Professional Documents
Culture Documents
Aac New Complete Leaflet Eng
Aac New Complete Leaflet Eng
BRILLIANCE
PAGE 01
UNRIVALLED BRILLIANCE
& DEPTH OF COLOUR
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.
The Winsor & Newton range of Artists Acrylics provides a big step
forward in brilliance and this is thanks to the combination of single
high grade pigments, the highest pigmentation levels and
revolutionary new transparent binder that ensures no colour shift
from wet to dry.
COMPETITOR
ARTISTS ACRYLIC
Permanent Alizarin Crimson
painted out with a palette knife
and brushed out directly from
the tube.
Masstone
Undertone
NO COLOUR SHIFT
WET
DRY
As I work on big
expressive skies,
I really benefit from
colours that stay wet
longer, giving me
extra blending time.
BECKIE REED
PAGE 05
All 80 colours in
Winsor & Newton
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 06
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.
New metallics
Winsor & Newton 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 weve 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
www.winsornewton.com/acrylics
PAGE 07
Cerulean Blue
Chromium
Cobalt
Turquoise Light
Potters
Pink
Light
Red
Green
Gold
Ultramarine
Violet
Raw Umber
Light
Perylene
Green
Cobalt
Green
Violet Iron
Oxide
Perylene
Maroon
Pyrrole
Orange
Yellow Iron
Oxide
Perylene
Violet
Azo Yellow
Deep
Nickel
Azo Yellow
Silver No. 2
PAGE 08
Single pigments
Winsor & Newton 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.
PAGE 09
Mixed pigments
The remaining 11 colours in Winsor & Newton 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 Hookers
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.
Permanent Rose
Ultramarine Blue
Raw Umber
Yellow Ochre
Burnt Sienna
Titanium White
PR
PBR/S
PAGE 13
Pyrrole Red
Quinacridone Magenta
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 Winsor & Newton
Artists Acrylic contains alternatives which are closer than other acrylic colours.
GENUINE CADMIUM
ALTERNATIVE COLOUR
HUE
MASSTONE
HUE
OPACITY
UNDERTONE
STRENGTH
Cadmium Lemon
Bismuth yellow
Slt. redder
Slt. redder
<
Cadmium Orange
Pyrrole Orange
Redder
Redder
<
<
Slt. bluer
Slt. bluer
<
Pyrrole Red
Bluer
Bluer
<
Redder
Redder
<
Redder
Redder
<
Greener
Greener
<
<
KEY:
Colour name
Product code
Permanence rating
Colour code
ASTM rating
Pigment content
Vehicle used
PAGE 14
PAGE 15
With Winsor & Newton Artists Acrylic Mediums this is no longer an issue.
The mediums are formulated using the same clear resin binder as the colour
range. The mediums are clear or translucent when wet, and dry completely
clear, so you can maintain the absence of colour shift with Winsor & Newton
Artists Acrylic colour as it dries.
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
PAGE 16
MEDIUMS RANGE
The Winsor & Newton Artists Acrylic Mediums range
consists of a carefully selected collection of 14 products to
take 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 in
usage, weve developed a concise range of core mediums. These are essential
for an acrylic artist to accomplish their work, and also give you the scope to
discover new ways of mixing and applying mediums for maximum creative
effect.
Primers
Structure
White Gesso
Clear Gesso
Modelling Paste
Additives
Mediums
Gloss
Gloss Medium
Gloss Gel
Glazing Medium
Matt
Matt Medium
Matt Gel
Weve developed a quick
reference guide for our
product labels, so you
can see at a glance the
key properties of the
medium, and make easy
product comparisons.
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
PAGE 18
PAGE 19
COMPETITOR
CLEAR GESSO
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 slightly
longer when mixed with this medium.
It dries to a completely clear flexible film with a high gloss finish. It can be
mixed with colour or used neat as a clear glaze, but is not intended to be a
varnish. It is highly durable and is
water resistant when dry.
One of my favourites
is the Glazing Medium
because it has a really
glossy finish, which is
what Im looking for.
VANESSA BRADY
PAGE 20
MATT
Winsor & Newton Artists Acrylic
Matt Medium
This medium improves the flow of the colour
making it ideal for blending or fine detail work.
It provides an even matt finish and increases the
water resistance of the colour when dry.
This medium contains clear binder and matting
agents giving you no loss of colour depth when
used with Winsor & Newton Artists Acrylic.
TEXTURE
Winsor & Newton Artists Acrylic Modelling Paste
This modelling paste is lightweight and flexible so it doesnt shrink or crack.
It thickens the consistency of the colour, building body and structure and
accentuating texture, brush marks and palette knife marks. It also increases
the opacity of the colour. It is ideal for carving, sanding and creating
extreme textures. It can be used to easily and quickly build up depth in
layers, and either overpainted when dry or mixed with colour. Due to its
high opacity it may lighten certain colours. It provides an even matt finish.
FLOW CONTROL
Winsor & Newton Artists Acrylic Flow Improver
This additive increases the flow of acrylic colours, by breaking down the
surface tension of the water. It is ideal for the application of areas of flat
and even colour without changing colour strength. It is also effective for
hard edge painting techniques, staining and water colour techniques. It
maintains the stability of the colour and slightly slows drying, so colours
will 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 preserves
the integrity of the paint film, ensuring the pigment remains sufficiently
bound. Under-bound colour can appear blotchy, may become brittle or not
adhere to the canvas well, all issues which are avoided if you use Flow
Improver.
This additive maintains no colour
shift from wet to dry when used
with Winsor & Newton Artists
Acrylic.
Im using Flow
Improver a lot, so
when Im painting on
the floor and lifting
up it really goes fast
across the canvas and
you get some lovely
edge effects as it
dries.
ANT GARRATT
DRYING CONTROL
Winsor & Newton Artists Acrylic Slow Drying Medium
This additive slows the drying time of acrylic colour to give you more
working time for extended blending and manipulation. A ratio of 1:1 volume
doubles the drying time. Do not mix with colour above 1:1 as excessive
amounts will cause the colour to become under-bound, thinner and slightly
stickier in consistency. This additive has been formulated to match the
consistency of the colour. This means that none of the characteristics of the
colour are affected, except the drying time. You can mix Slow Drying
Medium with any other medium in the range to slow the drying.
This additive maintains no colour shift from wet to dry when used with
Winsor & Newton Artists Acrylic, unlike other slow drying mediums.
PAGE 23
VARNISHES
Varnishing - Protecting your finished artwork
There are 3 Winsor & Newton Artists Acrylic varnishes available depending
on your desired finish. These varnishes dry to an even finish, and can be
intermixed to vary the result to achieve any sheen.
MATT VARNISH
SATIN VARNISH
GLOSS VARNISH
INFINITELY VERSATILE
All Winsor & Newton Artists Acrylic Mediums are fully
intermixable leaving it to your creativity to discover new
combinations and effects.
GLOSS
MEDIUM
CE CY
DU EN
RE SIST
N
CO
HIGH GLOSS
SELF LEVEL
CO MA
NS INT
I ST A I N
EN
CY
GLAZING
MEDIUM
GLOSS
GEL
PAGE 25
INCREASE GLOSS
FLOW
IMPROVER
CO RE
NS DU
I ST C E
EN
CY
INCREASE FLOW
MATT
MEDIUM
DECREASE GLOSS
E
EM E
TR UR
EX EXT
T
SLOW DRYING
IN Y
TA C
IN TEN
MANSIS
CO
NEAT
COLOUR
MATT
GEL
MODELLING
PASTE
SLOW
DRYING
MEDIUM
PAGE 26
PERMANENCE
The binder we use in the mediums has been specifically tailored for our
requirements. 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 Mediums
you will not affect the performance and high stability of Winsor & Newton
Artists Acrylic Colour.
Studio Practice
1. 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 thoroughly
washed 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.
BENEFIT
039
WHITE GESSO
130
CLEAR GESSO
184
GLAZING MEDIUM
191
GLOSS MEDIUM
294
GLOSS GEL
362
MATT MEDIUM
439
MATT GEL
460
MODELLING PASTE
507
FLOW IMPROVER
470
537
GLOSS UV VARNISH
519
SATIN UV VARNISH
557
MATT UV VARNISH
624
VARNISH REMOVER
Safe removal
PAGE 27
3030934
Product name
OPAQUE
GLAZING
MEDIUM
MAINTAINS NO COLOUR SHIFT
Mdium Glacis
Lasurmalmittel
Medio Veladura
Medium per Velatura
Glaceermedium
TRANSPARENT
GLOSS
MATT
FAST DRY
SLOW DRY
FLUID
THICK
125ml
www.winsornewton.com
Bar code
Properties table
Please read the product labels and should further information be required
please refer to www.winsornewton.com/acrylics
SIZES AVAILABLE
250ml 500ml
250ml 500ml
237ml 474ml
237ml 474ml
Acrylic Retarder
125ml
PAGE 10
28
G77934
Product code
New colours
Treat yourself to some new colours, youll 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.
PAGE 13
29
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. Winsor & Newton Artists
Acrylic Flow Improver is the most
common for this and will help to
increase the flow and transparency
of the colours.
PAGE 14
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 Blue
Green Shade
137 AA S5
I ~ *
Cerulean Blue
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
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
A
B
S
Extremely Permanent
Permanent
Moderately Durable
Series Number
PAGE 31
ASTM
Transparent
Semi-Transparent
Opaque
Semi-Opaque
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 ~ *
(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
*
Hookers 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
I
Quinacridone Gold
552 AA S1
I *
Raw Sienna
074 AA S1
I * ~
Burnt Sienna
537 AA S3
~
Potters Pink
554 AA S1
I * ~
Raw Umber
076 AA S1
I * ~
Burnt Umber
217 A S1
I *
Davys Gray
292 AA S2
I ~
Graphite Grey
465 A S1
I * ~
Paynes Gray
283 A S3
Gold
573 A S3
~ *
Renaissance Gold
014 A S3
~ *
Antique Gold
617 A S3
Silver
~ *
624 A S3
~
Silver No.2
~ *
Sizes available
~
NEW COLOURS
BENEFIT
039
130
CERULEAN BLUE
CHROMIUM
184
COBALT GREEN
191
COBALT TURQUOISE
LIGHT
294
GREEN GOLD
362
LIGHT RED
439
460
PERYLENE GREEN
An exciting semi-transparent, single pigment blackgreen. Excellent in mixes without muddying. Unique.
COLOUR
CODE
NEW COLOURS
BENEFIT
507
PERYLENE MAROON
470
PERYLENE VIOLET
537
POTTERS PINK
519
PYRROLE ORANGE
557
624
SILVER No.2
672
ULTRAMARINE VIOLET A highly lightfast blue shade violet, lower in cost than
Dioxazine.
691
737
PAGE 34
Colour
Name
Series
Perm
Chemical
Description
Colour Colour
index index
name number
ASTM
014
Antique Gold
039
Arylide yellow RN
PY65
11740
019
Arylamide
PY74
11741
025
Bismuth Yellow
Bismuth vanadate
PY184
060
Buff Titanium
AA
Titanium dioxide
Synthetic iron oxides
PW6
PY42
PBK 11
77891
77492
77499
074
Burnt Sienna
AA
PR101
77491
076
Burnt Umber
AA
PBr7
77491
086
Cadmium Lemon
PY35
77205
089
Cadmium Orange
3 (4)*
Cadmium sulphoselenide
PO20
77202
097
3 (4)*
Cadmium sulphoselenide
PR108
77202
100
3 (4)*
Cadmium sulphoselenide
PR108
77202
099
3 (4)*
Cadmium sulphoselenide
PR108
77202
111
PY35
PO20
77205
77202
113
PY35
77205
116
PY35
77205
137
Cerulean Blue
AA
Cobalt stannate
PB35
77368
130
AA
Cobalt chromite
PB36
77343
139
Titanium dioxide
Ultramarine
Chlorinated copper phthalocyanine
PW6
PB29
PG7
77891
77007
74260
162
AA
Chromium oxide
PG17
77288
178
Cobalt Blue
AA
Cobalt aluminate
PB28
77346
180
AA
Cobalt silicate
PB73
77364
184
Cobalt Green
AA
Cobalt titanate
PG50
77377
185
AA
Cobalt chromite
PG26
77344
190
Cobalt Turquoise
AA
Cobalt chromite
PB36
77343
191
AA
Cobalt titanate
PG50
77377
217
Davys Gray
PY42,
PBk19
77492
77017
229
Dioxazine Purple
Carbazole dioxazine
PV23
51319
II
283
Gold
285
Gold Ochre
AA
PY42
77492
292
Graphite Gray
AA
Graphite
Pbk10
77265
294
Green Gold
PY129
48042
311
Hookers Green
Isoindolinone
Brominated copper phthalocyanine
PY110
PG36
56280
74265
321
Indanthrene Blue
Indanthrone
PB60
69800
330
Iridescent White
331
Ivory Black
AA
Bone black
PBk9
77267
346
Lemon Yellow
Arylamide
PY3
11710
II
362
Light Red
AA
PR102
77491
386
Mars Black
AA
PBk11
77499
415
Mixing White
AA
Titanium dioxide
PW6
77891
421
Naphthol AS-D
PR112
12370
II
423
Naphthol carbamide
PR170
12475
II
422
Naples Yellow
AA
Chromium titanate
Titanium dioxide
PBr24
PW6
77310
77891
PAGE 35
T/O
Col.
Code
Colour
Name
Series
Perm
425
439
Chemical
Description
Colour Colour
index index
name number
ASTM
AA
Chromium titanate
PBr24
77310
PY150
12764
447
Olive Green
Bone black
Azomethine copper complex
Isoindolinone
PBk9
PY129
PY139
77267
48042
56298
465
Paynes Gray
Ultramarine
Bone black
PB29
PBk9
77007
77267
466
Anthraquinone
Dioxazine
PR177
PV23
65300
51319
502
Permanent Rose
Quinacridone
PV19
46500
503
Diarylide
Copper phthalocyanine
Bone black
PY83
PB15:3
PBk9
21108
74160
77267
460
Perylene Green
Perylene
PBk31
71132
507
Perylene Maroon
Perylene
PR179
71130
464
Perylene Red
Perylene
PR149
71137
470
Perylene Violet
Perylene
PV29
71129
515
Copper phthalocyanine
PB15:3
74160
514
Copper phthalocyanine
PB15:1
74160
522
PG7
74260
521
PG36
74265
526
Phthalo Turquoise
PB16
74100
537
Potters Pink
AA
PR233
77301
519
Pyrrole Orange
Pyrrole
PO73
534
Pyrrole Red
Pyrrole
PR254
56110
536
Pyrrole
PR255
561050
549
Quinacridone
PR206
73900/
73920
547
Quinacridone Gold
Nickel azo
Quinacridone
PY150
PO49
12764
73900
545
Quinacridone Magenta
Quinacridone
PV19
46500
548
Quinacridone Red
Quinacridone
PR209
73905
550
Quinacridone Violet
Quinacridone
PR122
73915
552
Raw Sienna
AA
PY42
PR101
77492
77491
554
Raw Umber
AA
PBr7
77492
557
AA
PBr7
77492
560
AA
PR101
77491
573
Renaissance Gold
617
Silver
624
Silver No.2
644
Titanium White
AA
Titanium dioxide
PW6
77891
664
Ultramarine Blue
PB29
77007
672
Ultramarine Violet
PV15
77007
691
AA
PR101
77491
737
AA
PY42
77492
744
Yellow Ochre
AA
PY43
77492
T/O
PAGE 36
Antique Gold
Antique Gold
Benzimidazolone Orange
Bismuth Yellow
Bismuth Yellow
Buff Titanium
Buff Titanium
Burnt Umber
Burnt Umber
Burnt Sienna
Burnt Sienna
Cadmium Lemon
Cadmium Orange
Cadmium Orange
Cerulean Blue
Cerulean Blue
Cobalt Blue
Cobalt Blue
Cobalt Turquoise
Cobalt Turquoise
Dark Silver
Davys Gray
Davys Gray
Diarylide Yellow
Dioxazine Purple
Emerald Green
Gold
Gold
Gold Ochre
Gold Ochre
Graphite Grey
Graphite Grey
Hookers Green
Indanthrene Blue
Iridescent White
Ivory Black
Lemon Yellow
Mars Black
Mars Black
Mars Orange
PAGE 37
Mars Violet
Mars Yellow
Mixing White
Mixing White
Naples Yellow
Naples Yellow
Olive Green
Paynes Gray
Paynes Gray
Perinone Orange
Pyrrole Orange
Permanent Rose
Perylene Red
Phthalo Turquoise
Pyrrole Red
Quinacridone Gold
Quinacridone Gold
Quinacridone Magenta
Quinacridone Red
Quinacridone Violet
Raw Sienna
Raw Umber
Raw Umber
Renaissance Gold
Renaissance Gold
Silver
Titanium White
Transparent Yellow
Ultramarine Blue
Ultramarine Blue
Yellow Ochre
brighter undertone)
more opaque)
PAGE 38
WWW.WINSORNEWTON.COM/ACRYLICS
www.winsornewton.com
Winsor & Newton 2010
7543512