PURE

BRILLIANCE

AN ACRYLIC RANGE WITH

PURE BRILLIANCE
After significant development and research, we are proud
to present the brightest ever range of Winsor & Newton
Artists Acrylic. By combining our world-beating colour
making experience with the latest developments in resin
technology, we have taken brilliance to a new level.
Winsor & Newton Artists Acrylic colours are unrivalled in their richness,
intensity and depth of colour. And thats not all. Not only are our colours
brilliant when wet but they remain as bright when dry so no colour shift or
darkening of tone. What you see is what you get.
Working with artists around the world confirmed that above all else, acrylic
artists want the brightest, most vivid colours that do not change as they dry.
Our new range represents a significant breakthrough in achieving this and
much more.

THE NEW RANGE OFFERS:

Unrivalled brilliance and depth of colour
No colour shift from wet colour to dry colour
The introduction of new unique pigments to
professional acrylics
Longer open time (working time)
A complimentary range of mediums to
maintain the unique qualities.

PAGE 01

Adebanji Alades studio

Popular and practical

Extremely versatile, water-mixable and fast drying, acrylics have grown in
popularity ever since they were introduced in the 1950s. Their quality has
steadily improved and they can be used easily and with confidence by all levels
of artist.

A GOOD ACRYLIC RANGE SHOULD OFFER:

Clean, bright and strong colours
Individual formulations for each colour, to bring out the
best in each pigment
Permanence
Winsor & Newton Artists Acrylic more than meets all these criteria,
delivering brilliant, clean colours. This results from high pigmentation levels
within the colour, the high proportion of single pigment colours within the
range and the in-depth study of resin technology by our chemists to ensure
no colour shift from wet to dry.
Add to this a wide and balanced spectrum of 80 colours using unique
pigments, a luxuriously thick and buttery consistency, excellent permanence
and longer working time and it becomes clear why Winsor & Newton Artists
Acrylic represents the most significant breakthrough for acrylic painters.
PAGE 02

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

Winsor & Newton Artists

Acrylic is cleaner and more
vibrant than the competitor
colour which looks dark and
dull.
When painted out thinner,
Winsor & Newton Artists
Acrylic is much stronger and
more brilliant than the weak,
rather tint-like competitor
colour.

I can achieve even greater subtleties and levels of depth in

my paintings now.
NICK MALONE
PAGE 03

NO COLOUR SHIFT

WET

DRY

Until now acrylic paints have darkened in tone as they dry,

making colour matching difficult, so artists have to
remember to allow for this when mixing wet colours.
However with our new range, acrylic painters no longer
have to cope with colour shift. With Winsor & Newton
Artists Acrylic, more than any other brand, what you see is
what you get.

New clear resin

Previous resin formulation
which was more milky

Colour shift is due to the

binder changing from white
to transparent as it dries.
Winsor & Newton were the
first to introduce minimal
colour shift to acrylics.
Thanks to our expertise in
colour making and resin
technology, weve now gone
further in creating a range
with virtually no colour shift
at all - any change in colour
between wet and dry is
equal or less than the
equivalent colours in
Artists Oil Colour.
The result is a range that
allows artists to match
colours more easily from
palette to canvas and see a
painting as it will actually
look when finished.
PAGE 04

LONGER WORKING TIME

One of the major advantages of acrylic colour is that it
dries quickly, allowing artists to overpaint within minutes
and build up multiple layers during one painting session.
However, artists have told us that acrylics can dry a little too quickly,
especially when compared to oil colour, and this can restrict some painting
techniques. Having listened to this, we have formulated Winsor & Newton
Artists Acrylic to have a longer working time on the palette without
compromising the convenient drying time of acrylics.
The working time of Winsor & Newton Artists Acrylics is now 20% more
than our previous range of Finity Artists Acrylics and in tests with artists,
weve found that this is just the right amount of time for working with all
acrylic painting techniques.

As I work on big
expressive skies,
I really benefit from
colours that stay wet
longer, giving me
extra blending time.
BECKIE REED

PAGE 05

UNIQUE NEW PIGMENTS

We have spent over 175 years developing the widest,

brightest and most permanent colours for artists.
Winsor & Newton Artists Acrylic is no exception. This
range has 80 colours spread across the widest palette,
using single artists pigments wherever possible. Other
acrylic ranges exist with a larger number of colours but
these include many mixtures of pigments which could be
mixed by the artist.
Our colours are chosen according to masstone (colour from tube),
undertone (bias of colour when in a thin film), strength and relative
opacity. The resultant colour spectrum ensures that artists can obtain the
palette which best suits their work.

All 80 colours in
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.

Other new inorganic colours

Inorganics include all the traditional pigments; cadmiums, cobalts, titanium,
ultramarine and are generally based on metals. It is unusual for new inorganic
pigments to become available as most of the raw materials have already been
discovered. We have introduced Potters Pink - a semi-opaque, low tinting
strength, single pigment colour - and Ultramarine Violet - a blue-shade violet to Winsor & Newton Artists Acrylic.

New Earth colours

Umbers, Siennas and Ochres are the oldest pigments known to man. Cleaner and
brighter than mixtures made from primaries, earths are excellent for toning in
shadows and underpainting. Among our new earths: Light Red, Raw Umber Light,
Violet Iron Oxide and Yellow Iron Oxide.

New Perylene colours

This family group has been expanded and we are delighted to be able to
introduce three totally unique colours: Perylene Green, Perylene Maroon and
Perylene Violet.

Other new synthetic organic colours

Modern organic pigments offer lightfast colours of relative transparency over a
broad area of the spectrum. Organics are excellent for bright, clean colour
mixtures and are favoured by painters for bright flowers and abstract images.
We have further expanded the spectrum available by introducing the following:
Green Gold, Pyrrole Orange, Azo Yellow Deep and Nickel Azo Yellow.

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

MORE PIGMENT INFORMATION

Pigment purity
We only use the purest
and highest grades of
pigments, formulated
individually to ensure
the cleanest, most
brilliant colours,
which produce the
best colour mixes.

Single pigments
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.

The most important thing

for my style of painting is to
use good quality, strong
pigments.
KIM ONEIL

PAGE 09

I love colours that have

vibrancy, strength of colour
and retain their brilliance.
CELIA ATKINS

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.

Highest pigmentation levels

The quantity of pigment used is one of the most important indicators of the
quality of an artists acrylic. Each individual formulation uses the maximum
amount of pigment possible without extenders, to produce a colour with the
broadest handling properties.
PAGE 10

OTHER CHARACTERISTICS & BENEFITS

The Experience of colour making

World beating colour making is not just about finding
good quality ingredients. At Winsor & Newton, that is
only the beginning. Acrylic paint formulation is one of
the most complicated of colour technologies and
involves the careful selection and combination of exactly
the right raw materials, in exactly the right proportions.
The best raw materials and the best formulations are still nothing without
our tailor-made mills and equipment which, together with our absolute
control through the colour-making process, ensures each ingredient is
developed to its full potential. No colour passes our quality control testing
unless its perfect.
There is no substitute for experience in colour making. We use thousands
of raw materials across our colour ranges, and knowing how best to
combine them to meet the needs of the most demanding artists in the
world requires the combined knowledge of chemists who have spent their
working lives making colour worthy of our name.

Permanence and lightfastness

The Winsor & Newton classification of permanence is the most stringent in the
art materials industry, measuring not only lightfastness, but also film stability of
the finished colour and chemical stability. All 80 colours within the Winsor &
Newton Artists Acrylic
range are classified as
permanent for artists use,
earning an AA or A rating.
Using permanent colours
will ensure that your
artwork will remain as you
intended for generations.
Testing for lightfastness at Winsor & Newton
PAGE 11

Durability of paint film

Winsor & 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 power

Winsor & Newton Artists Acrylic includes
a good mix of transparent and opaque
colours offering good levels of opacity
and covering power. Transparent colours
give clean colour mixing, while opaque
colours offer the greatest covering power
the ability to cover previous layers or
how far it spreads on the canvas.
Winsor & Newton Artists Acrylic will
cover surfaces much quicker than other
acrylics, usually with only one coat.

Luxuriously thick and buttery

consistency
Winsor & Newton Artists Acrylic offers the smooth, thick, short, buttery
consistency preferred by most acrylic artists, with no stringiness. Colours will
retain brush strokes and palette knife marks for excellent impasto effects and
flow out smoothly with soft brushes if you prefer a smooth surface. They also
dilute gradually as water or medium is added, giving artists the maximum
control over their paint.

Satin finish with variable sheen

Overall, Winsor & Newton Artists Acrylic gives an even satin finish, identified by
artists as a vital consideration. This makes colour matching easier, maintains the
brilliance of colours and provides a more even sheen across the finished
painting. Unlike other ranges on
the market, Winsor & Newton
Artists Acrylic does not contain
Glossy, freshly
any extenders to modify the
painted colour
gloss. Therefore the natural
properties of the pigments are
allowed to show; for example
cadmiums, cobalts and earths
have a slightly lower sheen, as is
traditionally the case with oils.
Dries to an
even satin finish
PAGE 12

Recommended basic and primary palette

In addition to the spread across the spectrum, a general palette should also
have a mixture of stronger and weaker colours and variations in opacity. Here
is our recommended basic palette for 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
AYM

Phthalo Blue Red Shade

Permanent Rose

PR

PBR/S

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

Lemon Yellow
Azo Yellow Deep

PAGE 13

Phthalo Blue Green Shade

Ultramarine Blue

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

<

<

Cadmium Red Deep

Pyrrole Red + Violet Oxide

Cadmium Red Light

Pyrrole Red Light

Slt. bluer

Slt. bluer

<

Cadmium Red Medium

Pyrrole Red

Bluer

Bluer

<

Cadmium Yellow Deep

Azo Yellow Deep

Redder

Redder

<

Cadmium Yellow Light

Azo Yellow Medium

Redder

Redder

<

Cadmium Yellow Medium

Azo Yellow Medium

Greener

Greener

<

<

KEY:

< LESS THAN THE GENUINE

= EQUAL TO THE GENUINE

Published pigment information

Winsor & Newton was the first company to publish the contents of its colours
in 1892, believing in the importance of providing as much information as
possible. Today, the pigments used in Winsor & Newton Artists Acrylic are
printed on the labels and on our website.

Clear Label information

Providing good information for artists remains as important today as it was in
1892. Our label clearly shows what you need.
Series number
Opacity rating

Colour name

Product code

Permanence rating

Colour code

Real colour swatch

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

ASTM rating

Pigment content
Vehicle used

PAGE 14

WINSOR & NEWTON

ARTISTS ACRYLIC MEDIUMS
Why use Mediums?
By using the right acrylic mediums the possibilities are
boundless 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 or
drying time the Winsor & Newton Artists Acrylic Mediums range offers the
products you need. These mediums bring versatility and stability along with the
dependable quality that artists have come to expect from Winsor & Newton.

PAGE 15

MAINTAINS NO COLOUR SHIFT

A widespread problem with other acrylic mediums is that
they are milky white when wet, yet dry clear. Using these
products with Winsor & Newton Artists Acrylic colour
would cause colour shift from wet to dry.
Colour shift occurs as the medium dries from white to clear. As the milky
white medium that you have mixed with your colour dries and becomes
clear, the paint becomes more transparent and therefore darker. It isnt easy
to see how the mixture will look when dry as the colour will shift and darken
in tone as it dries, so it is necessary to do test pieces to find out what the dry
result will be.

WINSOR & NEWTON

ARTISTS ACRYLIC GLOSS MEDIUM

OTHER BRANDS OF GLOSS MEDIUM

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

NO LOSS OF COLOUR DEPTH

The majority of other mediums available to artists can
make the colour appear weaker and lighter in the wet state.
This is because they are milky white when wet and
therefore appear to dilute the colour. The colour loses its
brilliance and depth and becomes lifeless.
With Winsor & Newton Artists Acrylic Mediums you no longer need to
compromise on the unrivalled brilliance and depth of colour you get with
Winsor & Newton Artists Acrylic. Not only does the clear resin binder
prevent colour shift, it maintains the colour depth or brilliance of the colour
in the wet state. Your colours retain their clarity and purity, remaining clean,
bright and strong, so your art is vibrant and full of life.

WINSOR & NEWTON ARTISTS ACRYLIC MEDIUM

COLOUR IS BRIGHT AND CLEAN

ALTERNATIVE BRAND COLOUR APPEARS

DILUTED AND DULL

A lot of mediums are quite

milky when you use them, so
you have to compensate that
into the colour. The Winsor &
Newton range has been very
clear throughout and so youre
quite confident using it
knowing its not going to
affect your colour in any way.
NEIL DOUGLAS
PAGE 17

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

THIS SHOWS THE MEDIUM IS TRANSPARENT,

GLOSSY, QUITE SLOW DRYING AND FLUID

PAGE 18

CHARACTERISTICS AND BENEFITS

PRIMERS
It is important to prepare your painting surface with a gesso
primer. This ensures a stable and sealed surface, as well as
adding tooth. It is important to use a good quality primer
for good quality colours as the longevity of the painting
depends upon all its constituent parts.
Winsor & Newton Artists Acrylic White Gesso
This gesso is made from the highest quality acrylic resin. It has a superior
level of pigmentation to give maximum covering power, so one coat is
usually enough. However we recommend using two coats for unprimed
canvases when used with oil colour.
It is fast drying and opaque and dries to give an excellent level of tooth and a
balanced absorbency. It dries to a non-yellowing, flexible ground suitable for
acrylic, oil and alkyd painting. It can be used straight from the pot; dilution is
not recommended.

Winsor & Newton Artists Acrylic Clear Gesso

This gesso is made from unpigmented clear resin which provides excellent
tooth but dries completely clear, therefore it doesnt change the original
appearance of your ground. If you want to start your work from a coloured
ground, you can make your own tinted gesso primers by the addition of acrylic
colours. We recommend using up to 1 part Winsor & Newton Artists Acrylic
colour 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 flexible
ground suitable for acrylic, oil and alkyd painting. It is also suitable for
preparing a surface for pastel or charcoal.

WINSOR & NEWTON

ARTISTS ACRYLIC CLEAR GESSO

PAGE 19

COMPETITOR
CLEAR 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 maximum
transparency to the colour as well as enhancing colour brilliance.
This enables you to build up thin layers of highly transparent colour to
achieve luminous and glowing effects. The medium is translucent so it
ensures no colour shift from wet to dry when used with Winsor & Newton
Artists 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 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

Winsor & Newton Artists Acrylic

Gloss Medium
This medium increases the depth, transparency
and flow of the colour making it ideal for
blending or fine detail work. It can be used in
thicker layers than the Glazing Medium and
provides an even gloss finish.
This medium dries completely clear and
maintains no colour shift from wet to dry when
used with Winsor & Newton Artists Acrylic.

Winsor & Newton Artists Acrylic Gloss Gel

This medium increases the transparency, depth and gloss of the colour. Its
gel consistency is thicker than the Gloss Medium, matching the luxuriously
thick and buttery consistency of the colour. Hence when mixed with colour
the thickness of the colour is maintained, so the paint retains brush strokes
and palette knife marks for excellent impasto effects. This means you can
change the paint without compromising the feel. It dries to an even gloss
finish.
This medium dries completely clear and maintains no colour shift from wet
to dry when used with Winsor & Newton Artists Acrylic.

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.

Winsor & Newton Artists Acrylic Matt Gel

This medium decreases the gloss of the colour. Its gel consistency is
thicker than the Matt Medium, matching the luxuriously thick and buttery
consistency of the colour.
Hence when mixed with colour
the thickness of the colour is
maintained, so the paint retains
brush strokes and palette knife
marks for excellent impasto
effects. This means you can
change the paint without
compromising the feel. It dries
to give an even matt finish.
This medium contains clear
binder and matting agents
giving you no loss of colour
depth when used with Winsor &
Newton Artists Acrylic.
PAGE 21

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.

The modelling paste is brilliant for

building up thick layers in the base
of a painting. ANT GARRATT
PAGE 22

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

Professional artists know that varnishing your finished work

is 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 would
otherwise come into contact with the paint. Winsor & Newton Artists
Acrylic varnishes also contain a UV protective agent which improves
lightfastness and protects from other UV damage such as fading or colour
shifting in tone. Winsor & Newton Artists Acrylic varnishes are therefore
particularly beneficial when coming to varnish non-lightfast media, such as
digital print or gicle prints for example.
Winsor & Newton Artists Acrylic varnishes are equally suitable for use on
artwork painted in oils and
alkyds.

Its always good to

protect your work by
varnishing. The new
varnishes not only
protect the acrylic
colours and other media
that I use such as gold
leaf, but also deepen the
colours they have been
very good.
PARESH NRSHINGA

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

Winsor & Newton Artists Acrylic Varnish Remover

By removing the varnish over a painting you can remove the dirt and
pollutants trapped Winsor & Newton Artists Acrylic Varnish Remover allows
you to safely remove varnishes with no damage to your painting. It removes
Winsor & Newton Artists Acrylic Gloss, Matt and Satin Varnishes.
PAGE 24

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.

WINSOR & NEWTON ARTIST ACRYLIC MEDIUMS RANGE

This table details all products in the range, along with information to help any
artist identify the equivalent products to Winsor & Newton Artists Acrylic
Mediums, which are now discontinued.
PRODUCT
CODE

WINSOR & NEWTON

ARTISTS ACRYLIC MEDIUM

BENEFIT

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

PAGE 27

CLEAR LABEL INFORMATION

We believe in providing good information to artists.

3030934

Product name

Keine Farbvernderung von Nass nach

Trocken bei Verwendung mit Winsor &
Newton Artists Acrylic Knstleracrylfarbe
Das beste Malmittel fr Lasuren Verleiht
maximalen Glanz, Transparenz, Verlaufs- und
Flieeigenschaften Trocknet zu einem
vollkommen klaren, flexiblen, Film Mit Farbe
in beliebigem Verhltnis 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 mximo brillo,
transparencia, uniformidad y fluidez
Se seca hasta formar una pelcula flexible
y transparente Se mezcla con color en
cualquier proporcin Se puede usar solo
como barniz transparente

OPAQUE

GLAZING
MEDIUM
MAINTAINS NO COLOUR SHIFT

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

Mdium Glacis
Lasurmalmittel
Medio Veladura
Medium per Velatura
Glaceermedium

TRANSPARENT

GLOSS

MATT

FAST DRY

SLOW DRY

FLUID

THICK

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 altration entre les couleurs
mouilles et sches en utilisant avec Artists Acrylic
de Winsor & Newton Le mdium idal pour les
glacis Pour un clat, une transparence, un
talement et un arrondi maximal Permet dobtenir
un film ultra-souple compltement transparent
Peut se mlanger dans nimporte quelles
proportions avec dautres couleurs Peut sutiliser
pur comme glacis transparent
WINSOR & NEWTON and the GRIFFIN device are
trademarks. Made in France. Winsor & Newton,
London, HA3 5RH, England.

125ml

www.winsornewton.com

Bar code

Properties table

Key product performance property

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

SIZES AVAILABLE

REPLACES WINSOR & NEWTON

ACRYLIC 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 225ml 474ml

No previous equivalent product

125ml 225ml 474ml

No previous equivalent product

125ml 225ml 474ml

No previous equivalent product

125ml

No previous equivalent product

PAGE 10
28

G77934

Product code

HELPFUL HINTS & TIPS

Brushes
A variety of brushes are suitable for use with acrylics. Traditionally hog brushes
have been the most popular. However, more recently synthetic brushes such as
Winsor & Newton Artists Acrylic Galeria, Artisan and Artists Acrylic brush have
become more commonly favoured as they offer strength, resilience, spring and
control which is ideal for use with acrylics. Synthetic brushes are also good for
longer painting sessions as they wont become soggy like hog brushes. They
also rinse more easily in water.

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

Kerstin Petterssons studio

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

I Permanent for artists use

II Permanent for artists use
Where no ASTM rating is
listed, please refer to
the 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
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
~

Single pigmented colours

60ml Tubes (2320...) - All Colours

200ml Tubes (2337...) - Colours marked *
237ml Pots (2340...) - Colours marked
474ml Pots (2350...) - Colours marked
200ml tubes not available in USA
PAGE 32

B) Winsor & Newton Artists Acrylic New Colours

COLOUR
CODE

NEW COLOURS

BENEFIT

039

AZO YELLOW DEEP

Semi-opaque colour with excellent lightfastness.

Makes a good alternative to Cadmium Yellow Deep.

130

CERULEAN BLUE
CHROMIUM

Another composition of Cerulean pigment. A stronger,

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
LIGHT

Super bright turquoise, semi opaque.

294

GREEN GOLD

Bright yellow shade green a useful, strong

mixing colour.

362

LIGHT RED

A natural, single pigment earth with bright undertone.

Unique.

439

NICKEL AZO YELLOW

A transparent, red shade yellow similar to original

Gamboge resin. Wonderful for mixing particularly
greens, browns and glazing techniques.

460

PERYLENE GREEN

An exciting semi-transparent, single pigment blackgreen. Excellent in mixes without muddying. Unique.

C) Winsor & Newton Artists

Acrylic Composition and
Permanence Table
The table across the page is designed to
provide the essential information on the
colour composition and performance of
the entire Winsor & Newton Artists
Acrylic Colour range.
Colour Code Col. Code
Indicates the code number that is given to
each of the colours. This is primarily for
ease of reference for retail and catalogue
purposes and to assist you in purchasing
your materials.
Colour Name
The colour reference on the face of the
tube e.g. Burnt Umber.
Series No.
The Series No. of a colour indicates the
relative price of the colour and is
determined mainly by the cost of the
pigment. Series 1 is the least expensive and
Series 5 is the most expensive.
Permanence Perm
The permanence of a colour is defined as
its durability when laid with a brush on
paper or canvas, graded appropriately and
displayed under a glass frame in a dry room
freely exposed to ordinary daylight and an
ordinary town atmosphere. This definition
reflects the manner in which we expect to
find paintings displayed. However, for
PAGE 33

testing purposes we are also able to utilise

accelerated tests for lightfastness and
binder stability, in addition to the
information issued by our pigment
suppliers. Our ratings are therefore a
combination of the natural passage of time,
accelerated tests and pigment
manufacturers testing and development
and are the most stringent in the industry.
AA Extremely Permanent
A Permanent
B Moderately Durable
Chemical Description
This provides the chemical description of
the pigments used in each colour. This is
often useful for conservators.
Colour Index
The Colour Index International is the
standard compiled and published by both
The Society of Dyers and Colourists and the
American Association of Textile Chemists
and Colorists. The Colour Index classifies
pigments by their chemical composition.
This information will allow you to research
a specific pigments characteristics in
reference books if you wish. The individual
pigments are identified in two ways.
1) Colour Index Generic Name
Each pigment can be universally identified
by its Colour Index Generic Name. As an
example: Burnt Umber is Pigment Brown 7,
abbreviated to PBr7. Although the working
properties of Winsor & Newton colours are

COLOUR
CODE

NEW COLOURS

BENEFIT

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

POTTERS 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

737

YELLOW IRON OXIDE An opaque, higher tinting strength synthetic earth.

An opaque, higher tinting strength synthetic earth.

fully detailed in our literature, we publish

the Colour Index Generic Names of the
pigments to allow you to cross reference
the working properties in other sources if
you wish, e.g. lightfastness, opacity, toxicity,
etc. The Colour Index Generic Name is
particularly necessary to fully identify some
of the modern pigments. The disclosure of a
pigment as Naphthol Red is insufficient
because there are over a dozen different
types, differing widely in lightfastness, hue
and opacity.
2) Colour Index Number
Pigments can also be identified by their
Colour Index Number. It is considered an
additional source of information to the
Colour Index Generic Name. An example is
Burnt Umber 77491. Of these two methods
of reference, the Colour Index Generic
Name is the most commonly used.
ASTM
The ASTM abbreviation stands for the
American Society for Testing and Materials.
This organisation has set standards for the
performance of art materials including a
colours lightfastness. To measure
lightfastness using this system, colours are
reduced to a level of 40% reflectance by
the addition of Titanium White. This means
the amount of light reflected from the
colour swatch. The swatches are then
tested in both sunlight and artificially
accelerated conditions. The results allow
each colour to be rated on a scale from

I III for acrylic colour. In this system I is

the highest lightfastness available though
both ratings I and II are considered
permanent for artists use. Where no ASTM
rating is given for a Winsor & Newton
colour this usually indicates that ASTM has
not yet tested the pigment. It does not
indicate a lack of lightfastness. In these
cases it is recommended that the
Winsor & Newton permanence rating,
which is the rating system evaluating
colour on many aspects including
lightfastness, should be used to indicate a
colours ability to resist fading.
Transparency/Opacity T/O
The transparent colours are marked ,
and the semi-transparent colours .
The opaque colours are marked
and
the semi-opaque colours . Transparency
however is relative and the ratings are
provided as a guide only. In addition, any
thin film of colour will appear more
transparent than a thicker one.
Health and Safety
Artists colours are chemical preparations
and as such should be used and handled
correctly. Winsor & Newton products are
labelled according to current legislation in
the market in which they are sold. Please
read the product labels and for further
information visit
www.winsornewton.com

PAGE 34

C) Winsor & Newton Artists Acrylic Composition and Permanence Table

Col.
Code

Colour
Name

Series

Perm

Chemical
Description

Colour Colour
index index
name number

ASTM

014

Antique Gold

Titanium coated mica/iron oxide

039

Azo Yellow Deep

Arylide yellow RN

PY65

11740

019

Azo Yellow Medium

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

Synthetic iron oxide

PR101

77491

076

Burnt Umber

AA

Natural iron oxide

PBr7

77491

086

Cadmium Lemon

Cadmium zinc sulphide

PY35

77205

089

Cadmium Orange

3 (4)*

Cadmium sulphoselenide

PO20

77202

097

Cadmium Red Deep

3 (4)*

Cadmium sulphoselenide

PR108

77202

100

Cadmium Red Light

3 (4)*

Cadmium sulphoselenide

PR108

77202

099

Cadmium Red Medium

3 (4)*

Cadmium sulphoselenide

PR108

77202

111

Cadmium Yellow Deep

Cadmium zinc sulphide

Cadmium sulphoselenide

PY35
PO20

77205
77202

113

Cadmium Yellow Light

Cadmium zinc sulphide

PY35

77205

116

Cadmium Yellow Medium

Cadmium zinc sulphide

PY35

77205

137

Cerulean Blue

AA

Cobalt stannate

PB35

77368

130

Cerulean Blue Chromium

AA

Cobalt chromite

PB36

77343

139

Cerulean Blue Hue

Titanium dioxide
Ultramarine
Chlorinated copper phthalocyanine

PW6
PB29
PG7

77891
77007
74260

162

Chromium Oxide Green

AA

Chromium oxide

PG17

77288

178

Cobalt Blue

AA

Cobalt aluminate

PB28

77346

180

Cobalt Blue Deep

AA

Cobalt silicate

PB73

77364

184

Cobalt Green

AA

Cobalt titanate

PG50

77377

185

Cobalt Green Deep

AA

Cobalt chromite

PG26

77344

190

Cobalt Turquoise

AA

Cobalt chromite

PB36

77343

191

Cobalt Turquoise Light

AA

Cobalt titanate

PG50

77377

217

Davys Gray

Synthetic iron oxide

Hydrated aluminium silicate

PY42,
PBk19

77492
77017

229

Dioxazine Purple

Carbazole dioxazine

PV23

51319

II

283

Gold

Titanium coated mica/iron oxide

285

Gold Ochre

AA

Synthetic iron oxide

PY42

77492

292

Graphite Gray

AA

Graphite

Pbk10

77265

294

Green Gold

Azomethine copper complex

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

Natural iron oxide

PR102

77491

386

Mars Black

AA

Synthetic iron oxide

PBk11

77499

415

Mixing White

AA

Titanium dioxide

PW6

77891

421

Naphthol Red Light

Naphthol AS-D

PR112

12370

II

423

Naphthol Red Medium

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

Naples Yellow Deep

AA

Chromium titanate

PBr24

77310

Nickel Azo Yellow

Nickel azo complex

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

Permanent Alizarin Crimson

Anthraquinone
Dioxazine

PR177
PV23

65300
51319

502

Permanent Rose

Quinacridone

PV19

46500

503

Permanent Sap Green

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

Phthalo Blue Green Shade

Copper phthalocyanine

PB15:3

74160

514

Phthalo Blue Red Shade

Copper phthalocyanine

PB15:1

74160

522

Phthalo Green Blue Shade

Chlorinated copper phthalocyanine

PG7

74260

521

Phthalo Green Yellow Shade

Brominated copper phthalocyanine

PG36

74265

526

Phthalo Turquoise

Metal free phthalocyanine

PB16

74100

537

Potters Pink

AA

Calcium, tin, silica, chromium oxide

PR233

77301

519

Pyrrole Orange

Pyrrole

PO73

534

Pyrrole Red

Pyrrole

PR254

56110

536

Pyrrole Red Light

Pyrrole

PR255

561050

549

Quinacridone Burnt Orange

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

Synthetic iron oxides

PY42
PR101

77492
77491

554

Raw Umber

AA

Natural iron oxide

PBr7

77492

557

Raw Umber Light

AA

Natural iron oxide

PBr7

77492

560

Red Iron Oxide

AA

Synthetic iron oxide

PR101

77491

573

Renaissance Gold

Titanium coated mica/iron oxide

617

Silver

624

Silver No.2

644

Titanium White

AA

Titanium dioxide

PW6

77891

664

Ultramarine Blue

Complex sodium alumino-silicate

containing sulphur

PB29

77007

672

Ultramarine Violet

Complex sodium alumino-silicate

containing sulphur

PV15

77007

691

Violet Iron Oxide

AA

Synthetic iron oxide

PR101

77491

737

Yellow Iron Oxide

AA

Synthetic iron oxide

PY42

77492

744

Yellow Ochre

AA

Natural iron oxide

PY43

77492

T/O

* Series numbers in brackets denote USA rating

PAGE 36

D) What to use now

This table will help any artist needing to identify equivalent colours to
the discontinued Winsor & Newton Finity Artists Acrylic Colours. Any changes
are in brackets after the new colour name. Two or more colours listed indicate
a mixture will be required.
Old colours marked in italics have been discontinued.

Finity Artists Acrylic

WINSOR & NEWTON ARTISTS ACRYLIC COLOUR

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

Davys Gray

Davys 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

Hookers Green

Hookers 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

PAGE 37

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)

Paynes Gray

Paynes 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,

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,

Titanium White

Titanium White (stronger)

Transparent Yellow

Nickel Azo Yellow

Ultramarine Blue

Ultramarine Blue

Yellow Ochre

Yellow Ochre (stronger)

brighter undertone)

more opaque)

PAGE 38

WWW.WINSORNEWTON.COM/ACRYLICS

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

www.winsornewton.com
Winsor & Newton 2010

7543512