER WORKING TIME UNIQUE NEW PIGMENTS One of the major advantages of acrylic colour is that it dries quickly, allowing artists to overpaint within minutes and build up multiple layers during one painting session. However, artists have told us that acrylics can dry a little too quickly, especially when compared to oil colour, and this can restrict some painting techniques. Having listened to this, we have formulated Artists Acrylic to have a longer working time on the palette without compromising the convenient drying time of acrylics. The working time of Winsor & Newton Artists Acrylics is now 20% more than our previous range of Finity Artists Acrylics and in tests with artists, we ve found that this is just the right amount of time for working with all acrylic painting techniques. As I work on big expressive skies, I really benefit from colours that stay wet longer, giving me extra blending time. BECKI REED We have spent over 175 years developing the widest, brightest and most permanent colours for artists. Artists Acrylic is no exception. This range has 80 colours spread across the widest palette, using single artists pigments wherever possible. Other acrylic ranges exist with a larger number of colours but these include many mixtures of pigments which could be mixed by the artist. Our colours are chosen according to masstone (colour from tube), undertone (bias of colour when in a thin film), strength and relative opacity. The resultant colour spectrum ensures that artists can obtain the palette which best suits their work. All 80 colours in Artists Acrylic are new formulations, giving the brightest and strongest colours. The range also includes 17 exciting new colours (see following page), further increasing the number of unique pigments available to acrylic painters. Our research chemists have spent the last few years investigating every possible pigment and its potential for acrylic painters. No other range has this number of unique pigments. PAGE 05 PAGE 06

5 17 new colours New Cobalt colours Cobalts are traditional semi-opaque pigments with moderate tinting strength, making them easy to control over a wide spectrum. They are well-loved by painters wishing to represent images in a natural light or realistic colouring. Our new cobalt colours are Cerulean Blue Chromium, Cobalt Turquoise Light and Cobalt Green. Cerulean Blue Chromium Cobalt Turquoise Light Cobalt Green Other new inorganic colours Inorganics include all the traditional pigments; cadmiums, cobalts, titanium, ultramarine and are generally based on metals. It is unusual for new inorganic pigments to become available as most of the raw materials have already been discovered. We have introduced Potter s Pink - a semi-opaque, low tinting strength, single pigment colour - and Ultramarine Violet - a blue-shade violet - to Artists Acrylic. Potter s Pink Ultramarine Violet New Earth colours Umbers, Siennas and Ochres are the oldest pigments known to man. Cleaner and brighter than mixtures made from primaries, earths are excellent for toning in shadows and underpainting. Among our new earths: Light Red, Raw Umber Light, Violet Iron Oxide and Yellow Iron Oxide. Light Red Raw Umber Light Violet Iron Oxide Yellow Iron Oxide New Perylene colours This family group has been expanded and we are delighted to be able to introduce three totally unique colours: Perylene Green, Perylene Maroon and Perylene Violet. Perylene Green Perylene Maroon Perylene Violet Other new synthetic organic colours Modern organic pigments offer lightfast colours of relative transparency over a broad area of the spectrum. Organics are excellent for bright, clean colour mixtures and are favoured by painters for bright flowers and abstract images. We have further expanded the spectrum available by introducing the following: Green Gold, Pyrrole Orange, Azo Yellow Deep and Nickel Azo Yellow. Green Gold Pyrrole Orange Azo Yellow Deep Nickel Azo Yellow New metallics Artists Acrylic metallics outshine all others, quite literally. Dense, opaque and highly metallic with a beautiful lustre, these colours do not tarnish. Silver No. 2 is a new darker silver which is even more metallic than any mica pigments we ve seen before. It is brighter and more opaque which gives it excellent covering power. Find full details of the unique new colours on our website Silver No. 2 PAGE 07 PAGE 08

6 MORE PIGMENT INFORMATION Pigment purity We only use the purest and highest grades of pigments, formulated individually to ensure the cleanest, most brilliant colours, which produce the best colour mixes. Single pigments Artists Acrylic has 69 single pigment colours; at 86% of the range, no other acrylic range has ever had a higher percentage of single pigment colours. The use of single pigments is key to the principle of making good colour. The benefits ensure the cleanest, brightest and strongest colours which give a wider choice and better colour mixing capabilities. I love colours that have vibrancy, strength of colour and retain their brilliance. CELIA ATKINS The most important thing for my style of painting is to use good quality, strong pigments. KIM O NEIL Mixed pigments The remaining 11 colours in Artists Acrylic which are mixed are done so with good reason. In some cases, mixtures match original fugitive (non-lightfast) colours, eg; Permanent Sap Green, Olive Green and Hooker s Green. In other cases, mixtures are more stable eg; Buff Titanium. Some colours are also mixed to match original colours, eg. Cadmium Yellow Deep and Raw Sienna. Highest pigmentation levels The quantity of pigment used is one of the most important indicators of the quality of an artists acrylic. Each individual formulation uses the maximum amount of pigment possible without extenders, to produce a colour with the broadest handling properties. PAGE 09 PAGE 10

7 OTHER CHARACTERISTICS & BENEFITS Durability of paint film Artists Acrylic is formulated to ensure it can not only provide the most brilliant colour but will also dry to a water resistant film which is non-tacky. The latter will prevent dust and dirt embedding in the acrylic over time and will stop finished paintings sticking to each other. Opacity & covering power Winsor & Newton Artists Acrylic includes a good mix of transparent and opaque colours offering good levels of opacity and covering power. Transparent colours give clean colour mixing, while opaque colours offer the greatest covering power the ability to cover previous layers or how far it spreads on the canvas. Artists Acrylic will cover surfaces much quicker than other acrylics, usually with only one coat. The Experience of colour making World beating colour making is not just about finding good quality ingredients. At Winsor & Newton, that is only the beginning. Acrylic paint formulation is one of the most complicated of colour technologies and involves the careful selection and combination of exactly the right raw materials, in exactly the right proportions. The best raw materials and the best formulations are still nothing without our tailor-made mills and equipment which, together with our absolute control through the colour-making process, ensures each ingredient is developed to its full potential. No colour passes our quality control testing unless it s perfect. Luxuriously thick and buttery consistency Artists Acrylic offers the smooth, thick, short, buttery consistency preferred by most acrylic artists, with no stringiness. Colours will retain brush strokes and palette knife marks for excellent impasto effects and flow out smoothly with soft brushes if you prefer a smooth surface. They also dilute gradually as water or medium is added, giving artists the maximum control over their paint. There is no substitute for experience in colour making. We use thousands of raw materials across our colour ranges, and knowing how best to combine them to meet the needs of the most demanding artists in the world requires the combined knowledge of chemists who have spent their working lives making colour worthy of our name. Permanence and lightfastness The Winsor & Newton classification of permanence is the most stringent in the art materials industry, measuring not only lightfastness, but also film stability of the finished colour and chemical stability. All 80 colours within the Artists Acrylic range are classified as permanent for artists use, earning an AA or A rating. Using permanent colours will ensure that your artwork will remain as you intended for generations. Testing for lightfastness at Winsor & Newton PAGE 11 Satin finish with variable sheen Overall, Artists Acrylic gives an even satin finish, identified by artists as a vital consideration. This makes colour matching easier, maintains the brilliance of colours and provides a more even sheen across the finished painting. Unlike other ranges on the market, Artists Acrylic does not contain any extenders to modify the gloss. Therefore the natural properties of the pigments are allowed to show; for example cadmiums, cobalts and earths have a slightly lower sheen, as is traditionally the case with oils. Dries to an even satin finish Glossy, freshly painted colour PAGE 12

8 USING ARTISTS ACRYLIC Acrylics are an extraordinarily versatile medium. They adhere to the widest range of substrates, can be used with or without primers, and applied in the most dilute water colour washes and transparent glazes to the thickest of impastos. Helpful hints & tips when using Acrylics Surfaces Acrylics can be applied to almost any surface but do make sure it is neither greasy nor too smooth. Kerstin Pettersson s studio Primers Try Clear Gesso Base with added colour for a tinted ground you ll need less colour when painting later. Brushes A variety of brushes are suitable for use with acrylics. Traditionally hog brushes have been the most popular. However, more recently synthetic brushes such as Galeria, Artisan and Artists Acrylic brush have become more commonly favoured as they offer strength, resilience, spring and control which is ideal for use with acrylics. Synthetic brushes are also good for longer painting sessions as they won t become soggy like hog brushes. They also rinse more easily in water. Using water If using heavily diluted washes of acrylic colour on canvas, use medium as well as water to ensure the colour remains properly bound when dry. Acrylic Gloss and Acrylic Matt Medium are the most common for this and will help to increase the flow and transparency of the colours. PAGE 13 PAGE 14

9 You can do amazing things with mediums, they will create the details for you without you having to paint any. KERSTIN PETTERSSON New colours Treat yourself to some new colours you ll be surprised how it can freshen your outlook and bring new life to your work. Transparent colours Use transparent colours for brighter, cleaner colour mixing on the palette. Layer transparent colours on the canvas for great optical mixtures, like layers of tissue. Opaque colours Choose opaque colours for covering previous work on the canvas, for flat expanses of colour or for final highlights. Washing equipment Do not let colour or mediums dry on brushes and make it a good habit to rinse as you go. Adding texture Investigate the endless mediums and textures available to take your art where other media can t go! Clean caps Wipe the tube neck and caps free from colour to maintain a perfect seal and keep your colour in top condition. Impasto If working in heavy impasto, build it up in layers. Try Heavy Carvable Modelling Paste for carvable impasto or Heavy Structure Gel for great brushstroke retention. Varnishes Don t forget to protect your finished works with our uniquely removable varnishes. Collage and Montage Use Gloss Gel Medium as an archival adhesive, giving longer life to your work. For more tips, product information, articles, blogs and much more, visit us at PAGE 15 PAGE 16

10 Recommended basic and primary palette In addition to the spread across the spectrum, a general palette should also have a mixture of stronger and weaker colours and variations in opacity. Here is our recommended basic palette for Artists Acrylic: Lemon Yellow Cadmium alternatives Cadmiums are the most opaque reds and yellows available and are some of the most popular colours. In normal use they do not present a health hazard to the user and for the environment we use only insoluble cadmiums. However some artists may prefer to avoid cadmiums and Artists Acrylic contains alternatives which are closer than other acrylic colours. Azo Yellow Medium Cadmium Red Light Permanent Rose Permanent Alizarin Crimson Ultramarine Blue Phthalo Blue Green Shade Phthalo Green Blue Shade Raw Umber Yellow Ochre Burnt Sienna GENUINE CADMIUM ALTERNATIVE COLOUR HUE HUE OPACITY STRENGTH MASSTONE UNDERTONE Cadmium Lemon Bismuth yellow Slt. redder Slt. redder < < Cadmium Orange Pyrrole Orange Redder Redder < < Cadmium Red Deep Pyrrole Red + Violet Oxide = = = = Cadmium Red Light Pyrrole Red Light Slt. bluer Slt. bluer = < Cadmium Red Medium Pyrrole Red Bluer Bluer = = Cadmium Yellow Deep Azo Yellow Deep Redder Redder < = Cadmium Yellow Light Azo Yellow Medium Redder Redder < = Cadmium Yellow Medium Azo Yellow Medium Greener Greener < < KEY: < LESS THAN THE GENUINE = EQUAL TO THE GENUINE Published pigment information Winsor & Newton was the first company to publish the contents of its colours in 1892, believing in the importance of providing as much information as possible. Today, the pigments used in Artists Acrylic are printed on the labels, in our literature and on our website. Clear Label information Providing good information for artists remains as important today as it was in Our label clearly shows what you need. Series number Titanium White Opacity rating Colour name ASTM rating If you want to use just three primary colours, we suggest: Azo Yellow Medium Phthalo Blue Red Shade Permanent Rose AYM PR PBR/S For a six colour mixing system we recommend the following colours; Lemon Yellow Azo Yellow Deep Phthalo Blue Green Shade Ultramarine Blue Pyrrole Red Quinacridone Magenta Product code Colour code Permanence rating Real colour swatch demonstrating: True colour hue, Opacity / transparency, Brush stroke retention, Level of sheen Pigment content Vehicle used PAGE 17 PAGE 18

11 A) Colour Chart TECHNICAL SECTION THERE ARE FOUR PARTS TO THE TECHNICAL SECTION: A) Colour Chart B) New Colours C) Composition and Permanence Table D) What to use now 346 A S2 II ~ Lemon Yellow 086 A S3 I ~ * Cadmium Lemon 025 A S4 I ~ Bismuth Yellow 113 A S3 I ~ * Cadmium Yellow Light 439 A S3 ~ Nickel Azo Yellow 019 A S2 I ~ Azo Yellow Medium 116 A S3 I ~ * Cadmium Yellow Medium 111 A S3 I Cadmium Yellow Deep 039 A S2 I ~ Azo Yellow Deep 089 A S3 I ~ * Cadmium Orange 519 A S4 ~ Pyrrole Orange 100 A S3 I ~ * Cadmium Red Light 536 A S4 I ~ Pyrrole Red Light 099 A S3 I ~ * Cadmium Red Medium 421 A S2 II ~ Naphthol Red Light 534 A S4 I ~ Pyrrole Red 097 A S3 I ~ * Cadmium Red Deep 548 A S3 I ~ Quinacridone Red 464 A S4 I ~ Perylene Red 423 A S2 II ~ * Naphthol Red Medium 502 A S3 I ~ * Permanent Rose 466 A S3 * Permanent Alizarin Crimson 507 A S4 ~ Perylene Maroon 550 A S3 I ~ * Quinacridone Violet 545 A S3 I ~ Quinacridone Magenta 470 A S4 ~ Perylene Violet 229 A S3 II ~ * Dioxazine Purple 672 A S2 I ~ Ultramarine Violet 321 A S3 I ~ Indanthrene Blue 664 A S2 I ~ * Ultramarine Blue 180 AA S5 I ~ Cobalt Blue Deep 178 AA S4 I ~ * Cobalt Blue 514 A S2 I ~ * Phthalo Blue Red Shade 515 A S2 I ~ * Phthalo Blue Green Shade 137 AA S5 I ~ * Cerulean Blue 130 AA S4 I ~ Cerulean Blue Chromium 139 A S2 I * Cerulean Blue Hue 191 AA S4 I ~ Cobalt Turquoise Light 190 AA S5 I ~ Cobalt Turquoise 526 A S3 ~ Phthalo Turquoise 522 A S2 I ~ Phthalo Green Blue Shade 521 A S2 I ~ Phthalo Green Yellow Shade 184 AA S4 I ~ Cobalt Green 185 AA S3 I ~ Cobalt Green Deep 162 AA S3 I ~ Chromium Oxide Green 311 A S2 * Hooker s Green 460 A S4 ~ Perylene Green 503 A S3 I * Permanent Sap Green 447 A S2 * Olive Green 294 A S4 ~ Green Gold 060 AA S1 I * Buff Titanium 422 AA S2 * Naples Yellow 425 AA S2 ~ Naples Yellow Deep 744 AA S1 I ~ * Yellow Ochre 737 AA S1 I ~ Yellow Iron Oxide 285 AA S1 I ~ Gold Ochre 547 A S4 I Quinacridone Gold 552 AA S1 I * Raw Sienna 074 AA S1 I * ~ Burnt Sienna 537 AA S3 ~ Potter s Pink 362 AA S1 I ~ Light Red 560 AA S1 I ~ Red Iron Oxide 549 A S4 I ~ Quinacridone Burnt Orange 691 AA S1 I ~ Violet Iron Oxide 557 AA S1 I ~ Raw Umber Light 554 AA S1 I * ~ Raw Umber 076 AA S1 I * ~ Burnt Umber 217 A S1 I * Davy s Gray 292 AA S2 I ~ Graphite Grey 465 A S1 I * ~ Payne s Gray 331 AA S1 I * ~ Ivory Black 386 AA S1 I * ~ Mars Black 415 AA S1 I * ~ Mixing White 644 AA S1 I * ~ Titanium White 330 A S3 ~ * Iridescent White 617 A S3 ~ * Silver 624 A S3 ~ Silver No A S3 ~ * Gold 573 A S3 ~ * Renaissance Gold 014 A S3 ~ * Antique Gold Key to codes ASTM Sizes available AA Extremely Permanent A Permanent B Moderately Durable S Series Number Transparent Semi-Transparent Opaque Semi-Opaque I Permanent for artists use II Permanent for artists use ~ Single pigmented colours 60ml Tubes - All Colours 200ml Tubes - Colours marked * 237ml Tubes - Colours marked 474ml Tubes - Colours marked Where no ASTM rating is listed, please refer to the Winsor & Newton permanence rating. PAGE 19 PAGE 20

12 B) New Colours COLOUR NEW COLOURS BENEFIT CODE 039 AZO YELLOW DEEP Semi-opaque colour with excellent lightfastness. Makes a good alternative to Cadmium Yellow Deep. 130 CERULEAN BLUE Another composition of Cerulean pigment. A stronger, CHROMIUM deeper masstone and higher tinting strength, complementing our ever popular Cerulean Blue. 184 COBALT GREEN Absolutely lightfast with good opacity. An improved version of the traditional Cobalt Zinc. Unique. 191 COBALT TURQUOISE Super bright turquoise, semi opaque. LIGHT 294 GREEN GOLD Bright yellow shade green a useful, strong mixing colour. 362 LIGHT RED A natural, single pigment earth with bright undertone. Unique. 439 NICKEL AZO YELLOW A transparent, red shade yellow similar to original Gamboge resin. Wonderful for mixing particularly greens, browns and glazing techniques. 460 PERYLENE GREEN An exciting semi-transparent, single pigment blackgreen. Excellent in mixes without muddying. Unique. COLOUR NEW COLOURS BENEFIT CODE 507 PERYLENE MAROON A dense, transparent, strong, single pigment maroon for wider mixing capability. Marvellous for darks and shadows. Unique. 470 PERYLENE VIOLET A single permanent pigment, deep violet replacing traditional pigments such as Purple Madder. A popular colour position amongst modern pigments. Unique. 537 POTTER S PINK A semi-opaque pink which cannot be mixed from red or white. Popular for portrait painting. Unique. 519 PYRROLE ORANGE A very bright, clean orange with a red undertone. A good alternative to Cadmium Orange. 557 RAW UMBER LIGHT A pale natural umber, which supports good natural strength mixtures. Unique. 624 SILVER No.2 Brighter, improved metallic sheen and greater opacity. Unique. 672 ULTRAMARINE VIOLET A highly lightfast blue shade violet, lower in cost than Dioxazine. 691 VIOLET IRON OXIDE An opaque, higher tinting strength synthetic earth. 737 YELLOW IRON OXIDE An opaque, higher tinting strength synthetic earth. C) Composition and Permanence Table The table across the page is designed to provide the essential information on the colour composition and performance of the entire Artists Acrylic Colour range. Colour Code Col. Code Indicates the code number that is given to each of the colours. This is primarily for ease of reference for retail and catalogue purposes and to assist you in purchasing your materials. Colour Name The colour reference on the face of the tube e.g. Burnt Umber. Series No. The Series No. of a colour indicates the relative price of the colour and is determined mainly by the cost of the pigment. Series 1 is the least expensive and Series 5 is the most expensive. Permanence Perm The permanence of a colour is defined as its durability when laid with a brush on paper or canvas, graded appropriately and displayed under a glass frame in a dry room freely exposed to ordinary daylight and an ordinary town atmosphere. This definition reflects the manner in which we expect to find paintings displayed. However, for testing purposes we are also able to utilise accelerated tests for lightfastness and binder stability, in addition to the information issued by our pigment suppliers. Our ratings are therefore a combination of the natural passage of time, accelerated tests and pigment manufacturers testing and development and are the most stringent in the industry. AA Extremely Permanent A Permanent B Moderately Durable Chemical Description This provides the chemical description of the pigments used in each colour. This is often useful for conservators. Colour Index The Colour Index International is the standard compiled and published by both The Society of Dyers and Colourists and the American Association of Textile Chemists and Colorists. The Colour Index classifies pigments by their chemical composition. This information will allow you to research a specific pigment s characteristics in reference books if you wish. The individual pigments are identified in two ways. 1) Colour Index Generic Name Each pigment can be universally identified by its Colour Index Generic Name. As an example: Burnt Umber is Pigment Brown 7, abbreviated to PBr7. Although the working properties of Winsor & Newton colours are fully detailed in our literature, we publish the Colour Index Generic Names of the pigments to allow you to cross reference the working properties in other sources if you wish, e.g. lightfastness, opacity, toxicity, etc. The Colour Index Generic Name is particularly necessary to fully identify some of the modern pigments. The disclosure of a pigment as Naphthol Red is insufficient because there are over a dozen different types, differing widely in lightfastness, hue and opacity. 2) Colour Index Number Pigments can also be identified by their Colour Index Number. It is considered an additional source of information to the Colour Index Generic Name. An example is Burnt Umber Of these two methods of reference, the Colour Index Generic Name is the most commonly used. ASTM The ASTM abbreviation stands for the American Society for Testing and Materials. This organisation has set standards for the performance of art materials including a colour s lightfastness. To measure lightfastness using this system, colours are reduced to a level of 40% reflectance by the addition of Titanium White. This means the amount of light reflected from the colour swatch. The swatches are then tested in both sunlight and artificially accelerated conditions. The results allow each colour to be rated on a scale from I III for acrylic colour. In this system I is the highest lightfastness available though both ratings I and II are considered permanent for artists use. Where no ASTM rating is given for a Winsor & Newton colour this usually indicates that ASTM has not yet tested the pigment. It does not indicate a lack of lightfastness. In these cases it is recommended that the Winsor & Newton permanence rating, which is the rating system evaluating colour on many aspects including lightfastness, should be used to indicate a colour s ability to resist fading. Transparency/Opacity T/O The transparent colours are marked, and the semi-transparent colours. The opaque colours are marked and the semi-opaque colours. Transparency however is relative and the ratings are provided as a guide only. In addition, any thin film of colour will appear more transparent than a thicker one. Health and Safety Artists colours are chemical preparations and as such should be used and handled correctly. Winsor & Newton products are labelled according to current legislation in the market in which they are sold. Please read the product labels and for further information visit PAGE 21 PAGE 22

13 C) Composition and Permanence Table Col. Colour Series Perm Chemical Colour Colour ASTM T/O Code Name Description index index name number 014 Antique Gold 3 A Titanium coated mica/iron oxide Azo Yellow Deep 2 A Arylide yellow RN PY I 019 Azo Yellow Medium 2 A Arylamide PY I 025 Bismuth Yellow 4 A Bismuth vanadate PY184 - I 060 Buff Titanium 1 AA Titanium dioxide PW I Synthetic iron oxides PY PBK Burnt Sienna 1 AA Synthetic iron oxide PR I 076 Burnt Umber 1 AA Natural iron oxide PBr I 086 Cadmium Lemon 3 A Cadmium zinc sulphide PY I 089 Cadmium Orange 3 (4)* A Cadmium sulphoselenide PO I 097 Cadmium Red Deep 3 (4)* A Cadmium sulphoselenide PR I 100 Cadmium Red Light 3 (4)* A Cadmium sulphoselenide PR I 099 Cadmium Red Medium 3 (4)* A Cadmium sulphoselenide PR I 111 Cadmium Yellow Deep 3 A Cadmium zinc sulphide PY I Cadmium sulphoselenide PO Cadmium Yellow Light 3 A Cadmium zinc sulphide PY I 116 Cadmium Yellow Medium 3 A Cadmium zinc sulphide PY I 137 Cerulean Blue 5 AA Cobalt stannate PB I 130 Cerulean Blue Chromium 4 AA Cobalt chromite PB I 139 Cerulean Blue Hue 2 A Titanium dioxide PW I Ultramarine PB Chlorinated copper phthalocyanine PG Chromium Oxide Green 3 AA Chromium oxide PG I 178 Cobalt Blue 4 AA Cobalt aluminate PB I 180 Cobalt Blue Deep 5 AA Cobalt silicate PB I 184 Cobalt Green 4 AA Cobalt titanate PG I 185 Cobalt Green Deep 3 AA Cobalt chromite PG I 190 Cobalt Turquoise 5 AA Cobalt chromite PB I 191 Cobalt Turquoise Light 4 AA Cobalt titanate PG I 217 Davy s Gray 1 A Synthetic iron oxide PY42, I Hydrated aluminium silicate PBk Dioxazine Purple 3 A Carbazole dioxazine PV II 283 Gold 3 A Titanium coated mica/iron oxide Gold Ochre 1 AA Synthetic iron oxide PY I 292 Graphite Gray 2 AA Graphite Pbk I 294 Green Gold 4 A Azomethine copper complex PY Hooker s Green 2 A Isoindolinone PY Brominated copper phthalocyanine PG Indanthrene Blue 3 A Indanthrone PB I 330 Iridescent White 3 A Ivory Black 1 AA Bone black PBk I 346 Lemon Yellow 2 A Arylamide PY II 362 Light Red 1 AA Natural iron oxide PR I 386 Mars Black 1 AA Synthetic iron oxide PBk I 415 Mixing White 1 AA Titanium dioxide PW I 421 Naphthol Red Light 2 A Naphthol AS-D PR II 423 Naphthol Red Medium 2 A Naphthol carbamide PR II 422 Naples Yellow 2 AA Chromium titanate PBr Titanium dioxide PW Col. Colour Series Perm Chemical Colour Colour ASTM T/O Code Name Description index index name number 425 Naples Yellow Deep 2 AA Chromium titanate PBr Nickel Azo Yellow 3 A Nickel azo complex PY Olive Green 2 A Bone black PBk Azomethine copper complex PY Isoindolinone PY Payne s Gray 1 A Ultramarine, Bone black PB I Bone black PBk Permanent Alizarin Crimson 3 A Anthraquinone, Dioxazine PR Dioxazine PV Permanent Rose 3 A Quinacridone PV I 503 Permanent Sap Green 3 A Diarylide PY I Copper phthalocyanine PB15: Bone black PBk Perylene Green 4 A Perylene PBk Perylene Maroon 4 A Perylene PR Perylene Red 4 A Perylene PR I 470 Perylene Violet 4 A Perylene PV Phthalo Blue Green Shade 2 A Copper phthalocyanine PB15: I 514 Phthalo Blue Red Shade 2 A Copper phthalocyanine PB15: I 522 Phthalo Green Blue Shade 2 A Chlorinated copper phthalocyanine PG I 521 Phthalo Green Yellow Shade 2 A Brominated copper phthalocyanine PG I 526 Phthalo Turquoise 3 A Metal free phthalocyanine PB Potter s Pink 3 AA Calcium, tin, silica, chromium oxide PR Pyrrole Orange 4 A Pyrrole PO Pyrrole Red 4 A Pyrrole PR I 536 Pyrrole Red Light 4 A Pyrrole PR I 549 Quinacridone Burnt Orange 4 A Quinacridone PR / I Quinacridone Gold 4 A Nickel azo PY I Quinacridone PO Quinacridone Magenta 3 A Quinacridone PV I 548 Quinacridone Red 3 A Quinacridone PR I 550 Quinacridone Violet 3 A Quinacridone PR I 552 Raw Sienna 1 AA Synthetic iron oxides PY I PR Raw Umber 1 AA Natural iron oxide PBr I 557 Raw Umber Light 1 AA Natural iron oxide PBr I 560 Red Iron Oxide 1 AA Synthetic iron oxide PR I 573 Renaissance Gold 3 A Titanium coated mica/iron oxide Silver 3 A Silver No.2 3 A Titanium White 1 AA Titanium dioxide PW I 664 Ultramarine Blue 2 A Complex sodium alumino-silicate PB I containing sulphur 672 Ultramarine Violet 2 A Complex sodium alumino-silicate PV I containing sulphur 691 Violet Iron Oxide 1 AA Synthetic iron oxide PR I 737 Yellow Iron Oxide 1 AA Synthetic iron oxide PY I 744 Yellow Ochre 1 AA Natural iron oxide PY I * Series numbers in brackets denote USA rating PAGE 23 PAGE 24

14 D) What to use now This table will help any artist needing to identify equivalent colours to Winsor & Newton Finity Artists Acrylic Colours. Any changes are in brackets after the new colour name. Two or more colours listed indicate a mixture will be required. Old colours marked in italics have been discontinued. Finity Artists Acrylic NEW ARTISTS ACRYLIC COLOUR Finity Artists Acrylic NEW ARTISTS ACRYLIC COLOUR Antique Gold Azo Yellow Medium Benzimidazolone Orange Bismuth Yellow Buff Titanium Burnt Umber Burnt Sienna Cadmium Lemon Cadmium Orange Cadmium Red Deep Cadmium Red Light Cadmium Red Medium Cadmium Yellow Deep Cadmium Yellow Light Cadmium Yellow Medium Cerulean Blue Cerulean Blue Hue Chromium Oxide Green Cobalt Blue Cobalt Blue Deep Cobalt Green Deep Cobalt Green Light Cobalt Turquoise Dark Silver Davy s Gray Diarylide Yellow Dioxazine Purple Emerald Green Gold Gold Ochre Graphite Grey Hooker s Green Indanthrene Blue Iridescent White Ivory Black Lemon Yellow Mars Black Mars Orange Antique Gold Azo Yellow Medium (stronger) Pyrrole Orange + Azo Yellow Deep Bismuth Yellow Buff Titanium Burnt Umber Burnt Sienna Cadmium Lemon (stronger) Cadmium Orange Cadmium Red Deep Cadmium Red Light Cadmium Red Medium Cadmium Yellow Deep (stronger) Cadmium Yellow Light Cadmium Yellow Medium (stronger) Cerulean Blue Cerulean Blue Hue Chromium Oxide Green Cobalt Blue Cobalt Blue Deep Cobalt Green Deep Cobalt Green Deep + Bismuth Yellow Cobalt Turquoise Silver No. 2 + Mars Black Davy s Gray Azo Yellow Deep Dioxazine Purple (stronger) Phthalo Green YS + Titanium White Gold Gold Ochre Graphite Grey Hooker s Green (stronger) Indanthrene Blue (brighter, stronger, redder) Iridescent White (brighter, more iridescent, more opaque) Ivory Black (stronger) Lemon Yellow (stronger) Mars Black Yellow Iron Oxide + Red Iron Oxide + a little Azo Yellow Deep Mars Violet Mars Violet Deep Mars Yellow Mixing White Naphthol Red Light Naphthol Red Medium Naples Yellow Naples Yellow Deep Olive Green Payne s Gray Perinone Orange Permanent Alizarin Crimson Permanent Rose Permanent Sap Green Perylene Red Phthalo Blue Green Shade Phthalo Blue Red Shade Phthalo Green Blue Shade Phthalo Green Yellow Shade Phthalo Turquoise Pyrrole Red Pyrrole Red Light Quinacridone Burnt Orange Quinacridone Gold Quinacridone Magenta Quinacridone Red Quinacridone Violet Raw Sienna Raw Umber Red Iron Oxide Renaissance Gold Silver Titanium White Transparent Yellow Ultramarine Blue Yellow Ochre Violet Iron Oxide + Red Iron Oxide Violet Iron Oxide Yellow Iron Oxide Mixing White Naphthol Red Light (stronger) Naphthol Red Medium Naples Yellow Naples Yellow Deep Olive Green (stronger) Payne s Gray Pyrrole Orange Permanent Alizarin Crimson Permanent Rose (stronger) Permanent Sap Green Perylene Red (stronger) Phthalo Blue Green Shade (stronger) Phthalo Blue Red Shade (stronger) Phthalo Green Blue Shade (stronger) Phthalo Green Yellow Shade (stronger) Phthalo Turquoise (bluer, deeper masstone, brighter undertone) Pyrrole Red (stronger) Pyrrole Red Light (stronger) Quinacridone Burnt Orange (stronger) Quinacridone Gold Quinacridone Magenta (stronger) Quinacridone Red (stronger) Quinacridone Violet (stronger) Raw Sienna (stronger) Raw Umber Red Iron Oxide (stronger) Renaissance Gold Silver (brighter, more uniform metallic sheen, more opaque) Titanium White (stronger) Nickel Azo Yellow Ultramarine Blue Yellow Ochre (stronger) PAGE 25 PAGE 26