HEAVY BODY

HAUTE VISCOSITÉ

PUREST PIGMENT

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 A COMPREHENSIVE WHAT MAKES UP
GUIDE TO CRYLA ARTISTS’ A CRYLA ARTISTS’
ACRYLIC COLOUR ACRYLIC COLOUR?
E
NT
ME
PIG
ST
RE
PU

INTRODUCTION There are three main components to any acrylic colour.

These are:

Daler-Rowney has provided artists with the very The versatility of acrylics is built into the formulation
Pigment: Gives the colour its colour ments.
best colours and materials for over 225 years. of the paint, giving them excellent adhesion Binder / Vehicle: Acrylic Co-Polymer and
Since 1783 when brothers Richard and Thomas properties that allows to stick to surfaces from water emulsion, the acrylic co-polymer acts as Binder / Vehicle
Rowney started preparing and selling artists concrete to wood. Acrylics have the flexibility to a glue sticking the pigment to the surface The binder is the Acrylic Co-Polymer that acts as
colours in London, painters world-wide have been move with the surface, expanding and contracting Additives: Products that control the working the glue that “sticks” the pigment to the painting
convinced of the excellent quality of Daler-Rowney while still maintaining their integrity. Acrylics on properties of acrylic surface. Acrylic Co-Polymers are long chains of
products. Using the knowledge gained over canvas can even be loosely rolled up without repeating monomers (small chemical molecules)
centuries of colour manufacturing coupled with affecting the finished film. Thinning with water that are suspended in water, the vehicle, to create
new technologies and materials that are being allows watercolour techniques to be achieved Purest Pigment an emulsion. The quality of the Acrylic Co-Polymer
developed, Daler-Rowney has always undertaken without having to choose specially sized surfaces. Pigments for Cryla Artists’ Acrylic is as important as the quality of the pigment to the
colour.
are the best pigments that can be
a continuous programme of technical improvement Using the colour straight from the tube allows
to create ranges such as Cryla Artists’ Acrylic that oil like impasto marks to be created without the
surpass all the standards. drawback of long drying times or worrying about sourced from around the world
regardless of price. Pigments are
“fat over lean” principles.
Cryla Artists’ Acrylic was introduced by Rowney &
co. in 1963. It pioneered the use of artists’ acrylics This booklet provides information on Cryla inert solids that can be organic
or inorganic and either naturally
in Europe and is one of the significant milestones in Artists’ Acrylic, from explaining the chemistry and
the company’s development. Cryla Artists’ Acrylic composition of the colours through to the working
colour is a very heavy bodied colour with a high properties and application techniques. sourced (dug up from the ground)
or synthetic (produced chemi-
loading of permanent, light-fast purest pigments.
The unique heavy, buttery feel under the brush
and knife is popular with artists wanting to achieve cally in a factory). The pigments
that are chosen for Cryla Artists’
numerous impasto effects.

Acrylic colours are classed as the “new” painting Acrylic are those that exhibit the
highest levels of light-fastness and
medium as they have only been around for a few
decades. Acrylics have gained in popularity over
the years and are now the painting mediums of permanence along with giving a
clean rich colour. Cryla Artists’
choice. This is due to the plethora of application
techniques and their ability to take to virtually any
surface. Acrylic is formulated to have the
maximum level of the Purest Pig-

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 HOW IS CRYLA ARTISTS’ HOW CRYLA ARTISTS’
ACRYLIC MADE? ACRYLIC WORKS

WATER
EVAPORATES

SURPASSING THE STANDARDS Cryla Artists’ Acrylic dries by water

evaporating from the liquid colour to
create a final paint film that is flexible,
non-yellowing and permanent.
Cryla Artists’ Acrylic colours are formulated in the milling is the traditional method of producing artist’s
research and development laboratory based in colours since they were first commercially made. ACRYLIC PIGMENT
Bracknell, England with the knowledge gained Originally the rollers were made of granite but now Creation RESIN WATER

from over 225 years of colour manufacturing. modern rollers are made of steel which gives even Colour is brushed or knifed onto the painting
Each colour is individually formulated from one better results. Although the machinery used to surface to create your mark, the colour is a mixture WETCOLOUR
WET COLOUR WATER EVAPORA
pigment or a combination of purest pigments are make artists colours may have improved over the of finely dispersed pigment in an emulsion of water
used to ensure only the strongest cleanest colour years the manufacturing process is still the same and acrylic co-polymer. The acrylic emulsion can
is produced with all the standard characteristics of as it has always been. be thought of as sticky balls of acrylic co-polymer
Cryla Artists’ Acrylic. These formulations are put that want to join together but are being held apart WATER
through accelerated storage testing and the final Each colour is Quality Control checked through by the water.
EVAPORATES

film is tested to ensure the highest level of stability. out the manufacturing process to ensure it meets
Once the formulations have passed the rigorous the same exacting standards each time for colour, Evaporation
testing they are passed to the manufacturing tinting strength, fineness of dispersion, consistency Once Cryla Artists’ Acrylic is exposed to the
department to produce. and stability. This ensures that all colours have the atmosphere the water in the colour starts
same characteristics and you can be confident evaporating into the environment. This allows the
Skilled employees carefully weigh out the that an old tube of colour is going to perform the sticky balls of acrylic co-polymer, which were being
pigment, binder and additives into a bertha and same as a new tube. held apart by the water, to start to join together. PIGMENT
ACRYLIC
mechanically mix it to disperse the pigment evenly As they join together they trap theRESIN
WATER
finely dispersed
WATER EVAPORATES
throughout the binder. Once a homogenous mix pigment partials in-between the sticky balls.
WATER
The
EVAPORATES
has been achieved the colour is put over a triple WET COLOUR
action of the sticky balls of acrylic co-polymer WATER EVAPORATES FINAL FILM
roll mill. A triple roll mill consists of three rollers that coming together forces more water out through
rotate in alternate directions and have a very small a capillary action. Once all of the water has
gap between each one. As the colour passes evaporated from the colour the sticky balls can fully
through the mill the pigment is crushed to a join together fixing the pigment in place. With all
smaller particle size and further dispersed into the the sticky ball of acrylic co-polymer joined together
binder. This process is repeated until an optimal they coalesce and form a matrix of acrylic co-
particle size is achieved for each colour, grinding ACRYLIC
polymerWATER
and pigment
PIGMENTwhich is the final paint film.
FINAL FILM
RESIN
the pigment to its optimal partial size develops the
colour fully giving a strong rich colour. Triple roll
WET COLOUR WATER EVAPORATES FINAL FILM

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 PROPERTIES OF CRYLA CONFORMS AND
ARTISTS’ ACRYLIC EXCEEDS THE QUALITY
REQUIREMENTS OF
ASTM D 5098

Drying Thinning ASTM International, originally metallics that are tested to have proven high
Cryla Artists’ Acrylic colours on average dry Cryla Artists’ Acrylic can be used straight from the known as the American Society for quality, durability and lightfastness are chosen for
normally between 5 – 10 minutes. Thicker brush tube if a rich buttery heavy bodied consistency is Testing and Materials (ASTM) has the colour range.
strokes and impasto marks will skin over in a short required. However it can be thinned with water if developed standard D 5098 which Every Cryla Artists’ Acrylic colour has been
period of time but will take longer to through dry. a more flowing or thinner consistency is required. is the “Standard Specification for uniquely formulated to ensure that each colour
The acrylic resin is normally fully polymerised over Cryla Artists’ Acrylic can also be mixed with any of dries with the same sheen and have the same
Artist’ Acrylic Dispersion Paint”. This
night so it is recommended to varnish over Cryla the Daler-Rowney Artists’ Acrylic Mediums, that will body, consistency and working properties.
standard sets out the requirements for
Artists’ Acrylic after 24 hours. Room temperature change the working properties. Cryla Artists’ Acrylic Colour contains no dyes,
the composition, physical properties,
and humidity will affect the drying time of Cryla toners or adulterants of any kind
Artists’ Acrylic as warm dry conditions will speed Final Film performance and labelling of artists
Only 100% Acrylic Co-Polymer emulsion is used in
up the drying time whereas cold humid conditions Once the Cryla Artists’ Acrylic colour is fully dry acrylic colour. Cryla Artists’ Acrylic the colours.
will slow it down. it becomes water resistant and resistant to mild complying with this standard is a
solvents. This stops the colour being re-dissolved commitment by Daler-Rowney to For Fineness of Grind
This rapid drying time is one of the popular when further layers of colours or varnish are produce the highest quality artists’ • Maximum allowed grind reading of pigment
qualities of Cryla Artists’ Acrylic. This is a great painted on top. The final film is very flexible and will acrylic colour and provides a base of within the colour film is 40 microns.
advantage to artists who wish to paint quickly. withstand the natural flexing of the surface that it understanding among manufacturers Cryla Artists’ Acrylic colours greatly surpass this
Paintings that may have taken weeks to complete is painted onto (e.g. Canvas, wooden panel, etc.). and artists. specification, most pigment are ground to the
in oil, because of the requirement to wait for paint Paintings with Cryla Artists’ Acrylic on canvas can sub-micron size.
layers to dry, can be completed in one session with even be loosely rolled for storage or transportation
Cryla Artists’ Acrylic. without affecting the final film. However this should ASTM D 5098 Stipulates: For Consistency
never be done in extremely cold conditions. A high For Composition, Physical Properties and • Colours shall be smooth and creamy, the colour
Colour Shift quality acrylic co-polymer is used in Cryla Artists’ Performance that: should not flow or level when applied with a palette
Most acrylic colours have a colour shift from wet Acrylic colours which is non-yellow this prevents • Only acrylic polymer or acrylic co-polymer knife.
to dry. The reason for this colour shift is because any shift in colour due to the acrylic film. emulsions may be used.
of the Acrylic Co-Polymer emulsion being a pale • Only pigments recommended in the standard Cryla Artists’ Acrylic has a unique heavy bodied
milky colour in the wet form. When the water Cleaning that are approved for quality and lightfastness are buttery consistency that is matched by no other
evaporates and the colour dries this pale milky Once dry Cryla Artists’ Acrylic cannot be re-wetted to be used. on the market. Cryla Artists’ Acrylic retains the
colour disappears and becomes transparent. Cryla therefore care must be taken to ensure that Cryla • Other ingredients may only be used to achieve shape of the brush stroke or the knife mark without
Artists’ Acrylic has been specially formulated to Artists’ Acrylic never dries on the brush. The aging stability, control foam, ensure freeze-thaw feeling sticky and still wets well onto the surface.
minimise the effect that the colour shift has on the colour can simply be washed out of brushes and stability, ensure coalescence and obtain the
colours, consequently there is virtually no colour off palettes using mild soap and water. This is desired consistency. No ingredient can be added For Freeze-Thaw Stability
shift from the wet colour to the dry colour. an advantage to artists who may be sensitive to to cheapen colour, only to enhance working • Colours must withstand 5 cycles of freezing to
powerful solvents that are needed for cleaning properties. –7oC (20oF) and then thaw to room temperature.
oil colour. All batches of Cryla Artists’ Acrylic colour are
The pigments selected to go in Cryla Artists’ checked for stability over 14 cycles freezing
Acrylic colour are selected for the purity and to –40oC (-40oF) followed by thawing to
compatibility with the other ingredients contained room temperature.
within the colour. Only pigments including the
247 | Raw Umber Cryla | The Handbook
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 CONFORMS AND 1

PG17
CHROMIUM OXIDE GREEN
7 367
OPAQUE OXIDE

EXCEEDS THE QUALITY 3

OPACITY 12
OF CHROMIUM
(CHROMIUM OXIDE
GREEN) 2

REQUIREMENTS OF OXYDE DE CHROME OPAQUE

CHROMOXIDGRUN STUMPF
OXIDO DE CROMO OPACO

ASTM D 5098 5
SERIES A
PERMANENCE
4

8 CONFORMS
TO ASTM D5098
****
LIGHTFAST I 9 6 PG17

4 Price Series As Cryla Artists’ Acrylic is a professional

Cryla Artists’ Acrylic Labelling The Cryla Artists’ Acrylic range has 4 price series quality range there are only four or three
A, B, C, D with A being the least expensive D star permanence colours within the range.
being the most expensive. As the maximum
amount of the Purest Pigments is loaded into the 6 Colour Index Name
1 Colour Number In defining the colours from transparent through
colour this is how the price series is assigned in This is an internationally recognized code assigned
The colour number is a unique three-digit code for to opaque we have considered the ability of
Cryla Artists’ Acrylic range. Inexpensive pigments to a particular “colorant.” The C.I. Name consists
identifying the colour, it is the last three digits of the the colour to produce clear transparent glazes.
such as Umbers and Siennas are naturally of the category (P for Pigment), general hue (B
product code. Because of their strength and intensity some of the
sourced so are lower priced, genuine Cobalts and for Blue) and serial number assigned, based on
transparent colours, such as Primary Cyan have a
Cadmiums are more expensive. its chemical constitution. For example, PB 29,
2 Colour Name fairly good opacity as supplied, but when blended
(Ultramarine Blue) indicates a specific Pigment
The colour name identifies the colour in the tube, with Glaze Medium can be used to produce clear
5 Permanence Blue.
this is sometimes called the common name. If transparent glazes. Likewise colours such as Zinc
Daler Rowney’s permanence ratings are compiled
the name does not fully describe the pigment White, that do not have great hiding power are
from testing in our laboratory and are given a one 7 Pigment Simple Chemical Description
contained within the colour then the pigment regarded as opaque because they do not produce
to four star rating: All chemicals can be described in a simple
common name is placed underneath. If the colour clear glazes.
chemical description such as Quinacridone and
is made up of more than one pigment the word
**** Permanent These colours possess the Cadmium. This gives an indication of the chemical
“(Mixture)” appears under the name. On the back Transparent Colours (Opacity Rating 1 – 4):
highest degree of fastness to light and are inert composition of the pigment(s) within the Cryla
of the tube the pigments contained in the mixture All of these colours can be used to produce
towards other pigments. These pigments have Artists’ Acrylic colour. This is set out as stated in
can be found. If there is no text under the name transparent glazes that allow the underlying colour
been proven and used over decades. the ASTM D 5098 specification.
the common name significantly describes the to show through the paint film and completely
pigment in the colour and is the only pigment change the appearance of the colour.
*** Normally Permanent In full strength 8 Conforms to ASTM D 5098
used.
these colours exhibit permanence comparable See “Conforms and Exceeds the Quality
Semi-Opaque Colours (Opacity Rating 5 – 8):
with the four star colours, but there may be some Requirements of ASTM D 5098” section of this
3 Transparency These colours have a higher degree of opacity,
unavoidable loss of permanence if used in a thin booklet.
The pigments used and how finely they are ground glazes produced will not be as clear.
glaze or much reduced with white. These are
dictate the transparency of the Cryla Artists’ Acrylic
newer pigments. 9 ASTM Lightfastness
colour. Pigments range from the most transparent, Opaque Colours (Opacity Rating 9 – 12):
The ASTM Lightfastness Ratings are provided
through semi-opaque to the most opaque. We use In general these colours have good hiding power.
** Moderately Permanent These colours by the American Society for Testing and
a clock face to further define the degree of opacity, They would not normally be used for glazes, as
either possess a lower degree of permanence than Materials (ASTM) in the standard for “Artists’
ranging from 1 for the most transparent to 12 for any underlying colour would be dull.
the previous class or they are not sufficiently inert Acrylic Dispersion Paints” designation ASTM D
the most opaque.
towards other pigments. 5098 – 05a. Colours with a Lightfastness Rating
of I are considered Excellent and those with a
* Fugitive These colours possess a lower Lightfastness Rating of II are Very Good
degree of permanence than the previous class and
OPACITY 1 OPACITY 12 are considered fugitive.

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 MUNSELL COLOUR
Below is the Munsell Value for each of the
colours in the Cryla Artists’ Acrylic range
broken down into colour groups

Colour Number Colour Name Hue Value Chroma

Yellows – (Green Shade to Red Shade)
637 Nickel Titinate Yellow 7.71Y 9.00 12.38
629 Bismuth Yellow (Vanadate) 6.25Y 9.15 18.74
611 Cadmium Yellow Pale 6.03Y 9.14 20.88
651 Lemon Yellow (Arylide Yellow 10G) 5.53Y 8.73 19.32
675 Primary Yellow (Mixture) 3.94Y 8.68 20.12
612 Cadmium Yellow 3.42Y 8.62 20.42

COMMUNICATING COLOURS 671 Permanent Yellow (Arylamide Mixture) 1.97Y 7.92 18.70
635 Naples Yellow Hue (Mixture) 9.97YR 8.60 10.24
613 Cadmium Yellow Deep (Mixture) 9.75 YR 7.74 18.16
All Cryla Artists’ Acrylic colours have been 632 Golden Yellow (Mixture) 7.19YR 7.08 17.56
assigned a Munsell Colour through visual
interpretation by the Daler-Rowney technical team 615 Cadmium Orange 5.61YR 6.73 17.02
in accordance to “The Munsell Book of Colour” 643 Indian Yellow Hue (Mixture) 4.97YR 5.73 13.52
Primarily the Munsell colour is a system used to
686 Benzimidazolone Orange H5G 3.97YR 6.40 15.62
communicate colour verbally between people
that have “The Munsell Book of Colour” and is an 522 Perinone Orange 0.56YR 5.13 14.44
internationally recognised standard. However it Reds – (Yellow Shade to Blue Shade)
also helps describe the colour:
507 Cadmium Scarlet (Mixture) 9.31R 5.02 15.02
Hue: Is defined by letters 501 Cadmium Red 7.53R 4.60 15.02
585 Pyrrole Scarlet 7.50R 4.47 14.72
Y = Yellow GY = Green Yellow
G = Green BG = Blue Green 588 Vermilion Hue (Napthol AS-OL) 7.25R 4.37 15.04
B = Blue PB = Purple Blue 524 Pyrrole Red 6.19R 4.04 14.58
P = Purple RP = Red Purple
R = Red YR = Yellow Red 528 Quinacridone Yellow Red 5.64R 4.02 13.26
512 Napthol Crimson (Napthol ITR) 5.19R 3.61 11.96
The numbers before indicate how far it is from that
508 Carmine Hue (Napthol Red) 5.17R 3.52 12.28
colour i.e. 0.00 Y gives you a middle yellow as the
number increases the hue moves closer to the 502 Cadmium Red Deep 4.64R 3.60 12.30
next colour i.e. 9.00 Y is heading towards Yellow 525 Crimson Alizarin Hue (Mixture) 4.61R 3.63 10.78
Green so is a greener yellow than 0.00 Y was.
537 Permanent Rose (Mixture) 3.08R 3.38 10.44
Value: Is the lightness scale with 0 being black 421 Primary Magenta (Mixture) 2.36R 3.22 9.00
and 10 being white.
429 Quinacridone Violet 1.47R 2.75 6.52
Chroma: Is the intensity or vividness of the 414 Quinacridone Magenta 1.44R 2.96 7.58
colour, with 0 being dull and 10 being vivid.
423 Quinacridone Maroon 1.28 R 2.95 7.20
410 Quinacridone Deep Purple 1.22R 2.88 6.86

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 MUNSELL VALUES TABLE
Colour Number Colour Name Hue Value Chroma Colour Number Colour Name Hue Value Chroma
408 Deep Violet (Dioxazine Purple) 6.78RP 2.59 0.66 368 Pale Olive Green (Mixture) 8.94Y 5.37 9.66
430 Permanent Violet (Mixture) 2.25RP 2.54 1.36 Earths
406 Cobalt Violet Hue (Mixture) 1.64RP 3.37 6.34 264 Vandyke Brown Hue (Mixture) 9.58Y 2.64 0.12
Blues – (Red Shade to Green Shade) 024 Buff Titanium (Unbleached Titanium White) 3.58Y 7.83 3.50
419 Ultramarine Violet 3.03 P 2.58 4.10 663 Yellow Ochre (Yellow Iron Oxide) 0.33Y 6.01 9.44
123 Ultramarine 2.39P 2.47 7.34 247 Raw Umber 0.19Y 2.94 0.88
126 Ultramarine Blue Green Shade 1.72P 2.45 6.84 667 Raw Sienna (Mixture) 6.94YR 5.06 7.52
140 Phthalo Blue Green Shade 0.33P 2.46 3.94 641 Golden Ochre (Mixture) 5.78YR 5.95 13.72
139 Phthalo Blue Red Shade 9.86PB 2.44 2.58 578 Flesh Tint (Mixture) 4.11YR 6.64 5.54
120 Primary Cyan (Mixture) 9.75PB 2.44 2.50 223 Burnt Umber 2.42YR 2.74 1.04
134 Prussian Blue Hue (Mixture) 9.42PB 2.40 1.58 527 Light Red Oxide 0.08YR 3.84 6.60
109 Cobalt Blue 9.28PB 3.64 9.86 519 Rich Transparent Red Oxide (Red Iron Oxide) 9.33R 3.31 3.42
127 Indigo Hue (Mixture) 8.00PB 2.40 0.66 221 Burnt Sienna (Mixture) 8.86R 3.17 3.22
111 Coeruleum 3.94PB 4.74 9.16 583 Venetian Red 6.92R 3.35 5.88
160 Cobalt Chromite Blue Red Shade 0.97PB 3.83 6.40 216 Quinacridone Burnt Orange 5.00R 2.74 3.26
121 Manganese Blue Hue (Mixture) 0.83PB 5.40 8.38 Blacks and Whites
161 Cobalt Chromite Blue Green Shade 8.53B 3.51 5.10 065 Payne's Grey (Mixture) 1.67PB 2.47 0.18
154 Phthalo Turquoise (Mixture) 7.42B 2.54 1.34 034 Ivory Black 6.89B 2.36 0.20
106 Azure Blue (Mixture) 6.47B 5.29 7.82 035 Carbon Black 5.06B 2.51 0.24
153 Cobalt Turquoise Hue (Mixture) 2.53B 4.22 5.78 036 Mars Black 3.25BG 2.51 0.02
Colour Number Colour Name Hue Value Chroma 064 Middle Grey (Mixture) 5.64Y 4.90 0.78
Greens – (Blue Shade to Yellow Shade) 009 Titanium White 8.53Y 9.74 0.34
361 Phthalo Green 7.28BG 2.51 1.08 001 Zinc White 5.92Y 9.69 0.50
323 Cobalt Chromite Green 5.72BG 4.37 5.42 Metallics
352 Hooker's Green (Mixture) 1.22BG 2.67 0.58 716 Metallic Black (Imit) (Mixture) 2.25PB 2.86 0.40
371 Rowney Emerald (Mixture) 4.58G 5.46 10.18 703 Pewter (Imit) (Mixture) 0.78B 7.67 1.64
367 Opaque Oxide Of Chromium (Chromium Oxide Green) 7.56GY 4.60 4.84 702 Silver (Imit) (Mixture) 1.31BG 8.59 0.48
375 Sap Green (Mixture) 7.56GY 3.26 3.20 717 Metallic White (Imit) (Mixture) 5.36Y 9.36 0.90
379 Terre Verte Hue (Mixture) 7.11GY 3.17 1.44 708 Pale Gold (Imit) (Mixture) 2.44Y 7.47 10.36
308 Bright Green (Mixture) 6.72GY 6.56 15.92 707 Rich Gold (Imit) (Mixture) 0.50Y 6.70 9.38
388 Yellow Green (Mixture) 9.64Y 6.57 10.92 704 Bronze (Imit) (Mixture) 7.36YR 6.92 6.06
230 Copper (Imit) (Mixture) 2.28YR 5.82 8.40

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 The Cryla Artists’
Acrylic range of
colours

Primary Colours (CMY) “additive” primary colours, add them all together
OLD MASTERS, METALLIC AND PRIMARY COLOURS The Cryla Artists’ Acrylic range contains three and you will get white. If you look at a pixel on a TV
primary colours that are Primary Yellow, Primary or computer screen you will see each is made up
Magenta and Primary Cyan known as the of a yellow, green and blue dot.
“subtractive” Primaries.
Old Masters Colours Metallic Colours
When the cones in the eye are stimulated they
Historically there were a number of colours that Within the Cryla Artists’ Acrylic range there are 8
Primary colours are colours that in theory all other send a signal to the brain that interprets it, this
were considered as essential to the old master metallic colours, Pale Gold, Rich Gold, Copper,
colours can be made just from mixing these three interpretation is done based on which cone is
painters. Over the years many of these colours Bronze, Silver, Pewter, Black and White. These
colours. If you mix all colours together you end up stimulated and by how much. i.e. if all the cones
have been phased out of common use due to colours conform to the same exacting standards as
with black or in other words the absence of light are stimulated a lot the brain interprets it as white,
the pigments used to create these colours being all the other Cryla Artists’ Acrylic colours and have
as the colours have subtracted all the light. This if only the red cone is stimulated and none of the
classed as unsafe or non-permanent/lightfast. the same heavy bodied characteristics.
theory comes from an understanding of how the others the brain interprets this colour as red etc.
human eye works and how we perceive colour. To explain this further we have to assume that
Daler-Rowney has recreated a selection of essential All the metallic colours contain imitation metallic
sunlight or white light is made up of red, green and
colours used by the old masters. Using blends of pigments and genuine metallic pigments. Genuine
The human eye is made up of rods and cones, blue light.
permanent, safe modern pigments, these hues metallic pigments are not stable in acrylic colours,
rods are more sensitive than cones and detect light
have been re-created to match the original pure as they tend to tarnish in a relatively short period of
but they do not detect colour, hence when lighting When a primary colour is painted out it absorbs
pigment colours produced by Daler-Rowney in time. Therefore coated mica flakes are used to give
is poor everything looks greyscale. For colour we one of the additional primaries out of the white
the early 20th century. These historical hues in the the impression of a genuine metallic pigment. The
are interested in the cones, the human eye has light and reflects back the other two to create the
Cryla Artists’ Acrylic range allow artists to explore titanium coated mica flakes used in Cryla Artists’
three type of cones that detect Red, Green and colour we see, therefore:
colours used by the old masters in a permanent, Acrylic give the colour a brilliant lustre similar to the
Blue Light. These colours of light are known as the
safe acrylic. genuine metallic colour.
Light Light Light
Colour Name Reason for Original Pigment Discontinuation Eye Eye Eye
Naples Yellow Hue Lead based pigment and classed as highly toxic
Indian Yellow Hue Manufacturing process considered inhumane
Carmine Hue Non-Permanent colour, fades rapidly
Crimson Alizarin Hue Non-Permanent colour, fades rapidly
Prussian Blue Hue Unreliable in acrylic colours
Indigo Hue Non-Permanent colour, fades rapidly
Manganese Blue Hue Pigment found to be highly toxic Primary Yellow Primary Magenta Primary Cyan
Cobalt Violet Hue Pigment found to be toxic White light is shone onto White light is shone onto the White light is shone onto
Sap Green Non-Permanent colour, fades rapidly the surface, the blue light is surface, the green light is the surface, the red light is
Hooker’s Green Unreliable in acrylic colours absorbed and the green and absorbed and the red and absorbed and the green and
Terra Verte Hue Pigment became unavailable red light is reflected to the blue light is reflected to the blue light is reflected to the
Vandyke Brown Hue Unreliable pigment source and quality eye and we see yellow. eye and we see magenta. eye and we see cyan.

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 The Cryla Artists’
Acrylic range of
colours

This colour theory only works if you can produce Contemporary Colours
PRIMARY AND CONTEMPORARY COLOURS primary colours that completely absorb and
reflect the complete relevant areas of the colour The Cryla Artists’ Acrylic range has a vibrant
spectrum. Also each primary colour has to have selection of 21st century trendy colours with the
the same tinting strength as each other. most modern Purest Pigments. These colours are
If we take this theory further and look at black and This also works if you mix all the combinations
Currently there is not a pigment that occurs in a combination of brilliant and intense colours that
white you can see that white is all light and black is of primary colours. I.e. Primary Yellow + Primary
nature or can be produced in a synthetic laboratory complement the perfectly balanced range to satisfy
no light, therefore: Cyan = Green, Primary Yellow + Primary Magenta
that can produce these theoretical primary colours. the needs of acrylic painters.
Light Light = Red and Primary Magenta + Primary Cyan =
Eye Eye Daler-Rowney has developed its primary colours in
Blue. These three mixed colours are called the
Cryla Artists’ Acrylic to get as close as possible to
secondary colours.
the ideal parameters of a “true” primary colour. The
Benzimidazolone Orange H5G
Light
Eye
Light
Eye
Light
Eye primary colours are created by blending pigments
together to create the closest possible colour, all Pyrrole Scarlet
+ =
2x 1x of them are transparent (opacity rating 1-4) to aid Quinacridone Yellow Red
colour mixing.
White Black Quinacridone Magenta
White light is shone White light is shone
All colours therefore can be mixed from these three Quinacridone Maroon
onto the surface, all onto the surface, all
primary colours by varying the amount of each
light is reflected to light is absorbed by Ultramarine Violet
colour that you put in the mix. For example if you
the eye and we see the surface a non is Permanent Violet (Mixture)
wanted to create and orange colour you would
white. reflected back to the
mix Primary Yellow and Primary Magenta but not in
eye and we see black. Ultramarine Blue Green Shade
equal quantities so you would have more Primary
Yellow in the mix. In this mix all of the red would be Cobalt Chromite Blue Red Shade
Now we will apply this theory to mixing colours, if reflected, all of the blue would be absorbed and
Cobalt Chromite Blue Green Shade
we wish to create a green colour, we would mix some of the green would be reflected giving an
Primary Yellow and Primary Cyan together in equal orange colour. Cobalt Chromite Green
quantities. The Primary Yellow within the mix will
absorb the blue light, the Primary Cyan in the mix
will absorb the red light so the only light reflected is
the green light and hence we get a green colour.
Light Light Light
Eye Eye Eye

+ =

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17

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 MIXING COLOURS

Tinting Strength Zinc white is a less opaque white and has a lower
The tinting strength of a colour is its ability to tinting strength than titanium white. When mixed
change the appearance of another colour when with colour it still reduces the colour down but to
mixed with it. If only a small amount of colour is a lesser extent. Therefore the colour created does
needed to change the hue of the other colour have increased opacity but tends no to be a pastel
then it has a high tinting strength. If a lot of colour shade just lighter hue of the original colour.
is needed to change the hue of the colour then
it has a low tinting strength. Organic pigments Having taken all this into consideration we can now
generally have high tinting strengths so need to look at starting to mix clean colours from a basic
be used sparingly in colour mixing as they can palette. Colour is described in shades of a base
easily overpower the mix. This is true with colours colour i.e. if yellow is the base colour you have
Mixing colours is a difficult skill to learn but Inorganic pigments generally are opaque and such as Phthalo blue that is a very powerful colour. green shade yellows and red shade yellows, if red
becomes easier with experience and practice. reflect tones that can be found in nature all around Many artists choose Manganese Blue Hue instead is the base colour then you have yellow shade reds
Each artist creates their own basic palette of us. They tend to be subtle and not intense. Using as it contains the same pigment but is already and blue shade reds and so on. So if you look at
colours that normally consists of about 10 to 14 these colours on the mixing palette allows for soft reduced in strength so more easily controllable. a colour wheel you have the three primary colours
colours, these colours can vary depending on their warm and cool shades to be created and give (yellow, red and blue) and the shade is determined
painting style and overall look they are aiming for. the look of traditional paintings. It is easy to create Colour Shift by which other colour it leans towards.
muddy colours with inorganic pigments by mixing As described earlier there is a colour shift from
However there are some fundamental ideas when too many together. the wet to the dry colour, this is due to the acrylic
it comes to colour mixing that make it possible to co-polymer emulsion in the colour. When wet the
create clean bright colour mixes rather than muddy Organic Pigments emulsion is a milky white colour, this can give a
browns. Organic pigments tend to be newer pigments colour an artificially light and opaque appearance in Blue Yellow
created and developed over the last fifty years the wet state. When the colour dries the emulsion Shade Red Shade
To understand colour mixing you need to or so. Organic pigments are based on complex clears and becomes colourless and transparent
understand a little about the pigments that carbon chemistry and are solely developed allowing the true colour characteristics of the
make up the colour. After all it is the pigment in a laboratory and then synthetically made. pigment to shine through. Therefore when colour
that gives the colour its colour and most of the Long complex names such as Quinacridone, mixing a small amount should always be painted
characteristics. There are two main groups of Phthalocyanine and Dioxazine come about from out and left to dry to allow the true colour of the
pigments organic and inorganic: the chemical structure of the pigment. mix to show as in the wet state it will look more
Red Red
light and opaque. Shade
Inorganic Pigments Organic pigments are generally transparent and Shade
These are pigments that have been used for intense and can be said to have an unnatural Titanium or Zinc White

w
Blu

llo
centuries and are still popular with the traditional look. Using these colours on the mixing palette Why have two whites in a range? The reason for

Ye
artists that paint landscapes and portraits etc. creates bright clean intense colours that reflect the two whites in the range is because they have
Inorganic pigments normally come from natural tones of modern printing processes, plastics and different mixing properties and understanding
sources i.e. dug up from the earth and processed tin can coatings. These colours normally need the difference can greatly enhance your mixing Green Green
to give a pure pigment, however more are being some care when mixing as some colours can experience. Titanium white is a very opaque white, Shade Shade
synthetically made in laboratories. Siennas, be overpowering but clean colour mixes can be when mixed with any colour it will make that colour
Umbers and Ochres are known as the earth achieved. opaque. However it will also greatly reduce the
colours for this reason but Cobalts, Cadmiums and strength of the colour creating a pastel shade. This
Coeruleum also fall into this category. Two other things need to be considered when is ideal if you need to create a pastel shade but not
colour mixing, these are the tinting strength of the if your looking for a more subtle shade.
colour and the colour shift from wet to dry colour.

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 MIXING COLOURS

COLOUR MIXING TIPS There are a few more colours that artists add to COLOUR MIXING TIPS
their basic palette as they greatly aid colour mixing
these are: • M
 ix as few colours / pigments as
possible. The more pigments that you
Phthalo Green mix together the more likely you are to
A basic palette is normally made up of two primary One point that may been seen from this is if you
A clean transparent green that makes a good base create dirty colours, try and limit your
colours from the far ends of the shade spectrum. only need 10 to 14 colours to mix every colour
for all greens, when mixed with Lemon Yellow or colour mixes to mainly two colours
Therefore a green shade and a red shade yellow, why is there a range of 87 colours available in Cryla
Manganese Blue Hue it creates intense greens. with only a touch of a third. Be careful
a yellow shade and a blue shade red and a red Artists’ Acrylic. The simple reason is this, painting
Mixing Phthalo Green with Bismuth Yellow or some colours are already a mixture of
shade and a green shade blue. The reason for and colour mixing is an art form and not a science.
Coeruleum creates more natural greens. pigments so additional colour should be
choosing these colours is so that clean in-between Therefore each artist has their own preferential set
added to them sparingly.
shades can be obtained. If you mix a green shade of basic colours.
Yellow Ochre
yellow with a green shade blue you get a clean
Great for reducing the intensity of organic colours • M
 ix similar colours together, mixing a
green colour, however if you mix a red shade Also it is hard to mix a green for example to exactly
and creating warmth in a painting, hard to mix from red shade blue with a blue shade red
yellow with a red shade blue you get a muddy the same colour every time. However you can
other colours. is going to yield far better purples and
green colour. Therefore a basic mixing beginner be assured that the blended greens in the Cryla
violets than if you mix a yellow shade
palette would be: Artists’ Acrylic range are always going to produce
Burnt Sienna red and a green shade blue.
Hue Inorganic Palette Organic Palette Again hard to mix from other colours, this rich
reddish earth colour helps reduce intensities and • U
 se earth colours to reduce the
GSY Bismuth Yellow Lemon Yellow (Arylamide Yellow 10G)
gives another level to greens. intensity and colour rather than blacks
RSY Cadmium Yellow Deep Golden Yellow (Mixture)
or whites.
YSR Cadmium Scarlet Pyrrole Scarlet
Burnt Umber
BSR Cadmium Red Deep Quinacridone Deep Purple
Earthy natural brown colour that is hard to create
RSB Ultramarine Phthalo Blue Red Shade
from other colours helps cool colours and reduces
GSB Coeruleum Manganese Blue Hue
intensities.
From the colours listed above you would be able to the same colour every time and from one tube to
Payne’s Grey
achieve almost every colour, the inorganic palette the next. Sometimes you can require a colour for
This is not black as such, the blue undertones
would give you subtle tones and the organic a specific type of work or a colour could inspire
make it ideal for shading and it reduces beautifully
palette would give you intense mixes. However you to create a certain painting. For example a
in white to give a superb range of natural greys.
you can use combinations from both lists to obtain botanical painter would require more purples and
your basic palette as many artists do. violets in subtle shades for their paintings.
Titanium and Zinc White
Titanium for highlighting and Zinc White for mixing.

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 SURFACE PREPARATION

Hardboard / Masonite When painting a mural there are certain

The shiny surface of the hardboard should be procedures to follow that will ensure that your
lightly sanded to give the surface some tooth for mural will last. The surface should be well prepared
the gesso to adhere to. Once sanded wash off the as detailed in the surface preparation section of
dust and while still damp apply a coat of Gesso this booklet. If painting the mural outside it must be
Primer. If a whiter smoother surface is required done on a warm day. Acrylic colours dry through
lightly sand the primed surface and apply a second evaporation of water then coalesce to create a
coat of primer. If a very smooth surface is required strong paint film. The colour has to be fairly warm
this top layer of gesso can also be lightly to coalesce properly, and the evaporation of water
SURFACE PREPARATION Preparation: sanded again. from the colour also cools the painting surface.
Gesso Primer can be brush, roller or spray applied
Cryla Artists’ Acrylic colour will adhere to any semi- depending on the size of the surface you are Plaster / Plaster Board A good solution to this is to paint on a board inside
absorbent surface that is grease free and sound. painting or the tools that you have. Black Gesso Brush over the surface to remove any loose and then fix it to the wall outside. Marine Plywood
However to ensure the longevity of your acrylic Primer can be used the same way as the standard material and ensure the surface is sound. Wash is the best material to use when painting a mural
painting it is crucial that you follow a few simple gesso primer if a black surface is required. Gesso the surface in mild soap and water to remove dust that is going to be displayed outside. The plywood
steps to prepare the surface before applying Primer can be tinted by mixing in acrylic colour if a and grease then rinse. While the surface is still should be primed both front and back and around
colour. coloured surface is required, Gesso Primer does damp apply a coat of Gesso Primer. If the surface the sides to fully encapsulate the plywood. Once
contain Titanium Dioxide pigment so only pastel is very absorbent apply a first coat of Gesso this is done the Cryla Artists’ Acrylic colour can be
Many surfaces come pre-prepared to paint acrylic shades can be obtained. Primer diluted by 5 parts of primer to 1 of water. painted onto the surface in your usual technique.
onto, such as canvases, boards and papers. Subsequent layers of undiluted primer can then
However you should read the usage instructions Masonry / Coarse Brickwork be applied. The mural is then complete and can be hung
carefully as some surfaces such as Daler Board Very rough and absorbent surfaces like brick outside, if you require further protection for your
are oil primed only suitable for oil colours and not should first be brushed over with a wire brush to Raw Canvas / Canvas Panels work it can be varnished. Normal artist’s varnishes
for acrylics. remove all loose material. The surface should then Rolled raw canvas should first be stretched over cannot be used for this type of application as they
be washed with mild soap and water to remove a frame before any priming takes place. Once are designed to be used indoors and are soft.
any dust and grease and then rinsed. While the stretched the Gesso Primer can be applied directly Instead an anti-graffiti coating should be applied
surface is still damp apply a coat of Gesso Primer to the surface. if this is required or a polyurethane based varnish
and leave to dry, once dry apply a second coat of should be used. These types of varnish can be
gesso primer at right angles to the first. This will found in hardware stores and are sometimes
seal the brickwork to stop the moisture and acrylic MURAL PAINTING known as yacht varnishes. When choosing a
being sucked out of the acrylic colours and leave varnish to use ensure that it is a non-yellowing
you a white surface to paint on. Cryla Artists’ Acrylic colour is an excellent medium variety and it can be applied to acrylics. These
for creating murals both inside and outside. The varnishes are normally solvent based so ensure
attributes of Cryla Artists’ Acrylic means that it that the colour has been drying for at least 24
adheres well to the surface and are water resistant hours before application. When varnishing the
and permanent when dry. Cryla Artists’ Acrylic mural again ensure that the back and the side are
exhibits excellent weathering resistance and the also varnished. Once the varnish has been applied
high degree of lightfastness form the pigments it cannot be removed so ensure you are happy
ensures a mural painted with Cryla Artists’ Acrylic with your mural before doing this.
will last indoors and out.

Cryla | The Handbook

23

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 COLOUR CHART
637 629 611 410 429 423
NICKEL TITANATE BISMUTH YELLOW CADMIUM YELLOW QUINACRIDONE QUINACRIDONE QUINACRIDONE
YELLOW (Vanadate) PALE DEEP PURPLE VIOLET MAROON
*** *** *** *** *** ***
OPACITY 8 SERIES B OPACITY 7 SERIES C OPACITY 7 SERIES C OPACITY 4 SERIES C OPACITY 8 SERIES C OPACITY 6 SERIES D

651 675 612 406 419 430

LEMON YELLOW PRIMARY YELLOW CADMIUM COBALT VIOLET HUE ULTRAMARINE PERMANENT VIOLET TP
IG
ME E
NT

ME
NT

(Arylide Yellow 10G) (Mixture) YELLOW (Mixture) VIOLET (Mixture) UR

ES

URE
ST
PIG

*** *** *** *** *** ***

P

OPACITY 2 SERIES B OPACITY 2 SERIES B OPACITY 9 SERIES C OPACITY 11 SERIES D OPACITY 7 SERIES A OPACITY 7 SERIES C

635 671 613 408 123 126

NAPLES YELLOW PERMANENT YELLOW CADMIUM YELLOW DEEP VIOLET ULTRAMARINE ULTRAMARINE BLUE
HUE (Mixture) (Arylamide Mixture) DEEP (Mixture) (Dioxazine Purple) GREEN SHADE
*** *** *** *** *** ***
OPACITY 9 SERIES B OPACITY 2 SERIES B OPACITY 9 SERIES C OPACITY 7 SERIES C OPACITY 6 SERIES A OPACITY 6 SERIES B

643 632 615 109 139 140

INDIAN YELLOW GOLDEN YELLOW CADMIUM COBALT PHTHALO BLUE PHTHALO BLUE
HUE (Mixture) (Mixture) ORANGE BLUE RED SHADE GREEN SHADE
*** *** *** **** *** ***
OPACITY 4 SERIES B OPACITY 4 SERIES B OPACITY 9 SERIES C OPACITY 10 SERIES C OPACITY 7 SERIES B OPACITY 6 SERIES A

686 522 507 120 134 127

BENZIMIDAZOLONE PERINONE CADMIUM SCARLET PRIMARY CYAN PRUSSIAN BLUE INDIGO HUE
ORANGE H5G ORANGE (Mixture) (Mixture) HUE (Mixture) (Mixture)
*** *** *** *** *** ***
OPACITY 6 SERIES C OPACITY 3 SERIES C OPACITY 10 SERIES C OPACITY 4 SERIES B OPACITY 10 SERIES A OPACITY 10 SERIES B

501 585 588 111 160 161

CADMIUM PYRROLE VERMILION HUE COERULEUM COBALT CHROMITE COBALT CHROMITE
RED SCARLET (Napthol AS-OL) BLUE RED SHADE BLUE GREEN SHADE
*** *** *** **** **** ****
OPACITY 10 SERIES D OPACITY 9 SERIES D OPACITY 5 SERIES B OPACITY 7 SERIES B OPACITY 11 SERIES D OPACITY 11 SERIES D

524 528 508 121 106 153

PYRROLE QUINACRIDONE CARMINE HUE MANGANESE BLUE AZURE BLUE COBALT TURQUOISE
RED YELLOW RED (Naphthol Red) HUE (Mixture) (Mixture) HUE (Mixture)
*** *** *** *** *** ***
OPACITY 9 SERIES C OPACITY 3 SERIES D OPACITY 8 SERIES C OPACITY 11 SERIES B OPACITY 10 SERIES A OPACITY 9 SERIES A

512 502 525 323 154 361

NAPHTHOL CRIMSON CADMIUM RED CRIMSON ALIZARIN COBALT CHROMITE PHTHALO PHTHALO
(Naphthol ITR) DEEP HUE (Mixture) GREEN TURQUOISE (Mixture) GREEN
*** *** *** **** *** ***
OPACITY 3 SERIES B OPACITY 10 SERIES C OPACITY 5 SERIES B OPACITY 11 SERIES B OPACITY 8 SERIES A OPACITY 6 SERIES A

537 421 414 352 379 375

PERMANENT ROSE PRIMARY MAGENTA QUINACRIDONE HOOKER’S GREEN TERRE VERTE HUE SAP GREEN
(Mixture) (Mixture) MAGENTA (Mixture) (Mixture) (Mixture)
*** *** *** *** *** ***
OPACITY 4 SERIES C OPACITY 4 SERIES B OPACITY 4 SERIES C OPACITY 8 SERIES A OPACITY 9 SERIES A OPACITY 8 SERIES A

25

Cryla Booklet artwork (CMYK).indd 24-25 17/6/09 16:52:54

 COLOUR CHART
371 367 368 703 708 707
ROWNEY EMERALD OPAQUE OXIDE OF PALE OLIVE GREEN PEWTER PALE GOLD RICH GOLD
(Mixture) CHROMIUM (Chromium (Mixture) (Imit) (Mixture) (Imit) (Mixture) (Imit) (Mixture)
*** Oxide Green )
**** *** *** *** ***
OPACITY 11 SERIES B OPACITY 12 SERIES A OPACITY 7 SERIES B OPACITY 7 SERIES D OPACITY 5 SERIES C OPACITY 6 SERIES C

388 308 024 704 230 716

YELLOW GREEN BRIGHT GREEN BUFF TITANIUM BRONZE COPPER METALLIC BLACK TP
IG
ME E
NT

ME
NT

(Mixture) (Mixture) (Unbleached Titanium (Imit) (Mixture) (Imit) (Mixture) (Imit) (Mixture) UR
ES

URE
ST
PIG

*** *** *** *** ***

P
White)
OPACITY 10 SERIES B OPACITY 5 SERIES B
***
OPACITY 10 SERIES A OPACITY 7 SERIES C OPACITY 7 SERIES A OPACITY 10 SERIES B

663 667 641 **** Permanent

YELLOW OCHRE RAW SIENNA GOLDEN OCHRE *** Normally Permanent
(Yellow Iron Oxide) (Mixture) (Mixture) A, B, C, D refers to price series
**** **** *** Transparent (opacity rating 1 to 4)
OPACITY 7 SERIES A OPACITY 7 SERIES A OPACITY 3 SERIES B
Semi-Transparent (opacity rating 5-8)
Opaque (opacity rating 9-12)
578 527 519
FLESH TINT LIGHT RED RICH TRANSPARENT
(Mixture) OXIDE RED OXIDE
*** **** (Red Iron Oxide)
****
OPACITY 11 SERIES A OPACITY 10 SERIES A OPACITY 4 SERIES A

221 583 216

BURNT SIENNA VENETIAN QUINACRIDONE
(Mixture) RED BURNT ORANGE
**** **** ***
OPACITY 7 SERIES A OPACITY 9 SERIES A OPACITY 7 SERIES C

223 264 247

BURNT VANDYKE BROWN RAW
UMBER HUE (Mixture) UMBER
**** **** ****
OPACITY 7 SERIES A OPACITY 11 SERIES A OPACITY 7 SERIES B

064 065 034

MIDDLE GREY PAYNE’S GREY IVORY
(Mixture) (Mixture) BLACK
*** *** ****
OPACITY 12 SERIES A OPACITY 11 SERIES A OPACITY 11 SERIES A

035 036 009

CARBON MARS TITANIUM
BLACK BLACK WHITE
**** **** ***
OPACITY 12 SERIES A OPACITY 12 SERIES A OPACITY 11 SERIES A

001 717 702

ZINC METALLIC WHITE SILVER
WHITE (Imit) (Mixture) (Imit) (Mixture)
*** *** ***
OPACITY 9 SERIES A OPACITY 4 SERIES B OPACITY 6 SERIES D

27

Cryla Booklet artwork (CMYK).indd 26-27 17/6/09 16:52:56

 SPECIFICATIONS

Values- Value
Conforms
Chemical
Common

CI Name
Colour #

fastness
Number

Chroma
Opacity

Munsell

Munsell
D-5098

Values-

Values-
Colour

Munsell
ASTM

Series
Name

Name

Light-
Class

Class

Hue
CI
637 Nickel Titanate Yellow Nickel Titanate Yellow Oxides of Nickel, Antimony and Titanium PY53 77788 Synthetic Inorganic I Yes *** 8 B 7.71Y 9.00 12.38

629 Bismuth Yellow (Vanadate) Bismuth Vanadate Yellow Bismuth Vanadate PY184 Pigment Synthetic Organic I Yes *** 7 C 6.25Y 9.15 18.74
Yellow 184

611 Cadmium Yellow Pale Cadmium Yellow Pale Concentrated Cadmium Zinc Sulphide PY35 77205 Synthetic Inorganic I Yes *** 7 C 6.03Y 9.14 20.88
NT
ME E
IG NT
TP ME
651 Lemon Yellow (Arylide Arylide Yellow 10G Arylide Yellow PY3 11710 Synthetic Organic II Yes *** 2 B 5.53Y 8.73 19.32 UR
ES

URE
ST
PIG

Yellow 10G)
P

675 Primary Yellow (Mixture) Arylide Yellow 10G / Arylide Arylide Yellow / Arylide Yellow PY3 / PY74 11710 / Synthetic Organic II Yes *** 2 B 3.94Y 8.68 20.12
Yellow 5GX (LF) 11741

612 Cadmium Yellow Cadmium Yellow Concentrated Cadmium Zinc Sulphide PY35 77205 Synthetic Inorganic I Yes *** 9 C 3.42Y 8.62 20.42

635 Naples Yellow Hue Titanium White / Diarylie Yellow Titanium Dioxide / Diarylie Yellow / PW6 / PY83 / 77891 / Synthetic Inorganic / I Yes *** 9 B 9.97YR 8.60 10.24
(Mixture) HR70 / Benzimidazolone Monoacetolone PO62 21108 / Synthetic Organic
Orange H5G 11775

671 Permanent Yellow Arylide Yellow GX / Arylide Yellow / Monoacetolone PY73 / PO62 11738 / Synthetic Organic I Yes *** 2 B 1.97Y 7.92 18.70
(Arylamide Mixture) Benzimidazolone Orange H5G 11775

613 Cadmium Yellow Deep Cadmium Yellow / Cadmium Concentrated Cadmium Zinc Sulphide / PY35 / PO20 77205 / Synthetic Inorganic I Yes *** 9 C 9.75 YR 7.74 18.16
(Mixture) Orange Concentrated Cadmium Sulpho-Selenide 77202

643 Indian Yellow Hue (Mixture) Arylide Yellow GX / Arylide Yellow / Quinacridone PY73 / PR206 11738 / N/A Synthetic Organic I Yes *** 4 B 4.97YR 5.73 13.52
Quinacridone Burnt Orange

632 Golden Yellow (Mixture) Arylide Yellow GX / Arylide Yellow / Monoacetolone PY73 / PO62 11738 / Synthetic Organic I Yes *** 4 B 7.19YR 7.08 17.56
Benzimidazolone Orange H5G 11775

615 Cadmium Orange Cadmium Orange Concentrated Cadmium Sulpho-Selenide PO20 77202 Synthetic Inorganic I Yes *** 9 C 5.61YR 6.73 17.02

686 Benzimidazolone Orange Benzimidazolone Orange H5G Monoacetolone PO62 11775 Synthetic Organic I Yes *** 6 C 3.97YR 6.40 15.62
H5G

522 Perinone Orange Perinone Orange Perinone PO43 (DL) 71105 Synthetic Organic I Yes *** 3 C 0.56YR 5.13 14.44

507 Cadmium Scarlet (Mixture) Cadmium Red / Cadmium Concentrated Cadmium-Seleno Sulphide / PR108 / PO20 77202.1 / Synthetic Inorganic I Yes *** 10 C 9.31R 5.02 15.02
Orange Concentrated Cadmium Sulpho-Selenide 77202

501 Cadmium Red Cadmium Red Concentrated Cadmium-Seleno Sulphide PR108 77202.1 Synthetic Inorganic I Yes *** 10 D 7.53R 4.60 15.02

585 Pyrrole Scarlet Pyrrole Scarlet Pyrrolopyrrol PR255 N/A Synthetic Organic I Yes *** 9 D 7.50R 4.47 14.72

588 Vermilion Hue (Napthol Naphthol AS-OL Naphthol AS-OL PR9 12460 Synthetic Organic I Yes *** 5 B 7.25R 4.37 15.04
AS-OL)

524 Pyrrole Red Pyrrole Red Pyrrolopyrrol PR254 73902 Synthetic Organic I Yes *** 9 C 6.19R 4.04 14.58

528 Quinacridone Yellow Red Quinacridone Yellow Red Quinacridone Red PR209 73905 Synthetic Organic I Yes *** 3 D 5.64R 4.02 13.26

508 Carmine Hue (Napthol Red) Naphthol Red Naphthol Carbamide PR170 12475 Synthetic Organic I Yes *** 8 C 5.17R 3.52 12.28

512 Napthol Crimson (Napthol Napthol ITR Napthol ITR PR5 12490 Synthetic Organic II Yes *** 3 B 5.19R 3.61 11.96
ITR)

502 Cadmium Red Deep Cadmium Red Deep Concentrated Cadmium-Seleno Sulphide PR108 77202.1 Synthetic Inorganic I Yes *** 10 C 4.64R 3.60 12.30

525 Crimson Alizarin Hue Quinacridone Red / Quinacridone Red / Quinacridone Red PV19 / PR209 73900 / Synthetic Organic I Yes *** 5 B 4.61R 3.63 10.78
(Mixture) Quinacridone Yellow Red 73905

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 SPECIFICATIONS

Values- Value
Conforms
Chemical
Common

CI Name
Colour #

fastness
Number

Chroma
Opacity

Munsell

Munsell
D-5098

Values-

Values-
Colour

Munsell
ASTM

Series
Name

Name

Light-
Class

Class

Hue
CI
537 Permanent Rose (Mixture) Quinacridone Red / Quinacridone Red / Quinacridone PV19 / PR122 73900 / Synthetic Organic I Yes *** 4 C 3.08R 3.38 10.44
Quinacridone Red 73915

421 Primary Magenta (Mixture) Quinacridone Red / Quinacridone Red / Quinacridone PV19 / PR122 73900 / Synthetic Organic I Yes *** 4 B 2.36R 3.22 9.00
Quinacridone Red 73915
NT
410 Quinacridone Deep Purple Quinacridone Deep Purple Quinacridone PR122 73916 Synthetic Organic I Yes *** 4 C 1.22R 2.88 6.86 ES
TP
IG
ME E
ME
NT
UR PIG
ST
URE

429 Quinacridone Violet Quinacridone Violet Quinacridone Violet B PV19 (DL) 73900 Synthetic Organic I Yes *** 7 C 1.47R 2.75 6.52
P

414 Quinacridone Magenta Quinacridone Magenta Quinacridone Magenta PR122 73915 Synthetic Organic I Yes *** 4 C 1.44R 2.96 7.58

423 Quinacridone Maroon Quinacridone Violet Quinacridone Violet B PR122 73915 Synthetic Organic I Yes *** 8 C 1.28R 2.95 7.20

406 Cobalt Violet Hue (Mixture) Lithopone / Quinacridone Red / Zinc Sulphide / Quinacridone / Carbazole PW5 / PR122 / 77115 / Synthetic Inorganic / No *** 11 D 1.64RP 3.37 6.34
Dioxazine Purple Dioxazine PV23 (RS) 73915 / Synthetic Organic
51319

419 Ultramarine Violet Ultramarine Violet Sodium Alumino-Sulphosilicates PV15 77007 Synthetic Inorganic I Yes *** 7 A 3.03 P 2.58 4.10

408 Deep Violet (Dioxazine Dioxazine Purple Carbazole Dioxazine PV23 (RS) 51319 Synthetic Organic II Yes *** 7 C 6.78RP 2.59 0.66
Purple)

430 Permanent Violet (Mixture) Quinacridone Magenta / Quinacridone Magenta / Carbazole Dioxazine PR122 / PV23 73915 / Synthetic Organic I Yes *** 6 D 2.25RP 2.54 1.36
Dioxazine Purple 51319

123 Ultramarine Ultramarine Blue Sodium Alumino-Sulphosilicates PB29 77007 Synthetic Inorganic I Yes *** 6 A 2.39P 2.47 7.34

126 Ultramarine Blue Green Ultramarine Blue Sodium Alumino-Sulphosilicates PB29 77007 Synthetic Inorganic I Yes *** 6 B 1.72P 2.45 6.84
Shade

109 Cobalt Blue Cobalt Blue Cobalt Aluminate PB28 77346 Synthetic Inorganic I Yes **** 10 C 9.28PB 3.64 9.86

139 Phthalo Blue Red Shade Phthalo Blue Copper Phthalocyanine PB15 74160 Synthetic Organic I Yes *** 7 B 9.86PB 2.44 2.58

140 Phthalo Blue Green Shade Phthalo Blue Copper Phthalocyanine PB15 74160 Synthetic Organic I Yes *** 6 A 0.33P 2.46 3.94

120 Primary Cyan (Mixture) Phthalo Blue / Phthalo Green Copper Phthalocyanine / Chlorinated Copper PB15 / PG7 74160 / Synthetic Organic I Yes *** 4 B 9.75PB 2.44 2.50
Phthalocyanine 74260

134 Prussian Blue Hue (Mixture) Ultramarine Blue / Phthalo Blue Sodium Alumino-Sulphosilicates / Copper PB29 / PB15 / 77007 / Synthetic Organic / I Yes *** 10 A 9.42PB 2.40 1.58
/ Mars Black Phthalocyanine / Synthetic Black Iron Oxide PBk11 74160 / Synthetic Inorganic
77499

127 Indigo Hue (Mixture) Phthalo Blue / Quinacridone Copper Phthalocyanine / Quinacridone Violet B / PB15 / PV19 74160 / Synthetic Organic / I Yes *** 10 B 8.00PB 2.40 0.66
Violet / Carbon Black Amorphous Carbon (DL) / PBk7 73900 / Natural Inorganic
77266

111 Coeruleum Cerulean Blue Cobalt Stannate PB35 77368 Synthetic Inorganic I Yes **** 7 B 3.94PB 4.74 9.16

160 Cobalt Chromite Blue Red Cobalt Chromite Blue Red Cobalt Chromite PB36 77343 Synthetic Inorganic I Yes **** 11 D 0.97PB 3.83 6.40
Shade Shade

161 Cobalt Chromite Blue Cobalt Chromite Blue Green Cobalt Chromite PB36 77343 Synthetic Inorganic I Yes **** 11 D 8.53B 3.51 5.10
Green Shade Shade

121 Manganese Blue Hue Lithopone / Phthalo Blue Zinc Sulphide / Copper Phthalocyanine PW5 / PB15 77115 / Synthetic Inorganic / No *** 11 B 0.83PB 5.40 8.38
(Mixture) 74160 Synthetic Organic

106 Azure Blue (Mixture) Phthalo Blue / Phthalo Green / Copper Phthalocyanine / Chlorinated Copper PB15 / PG7 / 74160 / Synthetic Organic / No *** 10 A 6.47B 5.29 7.82
Lithopone Phthalocyanine / Zinc Sulphide PW5 74260 / Synthetic Inorganic
77115

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 SPECIFICATIONS

Values- Value
Conforms
Chemical
Common

CI Name
Colour #

fastness
Number

Chroma
Opacity

Munsell

Munsell
D-5098

Values-

Values-
Colour

Munsell
ASTM

Series
Name

Name

Light-
Class

Class

Hue
CI
153 Cobalt Turquoise Hue Phthalo Blue / Phthalo Green / Copper Phthalocyanine / Chlorinated Copper PB15 / PG7 / 74160 / Synthetic Organic / No *** 9 A 2.53B 4.22 5.78
(Mixture) Lithopone Phthalocyanine / Zinc Sulphide PW5 74260 / Synthetic Inorganic
77115

323 Cobalt Chromite Green Cobalt Chromite Green Cobalt Chromite PB36 77343 Synthetic Inorganic I Yes **** 11 B 5.72BG 4.37 5.42
NT
154 Phthalo Turquoise (Mixture) Phthalo Blue / Phthalo Green Copper Phthalocyanine / Chlorinated Copper PB15 / PG7 74160 / Synthetic Organic I Yes *** 8 A 7.42B 2.54 1.34 ES
TP
IG
ME E
ME
NT
UR PIG
Phthalocyanine 74260 PURE
ST

361 Phthalo Green Phthalo Green Chlorinated Copper Phthalocyanine PG7 74260 Synthetic Organic I Yes *** 6 A 7.28BG 2.51 1.08

352 Hooker's Green (Mixture) Phthalo Green / Red Iron Oxide Chlorinated Copper Phthalocyanine / Synthetic PG7 / PR101 74260 / Synthetic Organic I Yes *** 8 A 1.22BG 2.67 0.58
Red Iron Oxide 77491

379 Terre Verte Hue (Mixture) Raw Umber / Yellow Iron Oxide Natural Iron Oxide Containing Manganese / PBr7 / PY42 77492 / Natural Inorganic / I Yes *** 9 A 7.11GY 3.17 1.44
/ Phthalo Green Synthetic Hydrated Iron Oxide / Chlorinated / PG7 77492 / Synthetic Organic
Copper Phthalocyanine 74260

375 Sap Green (Mixture) Arylide Yellow GX / Phthalo Arylide Yellow / Chlorinated Copper PY73 / PG7 / 11738 / Synthetic Organic I Yes *** 8 A 7.56GY 3.26 3.20
Green / Red Iron Oxide Phthalocyanine / Synthetic Red Iron Oxide PR101 74260 /
77491

371 Rowney Emerald (Mixture) Titanium White / Phthalo Green Titanium Dioxide / Chlorinated Copper PW6 / PG7 / 77891 / Synthetic Inorganic / II Yes *** 11 B 4.58G 5.46 10.18
/ Arylide Yellow 10G Phthalocyanine / Arylide Yellow PY3 74260 / Synthetic Organic
11710

367 Opaque Oxide Of Chromium Oxide Green Anhydrous Chromium Sesquioxide PG17 77288 Synthetic Inorganic I Yes **** 12 A 7.56GY 4.60 4.84
Chromium (Chromium
Oxide Green )

368 Pale Olive Green (Mixture) Phthalo Green / Nickel Dioxine Chlorinated Copper Phthalocyanine / Dioxine PG7 / PY153 74260 / N/A Synthetic Organic I Yes *** 7 B 8.94Y 5.37 9.66
Yellow Yellow Nickel Complex

388 Yellow Green (Mixture) Arylide Yellow 5GX / Titanium Arylide Yellow / Titanium Dioxide / Anhydrous PY74 (LF) / 11741 / Synthetic Organic / I Yes *** 10 B 9.64Y 6.57 10.92
White / Chromium Oxide Green Chromium Sequioxide PW6 / PG17 77891 / Synthetic Inorganic
77288

308 Bright Green (Mixture) Phthalo Green / Arylide Yellow Chlorinated and Brominated Phthalocyanine / PG36 / PY3 74265 / Synthetic Organic II Yes *** 5 B 6.72GY 6.56 15.92
10G Arylide Yellow 11710

024 Buff Titanium (Unbleached Titanium White Titanium Dioxide PW6 77891 Synthetic Inorganic I Yes *** 10 A 3.58Y 7.83 3.50
Titanium White)

663 Yellow Ochre (Yellow Iron Yellow Iron Oxide Synthetic Hydrated Iron Oxide PY42 77492 Synthetic Inorganic I Yes **** 7 A 0.33Y 6.01 9.44
Oxide)

667 Raw Sienna (Mixture) Yellow Iron Oxide / Red Iron Synthetic Hydrated Iron Oxide / Synthetic Red PY42 / PR101 / 77492 / Synthetic Inorganic I Yes **** 7 A 6.94YR 5.06 7.52
Oxide / Bone Black Iron Oxide / Amorphous Carbon Produced By PBk9 77491 / / Synthetic Organic /
Charring Animal Bones 77267 Natural Inorganic

641 Golden Ochre (Mixture) Nickel Dioxine Yellow / Dioxine Yellow Nickel Complex / Synthetic Iron PY153 / PR101 N/A / 77491 Synthetic Organic I Yes *** 3 B 5.78YR 5.95 13.72
Venetian Red Oxide (Yellowish Hue)

578 Flesh Tint (Mixture) Yellow Iron Oxide / Indian Red / Synthetic Hydrated Iron Oxide / Synthetic Red PY42 / PR101 77492 / Synthetic Inorganic / I Yes *** 11 A 4.11YR 6.64 5.54
Titanium White Iron Oxide (Bluish Hue) / Titanium Dioxide / PW6 77491 / Synthetic Organic
77891

527 Light Red Oxide Light Red Oxide Synthetic Red Iron Oxide (Yellowish Hue) PR101 77491 Synthetic Inorganic I Yes **** 10 A 0.08YR 3.84 6.60

519 Rich Transparent Red Red Iron Oxide Synthetic Red Iron Oxide PR101 77491 Synthetic Inorganic I Yes **** 4 A 9.33R 3.31 3.42
Oxide (Red Iron Oxide)

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 SPECIFICATIONS

Values- Value
Conforms
Chemical
Common

CI Name
Colour #

fastness
Number

Chroma
Opacity

Munsell

Munsell
D-5098

Values-

Values-
Colour

Munsell
ASTM

Series
Name

Name

Light-
Class

Class

Hue
CI
221 Burnt Sienna (Mixture) Red Iron Oxide / Quinacridone Synthetic Red Iron Oxide / Quinacridone / PR101 / PR206 77491 / N/A Synthetic Inorganic I Yes **** 7 A 8.86R 3.17 3.22
Burnt Orange / Bone Black Amorphous Carbon Produced By Charring / PBk 9 / 77267 / Synthetic Organic /
Animal Bones Natural Inorganic

583 Venetian Red Venetian Red Synthetic Iron Oxide (Yellowish Hue) PR101 77491 Synthetic Inorganic I Yes **** 9 A 6.92R 3.35 5.88
NT
216 Quinacridone Burnt Orange Quinacridone Burnt Orange Quinacridone PR206 N/A Synthetic Organic I Yes *** 7 C 5.00R 2.74 3.26 ES
TP
IG
ME E
ME
NT
UR PIG
ST
URE

223 Burnt Umber Burnt Umber Calcined Natural Iron Oxide Containing PBr7 77492 Natural Inorganic I Yes **** 7 A 2.42YR 2.74 1.04
P

Manganese

264 Vandyke Brown Hue Red Iron Oxide / Bone Black Synthetic Red Iron Oxide / Amorphous Carbon PR101 / PBk9 77491 / Synthetic Inorganic / I Yes **** 11 A 9.58Y 2.64 0.12
(Mixture) Produced By Charring Animal Bones 77267 Natural Inorganic

247 Raw Umber Raw Umber Natural Iron Oxide Containing Manganese PBr7 77492 Natural Inorganic I Yes **** 7 B 0.19Y 2.94 0.88

064 Middle Grey (Mixture) Titanium White / Carbon Black Titanium Dioxide / Nearly Pure Amorphous PW6 / PBk7 / 77891 / Synthetic Inorganic / I Yes *** 12 A 5.64Y 4.90 0.78
/ Raw Umber Carbon / Natural Iron Oxide Containing PBr7 77266 / Natural Inorganic
Manganese 77492

065 Payne's Grey (Mixture) Ultramarine Blue / Mars Black Sodium Alumino-Sulphosilicates / Synthetic PB29 / PBk11 77007 / Synthetic Inorganic I Yes *** 11 A 1.67PB 2.47 0.18
Black Iron Oxide 77499

034 Ivory Black Bone Black Amorphous Carbon Produced By Charring PBk9 77267 Natural Inorganic I Yes **** 11 A 6.89B 2.36 0.20
Animal Bones

035 Carbon Black Carbon Black Nearly Pure Amorphous Carbon PBk7 77492 Natural Inorganic I Yes **** 12 A 5.06B 2.51 0.24

036 Mars Black Mars Black Synthetic Black Iron Oxide PBk11 77499 Synthetic Inorganic I Yes **** 12 A 3.25BG 2.52 0.02

009 Titanium White Titanium White Titanium Dioxide PW6 77891 Synthetic Inorganic I Yes *** 11 A 8.53Y 9.74 0.34

001 Zinc White Lithopone Zinc Sulphide PW5 77115 Synthetic Inorganic No *** 9 A 5.92Y 9.69 0.50

717 Metallic White (Imit) Titanium Dioxide Coated Mica Titanium Dioxide Coated Mica PW6 77891 Synthetic Inorganic I Yes *** 4 B 5.36Y 9.36 0.90
(Mixture)

702 Silver (Imit) (Mixture) Titanium Dioxide Coated Mica / Titanium Dioxide Coated Mica /Nearly Pure PW6 / PBk7 / 77891 / Synthetic Inorganic / I Yes *** 6 D 1.31BG 8.59 0.48
Carbon Black / Phthalo Blue Amorphous Carbon/ Copper Phthalocyanine PB15 77492 / Synthetic Organic
74160

703 Pewter (Imit) (Mixture) Titanium Dioxide Coated Mica / Titanium Dioxide Coated Mica /Nearly Pure PW6 / PBk7 / 77891 / Synthetic Inorganic / I Yes *** 7 D 0.78B 7.67 1.64
Carbon Black/ Phthalo Blue Amorphous Carbon/ Copper Phthalocyanine PB15 77492 / Synthetic Organic
74160

708 Pale Gold (Imit) (Mixture) Titanium Dioxide Coated Mica Titanium Dioxide Coated Mica/ Synthetic Red PW6 / PR101 / 77891 / Synthetic Inorganic / I Yes *** 5 C 2.44Y 7.47 10.36
/ Red Iron Oxide / Diarylide Iron Oxide/Diarylide Yellow PY83 77491 / Synthetic Organic
Yellow HR70 21108

707 Rich Gold (Imit) (Mixture) Titanium Dioxide Coated Mica Titanium Dioxide Coated Mica/ Synthetic Red PW6 / PR101 / 77891 / Synthetic Inorganic / I Yes *** 6 C 0.50Y 6.70 9.38
/ Red Iron Oxide / Diarylide Iron Oxide/Diarylide Yellow/Quinacridone PY83 / PO49 77491 / Synthetic Organic
Yellow HR70 / Quinacridone 21108/

704 Bronze (Imit) (Mixture) Coated Mica / Red Iron Oxide Titanium Dioxide Coated Mica/ Synthetic Red PR101 77491 Synthetic Inorganic I Yes *** 7 C 7.36YR 6.92 6.06
Iron Oxide

230 Copper (Imit) (Mixture) Coated Mica / Red Iron Oxide Titanium Dioxide Coated Mica/ Synthetic Red PR101 / PO49 77491 / Synthetic Inorganic / I Yes *** 7 A 2.28YR 5.82 8.40
Iron Oxide 73900 / Synthetic Organic
73920

716 Metallic Black (Imit) Carbon Black Coated Mica Titanium Dioxide Coated Mica/Nearly Pure PW6 /PBk7 77891 / Synthetic Inorganic / I Yes *** 10 B 2.25PB 2.86 0.40
(Mixture) Amorphous Carbon 77492 Natural Inorganic

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 Item code: 984200125

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