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PUREBRILLIANCE

After significant development and research, we are proud to present the brightest ever range of Winsor & NewtonArtists’ Acrylic. By combining our world-beating colourmaking experience with the latest developments in resintechnology, we have taken ‘brilliance’ to a new level.

Winsor & Newton 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, acrylicartists want the brightest, most vivid colours that do not change as they dry.Our new range represents a significant breakthrough in achieving this andmuch 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)

• A complimentary range of mediums to maintain the unique qualities.

AN ACRYLIC RANGE WITH PURE BRILLIANCE

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Popular and practical Extremely versatile, water-mixable and fast drying, acrylics have grown inpopularity ever since they were introduced in the 1950’s. Their quality hassteadily improved and they can be used easily and with confidence by all levelsof artist.

A GOOD ACRYLIC RANGE SHOULD OFFER:

• 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 levelswithin the colour, the high proportion of single pigment colours within therange and the in-depth study of resin technology by our chemists to ensureno colour shift from wet to dry.

Add to this a wide and balanced spectrum of 80 colours using uniquepigments, a luxuriously thick and buttery consistency, excellent permanenceand longer working time and it becomes clear why Winsor & Newton Artists’Acrylic represents the most significant breakthrough for acrylic painters.

Adebanji Alade’s studio

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 aboutclarity and purity of colour and this should be evidentwhen the colour is applied straight from the tube as wellas in its thinnest of films. Even the earths, blacks andwhites should be clean and not dull.

The Winsor & Newton range of Artists’ Acrylics provides a big stepforward in brilliance and this is thanks to the combination of singlehigh grade pigments, the highest pigmentation levels andrevolutionary new transparent binder that ensures no colour shiftfrom wet to dry.

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ARTISTS’ ACRYLICCOMPETITOR

UNRIVALLED BRILLIANCE & DEPTH OF COLOUR

“I can achieve even greater subtleties and levels of depth inmy paintings now.”NICK MALONE

Permanent Alizarin Crimsonpainted out with a palette knifeand brushed out directly fromthe tube.

Winsor & Newton Artists’Acrylic is cleaner and morevibrant than the competitorcolour which looks dark anddull.

When painted out thinner,Winsor & Newton Artists’Acrylic is much stronger andmore brilliant than the weak,rather tint-like competitorcolour.

Masstone

Undertone

Until now acrylic paints have darkened in tone as they dry,making colour matching difficult, so artists have toremember to allow for this when mixing wet colours.However with our new range, acrylic painters no longerhave to cope with colour shift. With Winsor & NewtonArtists’ Acrylic, more than any other brand, what you see iswhat you get.

Colour shift is due to thebinder changing from whiteto transparent as it dries.Winsor & Newton were thefirst to introduce minimalcolour shift to acrylics.Thanks to our expertise incolour making and resintechnology, we’ve now gonefurther in creating a rangewith virtually no colour shiftat all - any change in colourbetween wet and dry isequal or less than theequivalent colours in Artists’ Oil Colour.

The result is a range thatallows artists to matchcolours more easily frompalette to canvas and see apainting as it will actuallylook when finished.

NO COLOUR SHIFT

WET

DRY

New clear resin

Previous resin formulationwhich was more milky

One of the major advantages of acrylic colour is that itdries quickly, allowing artists to overpaint within minutesand 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 paintingtechniques. Having listened to this, we have formulated Winsor & NewtonArtists’ Acrylic to have a longer working time on the palette withoutcompromising the convenient drying time of acrylics.

The working time of Winsor & Newton Artists’ Acrylics is now 20% morethan 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 allacrylic painting techniques.

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LONGER WORKING TIME

“As I work on bigexpressive skies, I really benefit fromcolours that stay wetlonger, giving meextra blending time.”BECKIE REED

We have spent over 175 years developing the widest,brightest and most permanent colours for artists. Winsor & Newton Artists’ Acrylic is no exception. Thisrange has 80 colours spread across the widest palette,using single artists’ pigments wherever possible. Otheracrylic ranges exist with a larger number of colours butthese include many mixtures of pigments which could bemixed by the artist.

Our colours are chosen according to masstone (colour from tube),undertone (bias of colour when in a thin film), strength and relativeopacity. The resultant colour spectrum ensures that artists can obtain thepalette which best suits their work.

All 80 colours in Winsor & Newton Artists’ Acrylic are newformulations, giving thebrightest and strongestcolours. The range alsoincludes 17 exciting newcolours (see followingpage), further increasingthe number of uniquepigments available toacrylic painters.

Our research chemistshave spent the last fewyears investigating everypossible pigment and its potential for acrylicpainters. No other rangehas this number of unique pigments.

UNIQUE NEW PIGMENTS

17 new colours

New Cobalt coloursCobalts are traditional semi-opaque pigments with moderate tinting strength,making them easy to control over a wide spectrum. They are well-loved bypainters 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.

Other new inorganic coloursInorganics include all the traditional pigments; cadmiums, cobalts, titanium,ultramarine and are generally based on metals. It is unusual for new inorganicpigments to become available as most of the raw materials have already beendiscovered. We have introduced Potter’s Pink - a semi-opaque, low tintingstrength, single pigment colour - and Ultramarine Violet - a blue-shade violet - to Winsor & Newton Artists’ Acrylic.

New Earth coloursUmbers, Siennas and Ochres are the oldest pigments known to man. Cleaner andbrighter than mixtures made from primaries, earths are excellent for toning inshadows and underpainting. Among our new earths: Light Red, Raw Umber Light,Violet Iron Oxide and Yellow Iron Oxide.

New Perylene coloursThis family group has been expanded and we are delighted to be able tointroduce three totally unique colours: Perylene Green, Perylene Maroon andPerylene Violet.

Other new synthetic organic coloursModern organic pigments offer lightfast colours of relative transparency over abroad area of the spectrum. Organics are excellent for bright, clean colourmixtures 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.

New metallicsWinsor & Newton Artists’ Acrylic metallics outshine all others, quite literally.Dense, opaque and highly metallic with a beautiful lustre, these colours do nottarnish. Silver No. 2 is a new darker silver which is even more metallic than anymica pigments we’ve seen before. It is brighter and more opaque which gives itexcellent covering power.

Find full details of the unique new colours on our websitewww.winsornewton.com/acrylics

Cerulean BlueChromium

Cobalt Turquoise Light

Cobalt Green

Potter’sPink

Ultramarine Violet

LightRed

Raw UmberLight

Violet IronOxide

Yellow IronOxide

PeryleneGreen

PeryleneMaroon

PeryleneViolet

GreenGold

PyrroleOrange

Azo YellowDeep

NickelAzo Yellow

Silver No. 2

MORE PIGMENT INFORMATION

Pigment purityWe only use the purestand highest grades ofpigments, formulatedindividually to ensurethe cleanest, mostbrilliant colours, which produce the best colour mixes.

Single pigmentsWinsor & Newton Artists’ Acrylic has 69 single pigment colours; at 86% of the range, no other acrylic range has ever had a higher percentage of singlepigment colours. The use of single pigments is key to the principle of makinggood colour. The benefits ensure the cleanest, brightest and strongest colourswhich give a wider choice and better colour mixing capabilities.

“The most important thingfor my style of painting is touse good quality, strongpigments.”KIM O’NEIL

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Mixed pigmentsThe remaining 11 colours in Winsor & Newton Artists’ Acrylic which are mixedare done so with good reason. In some cases, mixtures match original fugitive(non-lightfast) colours, eg; Permanent Sap Green, Olive Green and Hooker’sGreen. In other cases, mixtures are more stable eg; Buff Titanium. Some coloursare also mixed to match original colours, eg. Cadmium Yellow Deep and RawSienna.

Highest pigmentation levels The quantity of pigment used is one of the most important indicators of thequality of an artists’ acrylic. Each individual formulation uses the maximumamount of pigment possible – without extenders, to produce a colour with thebroadest handling properties.

“I love colours that havevibrancy, strength of colourand retain their brilliance.”CELIA ATKINS

The Experience of colour makingWorld beating colour making is not just about findinggood quality ingredients. At Winsor & Newton, that isonly the beginning. Acrylic paint formulation is one ofthe most complicated of colour technologies andinvolves the careful selection and combination of exactlythe right raw materials, in exactly the right proportions.

The best raw materials and the best formulations are still nothing withoutour tailor-made mills and equipment which, together with our absolutecontrol through the colour-making process, ensures each ingredient isdeveloped to its full potential. No colour passes our quality control testingunless it’s perfect.

There is no substitute for experience in colour making. We use thousandsof raw materials across our colour ranges, and knowing how best tocombine them to meet the needs of the most demanding artists in theworld requires the combined knowledge of chemists who have spent theirworking lives making colour worthy of our name.

Permanence and lightfastnessThe Winsor & Newton classification of permanence is the most stringent in theart materials industry, measuring not only lightfastness, but also film stability ofthe finished colour and chemical stability. All 80 colours within the Winsor &

Newton Artists’ Acrylicrange are classified aspermanent for artists’ use,earning an AA or A rating.Using permanent colourswill ensure that yourartwork will remain as youintended for generations.

OTHER CHARACTERISTICS & BENEFITS

Testing for lightfastness at Winsor & Newton

Durability of paint filmWinsor & Newton 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 powerWinsor & Newton Artists’ Acrylic includesa good mix of transparent and opaquecolours offering good levels of opacityand covering power. Transparent coloursgive clean colour mixing, while opaquecolours offer the greatest covering power– the ability to cover previous layers orhow far it spreads on the canvas. Winsor & Newton Artists’ Acrylic willcover surfaces much quicker than otheracrylics, usually with only one coat.

Luxuriously thick and butteryconsistencyWinsor & Newton Artists’ Acrylic offers the smooth, thick, short, butteryconsistency preferred by most acrylic artists, with no stringiness. Colours willretain brush strokes and palette knife marks for excellent impasto effects andflow out smoothly with soft brushes if you prefer a smooth surface. They alsodilute gradually as water or medium is added, giving artists the maximumcontrol over their paint.

Satin finish with variable sheenOverall, Winsor & Newton Artists’ Acrylic gives an even satin finish, identified byartists as a vital consideration. This makes colour matching easier, maintains thebrilliance of colours and provides a more even sheen across the finishedpainting. Unlike other ranges onthe market, Winsor & NewtonArtists’ Acrylic does not containany extenders to modify thegloss. Therefore the naturalproperties of the pigments areallowed to show; for examplecadmiums, cobalts and earthshave a slightly lower sheen, as istraditionally the case with oils.

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Dries to an even satin finish

Glossy, freshlypainted colour

Lemon YellowAzo Yellow Deep

Phthalo Blue Green ShadeUltramarine Blue

Pyrrole RedQuinacridone Magenta

Recommended basic and primary paletteIn addition to the spread across the spectrum, a general palette should alsohave a mixture of stronger and weaker colours and variations in opacity. Hereis our recommended basic palette for Winsor & Newton Artists’ Acrylic:

Lemon Yellow

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

Titanium White

If you want to use just three primary colours, we suggest:

Azo Yellow Medium

Phthalo Blue Red Shade

Permanent Rose

For a six colour mixing system we recommend the following colours;

AYM

PR PBR/S

Real colour swatchdemonstrating:True colour hue, Opacity / transparency,Brush stroke retention,Level of sheen

Colour name

Series number

Permanence rating

ASTM rating

Pigment content

Vehicle used

Opacity rating

Product code

Colour code

Cadmium alternativesCadmiums are the most opaque reds and yellows available and are some ofthe most popular colours. In normal use they do not present a health hazard tothe user and for the environment we use only insoluble cadmiums.However some artists may prefer to avoid cadmiums and Winsor & NewtonArtists’ Acrylic contains alternatives which are closer than other acrylic colours.

GENUINE CADMIUM ALTERNATIVE COLOUR HUE HUE OPACITY STRENGTHMASSTONE 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 informationWinsor & Newton was the first company to publish the contents of its coloursin 1892, believing in the importance of providing as much information aspossible. Today, the pigments used in Winsor & Newton Artists’ Acrylic areprinted on the labels and on our website.

Clear Label informationProviding good information for artists remains as important today as it was in1892. Our label clearly shows what you need.

Why use Mediums?

By using the right acrylic mediums the possibilities areboundless allowing you to push the limits of your creativity,whilst giving you added control, to get the result you want.

Whether you are looking to change the finish, alter the texture, control flow ordrying time the Winsor & Newton Artists’ Acrylic Mediums range offers theproducts you need. These mediums bring versatility and stability along with thedependable quality that artists have come to expect from Winsor & Newton.

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WINSOR & NEWTON ARTISTS’ ACRYLIC MEDIUMS

A widespread problem with other acrylic mediums is thatthey are milky white when wet, yet dry clear. Using theseproducts with Winsor & Newton Artists’ Acrylic colourwould cause colour shift from wet to dry.

Colour shift occurs as the medium dries from white to clear. As the milkywhite medium that you have mixed with your colour dries and becomesclear, the paint becomes more transparent and therefore darker. It isn’t easyto see how the mixture will look when dry as the colour will shift and darkenin tone as it dries, so it is necessary to do test pieces to find out what the dryresult will be.

With Winsor & Newton Artists’ Acrylic Mediums this is no longer an issue.The mediums are formulated using the same clear resin binder as the colourrange. The mediums are clear or translucent when wet, and dry completelyclear, so you can maintain the absence of colour shift with Winsor & NewtonArtists’ Acrylic colour as it dries.

MAINTAINS NO COLOUR SHIFT

WINSOR & NEWTONARTISTS’ ACRYLIC GLOSS MEDIUM

OTHER BRANDS OF GLOSS MEDIUM

NEAT COLOUR – WET

NEAT COLOUR– DRY

NEAT COLOUR – WET

NEAT COLOUR– DRY

COLOUR +MATT MEDIUM – WET

COLOUR +MATT MEDIUM – DRY

COLOUR +MATT GEL – WET

COLOUR +MATT GEL – DRY

The majority of other mediums available to artists canmake the colour appear weaker and lighter in the wet state.This is because they are milky white when wet andtherefore appear to ‘dilute’ the colour. The colour loses itsbrilliance and depth and becomes lifeless.

With Winsor & Newton Artists’ Acrylic Mediums you no longer need tocompromise on the unrivalled brilliance and depth of colour you get withWinsor & Newton Artists’ Acrylic. Not only does the clear resin binderprevent colour shift, it maintains the colour depth or brilliance of the colourin the wet state. Your colours retain their clarity and purity, remaining clean,bright and strong, so your art is vibrant and full of life.

NO LOSS OF COLOUR DEPTH

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“A lot of mediums are quitemilky when you use them, soyou have to compensate thatinto the colour. The Winsor &Newton range has been veryclear throughout and so you’requite confident using itknowing it’s not going toaffect your colour in any way.”NEIL DOUGLAS

WINSOR & NEWTON ARTISTS’ ACRYLIC MEDIUM – COLOUR IS BRIGHT AND CLEAN

ALTERNATIVE BRAND – COLOUR APPEARS DILUTED AND DULL

The Winsor & Newton Artists’ Acrylic Mediums rangeconsists of a carefully selected collection of 14 products totake you from the start of your painting through to the end.

Rather than have an infinite array of mediums, often with a lot of overlap inusage, we’ve developed a concise range of core mediums. These are essentialfor an acrylic artist to accomplish their work, and also give you the scope todiscover new ways of mixing and applying mediums for maximum creativeeffect.

We’ve developed a quickreference guide for ourproduct labels, so youcan see at a glance thekey properties of themedium, and make easyproduct comparisons.

MEDIUMS RANGE

Primers• White Gesso• Clear Gesso

MediumsGloss• Gloss Medium• Gloss Gel• Glazing MediumMatt• Matt Medium• Matt Gel

Structure• Modelling Paste

Additives• Flow Improver• Slow Drying Medium

Varnishes• Gloss UV varnish• Matt UV Varnish• Satin UV Varnish• Varnish Remover

OPAQUE TRANSPARENT

GLOSS MATT

FAST DRY SLOW DRY

FLUID THICK

THIS SHOWS THE MEDIUM IS TRANSPARENT, GLOSSY, QUITE SLOW DRYING AND FLUID

PRIMERS

It is important to prepare your painting surface with a gessoprimer. This ensures a stable and sealed surface, as well asadding tooth. It is important to use a good quality primerfor good quality colours as the longevity of the paintingdepends upon all its constituent parts.

Winsor & Newton Artists’ Acrylic White GessoThis gesso is made from the highest quality acrylic resin. It has a superiorlevel of pigmentation to give maximum covering power, so one coat isusually enough. However we recommend using two coats for unprimedcanvases when used with oil colour.

It is fast drying and opaque and dries to give an excellent level of tooth and abalanced absorbency. It dries to a non-yellowing, flexible ground suitable foracrylic, oil and alkyd painting. It can be used straight from the pot; dilution isnot recommended.

Winsor & Newton Artists’ Acrylic Clear GessoThis gesso is made from unpigmented clear resin which provides excellenttooth but dries completely clear, therefore it doesn’t change the originalappearance of your ground. If you want to start your work from a colouredground, you can make your own tinted gesso primers by the addition of acryliccolours. We recommend using up to 1 part Winsor & Newton Artists’ Acryliccolour with 4 parts Clear Gesso, and opaque colours will give a better result.

It is fast drying and provides a balanced absorbency. It dries to a flexibleground suitable for acrylic, oil and alkyd painting. It is also suitable forpreparing a surface for pastel or charcoal.

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CHARACTERISTICS AND BENEFITS

WINSOR & NEWTON ARTISTS’ ACRYLIC CLEAR GESSO

COMPETITORCLEAR GESSO

MEDIUMS & ADDITIVES

Over the next pages the products are arranged according to the final result you require: gloss, matt, texture, flow, or drying control.

GLOSS

Winsor & Newton Artists’ Acrylic Glazing Medium This is the best medium for creating glazes as it gives maximumtransparency to the colour as well as enhancing colour brilliance. This enables you to build up thin layers of highly transparent colour toachieve luminous and glowing effects. The medium is translucent so itensures no colour shift from wet to dry when used with Winsor & NewtonArtists’ Acrylic.

The medium improves the flow of the colour to give you good levelling. It slows the drying time of the paint so colours will remain usable slightlylonger when mixed with this medium.

It dries to a completely clear flexible film with a high gloss finish. It can bemixed with colour or used neat as a clear glaze, but is not intended to be avarnish. It is highly durable and iswater resistant when dry.

“One of my favouritesis the Glazing Mediumbecause it has a reallyglossy finish, which iswhat I’m looking for.”VANESSA BRADY

MATT

Winsor & Newton Artists’ Acrylic Matt Medium This medium improves the flow of the colourmaking it ideal for blending or fine detail work. It provides an even matt finish and increases thewater resistance of the colour when dry.

This medium contains clear binder and mattingagents giving you no loss of colour depth whenused with Winsor & Newton Artists’ Acrylic.

Winsor & Newton Artists’ Acrylic Matt Gel This medium decreases the gloss of the colour. Its gel consistency isthicker than the Matt Medium, matching the luxuriously thick and buttery

consistency of the colour.Hence when mixed with colourthe thickness of the colour ismaintained, so the paint retainsbrush strokes and palette knifemarks for excellent impastoeffects. This means you canchange the paint withoutcompromising the feel. It driesto give an even matt finish.

This medium contains clearbinder and matting agentsgiving you no loss of colourdepth when used with Winsor &Newton Artists’ Acrylic.

Winsor & Newton Artists’ Acrylic Gloss Medium This medium increases the depth, transparencyand flow of the colour making it ideal forblending or fine detail work. It can be used inthicker layers than the Glazing Medium andprovides an even gloss finish.

This medium dries completely clear andmaintains no colour shift from wet to dry whenused with Winsor & Newton Artists’ Acrylic.

Winsor & Newton Artists’ Acrylic Gloss Gel This medium increases the transparency, depth and gloss of the colour. Itsgel consistency is thicker than the Gloss Medium, matching the luxuriouslythick and buttery consistency of the colour. Hence when mixed with colourthe thickness of the colour is maintained, so the paint retains brush strokesand palette knife marks for excellent impasto effects. This means you canchange the paint without compromising the feel. It dries to an even glossfinish.

This medium dries completely clear and maintains no colour shift from wetto dry when used with Winsor & Newton Artists’ Acrylic.

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TEXTURE

Winsor & Newton Artists’ Acrylic Modelling Paste This modelling paste is lightweight and flexible so it doesn’t shrink or crack.It thickens the consistency of the colour, building body and structure andaccentuating texture, brush marks and palette knife marks. It also increasesthe opacity of the colour. It is ideal for carving, sanding and creatingextreme textures. It can be used to easily and quickly build up depth inlayers, and either overpainted when dry or mixed with colour. Due to itshigh opacity it may lighten certain colours. It provides an even matt finish.

“The modelling paste is brilliant forbuilding up thick layers in the baseof a painting.” ANT GARRATT

FLOW CONTROL

Winsor & Newton Artists’ Acrylic Flow Improver This additive increases the flow of acrylic colours, by breaking down thesurface tension of the water. It is ideal for the application of areas of flatand even colour without changing colour strength. It is also effective forhard edge painting techniques, staining and water colour techniques. Itmaintains the stability of the colour and slightly slows drying, so colourswill remain usable slightly longer when mixed with this medium.If you want to dilute your colour significantly, we recommend using Winsor& Newton Artists’ Acrylic Flow Improver with your water, as this preservesthe integrity of the paint film, ensuring the pigment remains sufficientlybound. Under-bound colour can appear blotchy, may become brittle or notadhere to the canvas well, all issues which are avoided if you use FlowImprover.

This additive maintains no colourshift from wet to dry when usedwith Winsor & Newton Artists’Acrylic.

DRYING CONTROL

Winsor & Newton Artists’ Acrylic Slow Drying Medium This additive slows the drying time of acrylic colour to give you moreworking time for extended blending and manipulation. A ratio of 1:1 volumedoubles the drying time. Do not mix with colour above 1:1 as excessiveamounts will cause the colour to become under-bound, thinner and slightlystickier in consistency. This additive has been formulated to match theconsistency of the colour. This means that none of the characteristics of thecolour are affected, except the drying time. You can mix Slow DryingMedium with any other medium in the range to slow the drying.

This additive maintains no colour shift from wet to dry when used withWinsor & Newton Artists’ Acrylic, unlike other slow drying mediums.

“I’m using FlowImprover a lot, sowhen I’m painting onthe floor and liftingup it really goes fastacross the canvas andyou get some lovelyedge effects as itdries.” ANT GARRATT

VARNISHES

Varnishing - Protecting your finished artwork

Professional artists know that varnishing your finished workis an important step, and one that should not be neglected.

Varnishes act as a protective sacrificial layer over your finished artwork,protecting it from dirt and grease and other airborne pollutants, which wouldotherwise come into contact with the paint. Winsor & Newton Artists’Acrylic varnishes also contain a UV protective agent which improveslightfastness and protects from other UV damage such as fading or colourshifting in tone. Winsor & Newton Artists’ Acrylic varnishes are thereforeparticularly beneficial when coming to varnish non-lightfast media, such asdigital print or giclée prints for example.

Winsor & Newton Artists’ Acrylic varnishes are equally suitable for use onartwork painted in oils andalkyds.

There are 3 Winsor & Newton Artists’ Acrylic varnishes available dependingon your desired finish. These varnishes dry to an even finish, and can beintermixed to vary the result to achieve any sheen.

Winsor & Newton Artists’ Acrylic Varnish RemoverBy removing the varnish over a painting you can remove the dirt andpollutants trapped Winsor & Newton Artists’ Acrylic Varnish Remover allowsyou to safely remove varnishes with no damage to your painting. It removesWinsor & Newton Artists’ Acrylic Gloss, Matt and Satin Varnishes.

MATT VARNISH SATIN VARNISH GLOSS VARNISH

“It’s always good toprotect your work byvarnishing. The newvarnishes not onlyprotect the acryliccolours and other mediathat I use such as goldleaf, but also deepen thecolours – they have beenvery good.”PARESH NRSHINGA

INFINITELY VERSATILE

All Winsor & Newton Artists’ Acrylic Mediums are fullyintermixable leaving it to your creativity to discover newcombinations and effects.

GLOSSMEDIUM

GLAZINGMEDIUM

GLOSSGEL

INCREASE GLOSSHIGH GLOSSSELF LEVEL

MAIN

TAIN

CON

SIST

ENCY

REDU

CE

CON

SISTENCY

FLOW IMPROVER

MATTMEDIUM

SLOW DRYINGMEDIUM

NEATCOLOUR DECREASE GLOSS

INC

REA

SE F

LOW

SLOW

DR

YIN

G

MAIN

TAIN

CON

SISTENCY

RED

UCE

CON

SIST

ENCY

EXTREME

TEXTURE

MODELLINGPASTE

MATTGEL

PERMANENCE

The binder we use in the mediums has been specifically tailored for ourrequirements. It is highly translucent, lightfast, age and weather resistant. It is non-yellowing, and has been carefully chosen for its long term stability.

You can be certain that by using Winsor & Newton Artists’ Acrylic Mediumsyou will not affect the performance and high stability of Winsor & NewtonArtists’ Acrylic Colour.

Studio Practice1. To dilute the colour considerably, remember to use an acrylic medium in

addition to water, to ensure the pigment remains sufficiently bound.2. As with acrylic colour, the mediums are water soluble when wet and

become water resistant when dry. All equipment should be thoroughlywashed after use before the medium dries.

3. Always wipe the bottle and pot threads, as well as the nozzle cap after use. 4. If in doubt of any finished result, test any applications in advance.

WINSOR & NEWTON ARTIST’ ACRYLIC MEDIUMS RANGE

This table details all products in the range, along with information to help anyartist identify the equivalent products to Winsor & Newton Artists’ AcrylicMediums, which are now discontinued.

PRODUCT WINSOR & NEWTON BENEFITCODE ARTISTS’ ACRYLIC MEDIUM

039 WHITE GESSO Maximum covering power

130 CLEAR GESSO Completely clear when dry

184 GLAZING MEDIUM Maintains no colour shift

191 GLOSS MEDIUM Maintains no colour shift

294 GLOSS GEL Maintains no colour shift

362 MATT MEDIUM Ensures no loss of colour depth

439 MATT GEL Ensures no loss of colour depth

460 MODELLING PASTE Lightweight and flexible

507 FLOW IMPROVER Maintains no colour shift

470 SLOW DRYING MEDIUM Maintains no colour shift

537 GLOSS UV VARNISH Protects your art

519 SATIN UV VARNISH Protects your art

557 MATT UV VARNISH Protects your art

624 VARNISH REMOVER Safe removal

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We believe in providing good information to artists.

Please read the product labels and should further information be requiredplease refer to www.winsornewton.com/acrylics

CLEAR LABEL INFORMATION

Médium GlacisLasurmalmittelMedio Veladura

Medium per VelaturaGlaceermedium

125ml

GLAZINGMEDIUM

• Maintains no colour shift from wet to dry when used with Winsor & Newton Artists’ Acrylic • The best medium for glazing • Gives maximum gloss, transparency, levelling and flow • Dries to a completely clear flexible film • Mix to any ratio with colour • Can be used neat as a clear glaze

• Maintient aucune altération entre les couleurs mouillées et sèches en utilisant avec Artists’ Acrylic de Winsor & Newton • Le médium idéal pour les glacis • Pour un éclat, une transparence, un étalement et un arrondi maximal • Permet d’obtenir un film ultra-souple complètement transparent • Peut se mélanger dans n’importe quelles proportions avec d’autres couleurs • Peut s’utiliser pur comme glacis transparent

• Keine Farbveränderung von Nass nach Trocken bei Verwendung mit Winsor & Newton Artists’ Acrylic Künstleracrylfarbe • Das beste Malmittel für Lasuren • Verleiht maximalen Glanz, Transparenz, Verlaufs- und Fließeigenschaften • Trocknet zu einem vollkommen klaren, flexiblen, Film • Mit Farbe in beliebigem Verhältnis mischbar • Kann pur als klare Lasur verwendet werden

• Mantiene ausencia de alteraciones en el color al secarse, cuando usa el Artists’ Acrylic de Winsor & Newton • El mejor medio como veladura • Proporciona el máximo brillo, transparencia, uniformidad y fluidez • Se seca hasta formar una película flexible y transparente • Se mezcla con color en cualquier proporción • Se puede usar solo como barniz transparente

• Geen kleurverandering na droging bij gebruik met Winsor & Newton Artists' Acrylverf • Het beste medium voor glaceren • Geeft maximale transparantie, een goede en egale vloei • Droogt kleurloos en flexibel op • In elke verhouding mengbaar met verf • Onverdund te gebruiken voor kleurloos glaceren

WINSOR & NEWTON and the GRIFFIN device are trademarks. Made in France. Winsor & Newton, London, HA3 5RH, England.

www.winsornewton.com

G77

934

3030934

Médium Glacis

MEDIUMMAINTAINS NO COLOUR SHIFT

OPAQUE TRANSPARENT

GLOSS MATT

FAST DRY SLOW DRY

FLUID THICK

Product name

Key product performance property

Properties tableProduct code

Bar code

SIZES AVAILABLE REPLACES WINSOR & NEWTONACRYLIC MEDIUM

237ml • 474ml • 946ml Acrylic Gesso Primer

237ml • 474ml • 946ml Clear Gesso Base

125ml • 250ml • 500ml No previous equivalent product

250ml • 500ml Acrylic Gloss Medium

60ml • 237ml • 474ml Acrylic Gloss Gel Medium

250ml • 500ml Acrylic Matt Medium

237ml • 474ml No previous equivalent product

237ml • 474ml No previous equivalent product

125ml • 250ml • 500ml Acrylic Flow Improver

125ml • 250ml • 500ml Acrylic Retarder




125ml No previous equivalent product

HELPFUL HINTS & TIPS

Brushes A variety of brushes are suitable for use with acrylics. Traditionally hog brusheshave been the most popular. However, more recently synthetic brushes such asWinsor & Newton Artists’ Acrylic Galeria, Artisan and Artists’ Acrylic brush havebecome more commonly favoured as they offer strength, resilience, spring andcontrol which is ideal for use with acrylics. Synthetic brushes are also good forlonger painting sessions as they won’t become soggy like hog brushes. Theyalso rinse more easily in water.

New coloursTreat yourself to some new colours, you’ll be surprised how it can freshen youroutlook and bring new life to your work.

Transparent coloursUse transparent colours for brighter, cleaner colour mixing on the palette.Layer transparent colours on the canvas for great optical mixtures, like layers oftissue.

Opaque coloursChoose opaque colours for covering previous work on the canvas, for flatexpanses of colour or for final highlights.

PAGE 13PAGE 29

Using waterIf using heavily diluted washes ofacrylic colour on canvas, usemedium as well as water to ensurethe colour remains properly boundwhen dry. Winsor & Newton Artists’Acrylic Flow Improver is the mostcommon for this and will help toincrease the flow and transparencyof the colours.

Kerstin Pettersson’s studio

PAGE 30

TECHNICAL SECTION

A) Winsor & Newton Artists’ Acrylic Colour Chart

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

519 A S4 ~Pyrrole Orange

100 A S3 I ~ *(S4 in USA)

Cadmium Red Light

536 A S4 I ~Pyrrole Red Light

099 A S3 I ~ *(S4 in USA)

Cadmium Red Medium

421 A S2 II ~Naphthol Red Light

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

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 BlueGreen Shade

137 AA S5 I ~ *Cerulean Blue

522 A S2 I ~Phthalo Green

Blue Shade

521 A S2 I ~Phthalo GreenYellow Shade

184 AA S4 I ~Cobalt Green

185 AA S3 I ~Cobalt Green Deep

162 AA S3 I ~Chromium

Oxide Green

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

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

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

Key to codes

AA Extremely PermanentA PermanentB Moderately DurableS Series Number

TransparentSemi-TransparentOpaqueSemi-Opaque

ASTM

I Permanent for artists’ useII Permanent for artists’ use

Where no ASTM rating is listed, please refer tothe Winsor & Newton permanence rating.

THERE ARE FOUR PARTS TO THE TECHNICAL SECTION: A) Colour Chart B) New Colours C) Composition and Permanence Table D) What to use now

019 A S2 I ~Azo Yellow Medium

116 A S3 I ~ *Cadmium

Yellow Medium

111 A S3 ICadmium Yellow

Deep

039 A S2 I ~Azo Yellow Deep

089 A S3 I ~ *(S4 in USA)

Cadmium Orange

534 A S4 I ~Pyrrole Red

097 A S3 I ~ *(S4 in USA)

Cadmium Red Deep

548 A S3 I ~Quinacridone Red

464 A S4 I ~Perylene Red

423 A S2 II ~ *Naphthol Red

Medium

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

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

311 A S3 *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

285 AA S1 I ~Gold Ochre

547 A S4 IQuinacridone Gold

552 AA S1 I *Raw Sienna

074 AA S1 I * ~Burnt Sienna

537 AA S3 ~Potter’s Pink

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

617 A S3 ~ *Silver

624 A S3 ~Silver No.2

283 A S3 ~ *Gold

573 A S3 ~ * ‡Renaissance Gold

014 A S3 ~ *Antique Gold

~ Single pigmented coloursSizes available60ml Tubes (2320...) - All Colours200ml Tubes (2337...) - Colours marked *237ml Pots (2340...) - Colours marked †474ml Pots (2350...) - Colours marked •‡ 200ml tubes not available in USA

C) Winsor & Newton Artists’Acrylic Composition andPermanence Table

The table across the page is designed toprovide the essential information on thecolour composition and performance ofthe entire Winsor & Newton Artists’Acrylic Colour range.

Colour Code – Col. CodeIndicates the code number that is given toeach of the colours. This is primarily forease of reference for retail and cataloguepurposes and to assist you in purchasingyour materials.

Colour NameThe colour reference on the face of thetube e.g. Burnt Umber.

Series No.The Series No. of a colour indicates therelative price of the colour and isdetermined mainly by the cost of thepigment. Series 1 is the least expensive andSeries 5 is the most expensive.

Permanence – PermThe permanence of a colour is defined as‘its durability when laid with a brush onpaper or canvas, graded appropriately anddisplayed under a glass frame in a dry roomfreely exposed to ordinary daylight and anordinary town atmosphere’. This definitionreflects the manner in which we expect tofind paintings displayed. However, for

testing purposes we are also able to utiliseaccelerated tests for lightfastness andbinder stability, in addition to theinformation issued by our pigmentsuppliers. Our ratings are therefore acombination of the natural passage of time,accelerated tests and pigmentmanufacturers’ testing and developmentand are the most stringent in the industry. AA – Extremely PermanentA – Permanent B – Moderately Durable

Chemical DescriptionThis provides the chemical description ofthe pigments used in each colour. This isoften useful for conservators.

Colour IndexThe Colour Index International is thestandard compiled and published by bothThe Society of Dyers and Colourists and theAmerican Association of Textile Chemistsand Colorists. The Colour Index classifiespigments by their chemical composition.This information will allow you to researcha specific pigment’s characteristics inreference books if you wish. The individualpigments are identified in two ways.

1) Colour Index Generic Name Each pigment can be universally identifiedby its Colour Index Generic Name. As anexample: Burnt Umber is Pigment Brown 7,abbreviated to PBr7. Although the workingproperties of Winsor & Newton colours are

B) Winsor & Newton Artists’ Acrylic New Colours

COLOUR NEW COLOURS BENEFITCODE

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 black-green. Excellent in mixes without muddying. Unique.

fully detailed in our literature, we publishthe Colour Index Generic Names of thepigments to allow you to cross referencethe working properties in other sources ifyou wish, e.g. lightfastness, opacity, toxicity,etc. The Colour Index Generic Name isparticularly necessary to fully identify someof the modern pigments. The disclosure of apigment as Naphthol Red is insufficientbecause there are over a dozen differenttypes, differing widely in lightfastness, hueand opacity.

2) Colour Index Number Pigments can also be identified by theirColour Index Number. It is considered anadditional source of information to theColour Index Generic Name. An example isBurnt Umber 77491. Of these two methodsof reference, the Colour Index GenericName is the most commonly used.

ASTMThe ASTM abbreviation stands for theAmerican Society for Testing and Materials.This organisation has set standards for theperformance of art materials including acolour’s lightfastness. To measurelightfastness using this system, colours arereduced to a level of 40% reflectance bythe addition of Titanium White. This meansthe amount of light reflected from thecolour swatch. The swatches are thentested in both sunlight and artificiallyaccelerated conditions. The results alloweach colour to be rated on a scale from

I – III for acrylic colour. In this system I isthe highest lightfastness available thoughboth ratings I and II are consideredpermanent for artists’ use. Where no ASTMrating is given for a Winsor & Newtoncolour this usually indicates that ASTM hasnot yet tested the pigment. It does notindicate a lack of lightfastness. In thesecases it is recommended that the Winsor & Newton permanence rating,which is the rating system evaluatingcolour on many aspects includinglightfastness, should be used to indicate acolour’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 . Transparencyhowever is relative and the ratings areprovided as a guide only. In addition, anythin film of colour will appear moretransparent than a thicker one.

Health and SafetyArtists’ colours are chemical preparationsand as such should be used and handledcorrectly. Winsor & Newton products arelabelled according to current legislation inthe market in which they are sold. Pleaseread the product labels and for furtherinformation visitwww.winsornewton.com

COLOUR NEW COLOURS BENEFITCODE

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) Winsor & Newton Artists’ Acrylic Composition and Permanence Table

014 Antique Gold 3 A Titanium coated mica/iron oxide - - -

039 Azo Yellow Deep 2 A Arylide yellow RN PY65 11740 I

019 Azo Yellow Medium 2 A Arylamide PY74 11741 I

025 Bismuth Yellow 4 A Bismuth vanadate PY184 - I

060 Buff Titanium 1 AA Titanium dioxide PW6 77891 ISynthetic iron oxides PY42 77492

PBK 11 77499

074 Burnt Sienna 1 AA Synthetic iron oxide PR101 77491 I

076 Burnt Umber 1 AA Natural iron oxide PBr7 77491 I

086 Cadmium Lemon 3 A Cadmium zinc sulphide PY35 77205 I

089 Cadmium Orange 3 (4)* A Cadmium sulphoselenide PO20 77202 I

097 Cadmium Red Deep 3 (4)* A Cadmium sulphoselenide PR108 77202 I

100 Cadmium Red Light 3 (4)* A Cadmium sulphoselenide PR108 77202 I

099 Cadmium Red Medium 3 (4)* A Cadmium sulphoselenide PR108 77202 I

111 Cadmium Yellow Deep 3 A Cadmium zinc sulphide PY35 77205 ICadmium sulphoselenide PO20 77202

113 Cadmium Yellow Light 3 A Cadmium zinc sulphide PY35 77205 I

116 Cadmium Yellow Medium 3 A Cadmium zinc sulphide PY35 77205 I

137 Cerulean Blue 5 AA Cobalt stannate PB35 77368 I

130 Cerulean Blue Chromium 4 AA Cobalt chromite PB36 77343 I

139 Cerulean Blue Hue 2 A Titanium dioxide PW6 77891 IUltramarine PB29 77007Chlorinated copper phthalocyanine PG7 74260

162 Chromium Oxide Green 3 AA Chromium oxide PG17 77288 I

178 Cobalt Blue 4 AA Cobalt aluminate PB28 77346 I

180 Cobalt Blue Deep 5 AA Cobalt silicate PB73 77364 I

184 Cobalt Green 4 AA Cobalt titanate PG50 77377 I

185 Cobalt Green Deep 3 AA Cobalt chromite PG26 77344 I

190 Cobalt Turquoise 5 AA Cobalt chromite PB36 77343 I

191 Cobalt Turquoise Light 4 AA Cobalt titanate PG50 77377 I

217 Davy’s Gray 1 A Synthetic iron oxide PY42, 77492 IHydrated aluminium silicate PBk19 77017

229 Dioxazine Purple 3 A Carbazole dioxazine PV23 51319 II

283 Gold 3 A Titanium coated mica/iron oxide - - -

285 Gold Ochre 1 AA Synthetic iron oxide PY42 77492 I

292 Graphite Gray 2 AA Graphite Pbk10 77265 I

294 Green Gold 4 A Azomethine copper complex PY129 48042 -

311 Hooker’s Green 3 A Isoindolinone PY110 56280 -Brominated copper phthalocyanine PG36 74265

321 Indanthrene Blue 3 A Indanthrone PB60 69800 I

330 Iridescent White 3 A - - - -

331 Ivory Black 1 AA Bone black PBk9 77267 I

346 Lemon Yellow 2 A Arylamide PY3 11710 II

362 Light Red 1 AA Natural iron oxide PR102 77491 I

386 Mars Black 1 AA Synthetic iron oxide PBk11 77499 I

415 Mixing White 1 AA Titanium dioxide PW6 77891 I

421 Naphthol Red Light 2 A Naphthol AS-D PR112 12370 II

423 Naphthol Red Medium 2 A Naphthol carbamide PR170 12475 II

422 Naples Yellow 2 AA Chromium titanate PBr24 77310 -Titanium dioxide PW6 77891

Col. Colour Series Perm Chemical Colour Colour ASTM T/OCode Name Description index index

name number

425 Naples Yellow Deep 2 AA Chromium titanate PBr24 77310 -

439 Nickel Azo Yellow 3 A Nickel azo complex PY150 12764 -

447 Olive Green 2 A Bone black PBk9 77267 -Azomethine copper complex PY129 48042Isoindolinone PY139 56298

465 Payne’s Gray 1 A Ultramarine PB29 77007 IBone black PBk9 77267

466 Permanent Alizarin Crimson 3 A Anthraquinone PR177 65300 -Dioxazine PV23 51319

502 Permanent Rose 3 A Quinacridone PV19 46500 I

503 Permanent Sap Green 3 A Diarylide PY83 21108 ICopper phthalocyanine PB15:3 74160Bone black PBk9 77267

460 Perylene Green 4 A Perylene PBk31 71132 -

507 Perylene Maroon 4 A Perylene PR179 71130 -

464 Perylene Red 4 A Perylene PR149 71137 I

470 Perylene Violet 4 A Perylene PV29 71129 -

515 Phthalo Blue Green Shade 2 A Copper phthalocyanine PB15:3 74160 I

514 Phthalo Blue Red Shade 2 A Copper phthalocyanine PB15:1 74160 I

522 Phthalo Green Blue Shade 2 A Chlorinated copper phthalocyanine PG7 74260 I

521 Phthalo Green Yellow Shade 2 A Brominated copper phthalocyanine PG36 74265 I

526 Phthalo Turquoise 3 A Metal free phthalocyanine PB16 74100 -

537 Potter’s Pink 3 AA Calcium, tin, silica, chromium oxide PR233 77301 -

519 Pyrrole Orange 4 A Pyrrole PO73 - -

534 Pyrrole Red 4 A Pyrrole PR254 56110 I

536 Pyrrole Red Light 4 A Pyrrole PR255 561050 I

549 Quinacridone Burnt Orange 4 A Quinacridone PR206 73900/ I73920

547 Quinacridone Gold 4 A Nickel azo PY150 12764 IQuinacridone PO49 73900

545 Quinacridone Magenta 3 A Quinacridone PV19 46500 I

548 Quinacridone Red 3 A Quinacridone PR209 73905 I

550 Quinacridone Violet 3 A Quinacridone PR122 73915 I

552 Raw Sienna 1 AA Synthetic iron oxides PY42 77492 IPR101 77491

554 Raw Umber 1 AA Natural iron oxide PBr7 77492 I

557 Raw Umber Light 1 AA Natural iron oxide PBr7 77492 I

560 Red Iron Oxide 1 AA Synthetic iron oxide PR101 77491 I

573 Renaissance Gold 3 A Titanium coated mica/iron oxide - - -

617 Silver 3 A - - - -

624 Silver No.2 3 A - - - -

644 Titanium White 1 AA Titanium dioxide PW6 77891 I

664 Ultramarine Blue 2 A Complex sodium alumino-silicate PB29 77007 Icontaining sulphur

672 Ultramarine Violet 2 A Complex sodium alumino-silicate PV15 77007 Icontaining sulphur

691 Violet Iron Oxide 1 AA Synthetic iron oxide PR101 77491 I

737 Yellow Iron Oxide 1 AA Synthetic iron oxide PY42 77492 I

744 Yellow Ochre 1 AA Natural iron oxide PY43 77492 I

Col. Colour Series Perm Chemical Colour Colour ASTM T/OCode Name Description index index

name number

* Series numbers in brackets denote USA rating

D) What to use nowThis table will help any artist needing to identify equivalent colours to the discontinued Winsor & Newton Finity Artists’ Acrylic Colours. Any changesare in brackets after the new colour name. Two or more colours listed indicatea mixture will be required.

Old colours marked in italics have been discontinued.

Antique Gold Antique Gold

Azo Yellow Medium Azo Yellow Medium (stronger)

Benzimidazolone Orange Pyrrole Orange + Azo Yellow Deep

Bismuth Yellow Bismuth Yellow

Buff Titanium Buff Titanium

Burnt Umber Burnt Umber

Burnt Sienna Burnt Sienna

Cadmium Lemon Cadmium Lemon (stronger)

Cadmium Orange Cadmium Orange

Cadmium Red Deep Cadmium Red Deep

Cadmium Red Light Cadmium Red Light

Cadmium Red Medium Cadmium Red Medium

Cadmium Yellow Deep Cadmium Yellow Deep (stronger)

Cadmium Yellow Light Cadmium Yellow Light

Cadmium Yellow Medium Cadmium Yellow Medium (stronger)

Cerulean Blue Cerulean Blue

Cerulean Blue Hue Cerulean Blue Hue

Chromium Oxide Green Chromium Oxide Green

Cobalt Blue Cobalt Blue

Cobalt Blue Deep Cobalt Blue Deep

Cobalt Green Deep Cobalt Green Deep

Cobalt Green Light Cobalt Green Deep + Bismuth Yellow

Cobalt Turquoise Cobalt Turquoise

Dark Silver Silver No. 2 + Mars Black

Davy’s Gray Davy’s Gray

Diarylide Yellow Azo Yellow Deep

Dioxazine Purple Dioxazine Purple (stronger)

Emerald Green Phthalo Green YS + Titanium White

Gold Gold

Gold Ochre Gold Ochre

Graphite Grey Graphite Grey

Hooker’s Green Hooker’s Green (stronger)

Indanthrene Blue Indanthrene Blue (brighter, stronger, redder)

Iridescent White Iridescent White (brighter, more iridescent, more opaque)

Ivory Black Ivory Black (stronger)

Lemon Yellow Lemon Yellow (stronger)

Mars Black Mars Black

Mars Orange Yellow Iron Oxide + Red Iron Oxide+ a little Azo Yellow Deep

Finity Artists’ Acrylic WINSOR & NEWTON ARTISTS’ ACRYLIC COLOUR

Mars Violet Violet Iron Oxide + Red Iron Oxide

Mars Violet Deep Violet Iron Oxide

Mars Yellow Yellow Iron Oxide

Mixing White Mixing White

Naphthol Red Light Naphthol Red Light (stronger)

Naphthol Red Medium Naphthol Red Medium

Naples Yellow Naples Yellow

Naples Yellow Deep Naples Yellow Deep

Olive Green Olive Green (stronger)

Payne’s Gray Payne’s Gray

Perinone Orange Pyrrole Orange

Permanent Alizarin Crimson Permanent Alizarin Crimson

Permanent Rose Permanent Rose (stronger)

Permanent Sap Green Permanent Sap Green

Perylene Red Perylene Red (stronger)

Phthalo Blue Green Shade Phthalo Blue Green Shade (stronger)

Phthalo Blue Red Shade Phthalo Blue Red Shade (stronger)

Phthalo Green Blue Shade Phthalo Green Blue Shade (stronger)

Phthalo Green Yellow Shade Phthalo Green Yellow Shade (stronger)

Phthalo Turquoise Phthalo Turquoise (bluer, deeper masstone, brighter undertone)

Pyrrole Red Pyrrole Red (stronger)

Pyrrole Red Light Pyrrole Red Light (stronger)

Quinacridone Burnt Orange Quinacridone Burnt Orange (stronger)

Quinacridone Gold Quinacridone Gold

Quinacridone Magenta Quinacridone Magenta (stronger)

Quinacridone Red Quinacridone Red (stronger)

Quinacridone Violet Quinacridone Violet (stronger)

Raw Sienna Raw Sienna (stronger)

Raw Umber Raw Umber

Red Iron Oxide Red Iron Oxide (stronger)

Renaissance Gold Renaissance Gold

Silver Silver (brighter, more uniform metallic sheen, more opaque)

Titanium White Titanium White (stronger)

Transparent Yellow Nickel Azo Yellow

Ultramarine Blue Ultramarine Blue

Yellow Ochre Yellow Ochre (stronger)

Finity Artists’ Acrylic WINSOR & NEWTON ARTISTS’ ACRYLIC COLOUR

Published by Winsor & Newton, London, HA3 5RH England

www.winsornewton.com© Winsor & Newton 2010

7543512

WWW.WINSORNEWTON.COM/ACRYLICS

Aac New Complete Leaflet Eng

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