A strong blue. Mixed with the phtalo green, it produces a luminous range of turquoise.
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Very beautiful green, turning blue. When mixed with phthalo blue, it gives a very nice range of turquoises. With the yellows to obtain a very wide range of greens. With the earths of earthy greens and with the burnt umber a dark green.
Very beautiful green tone less dynamic than phthalo green. The emerald green is bluish.
The bluest of the blues. This blue becomes even brighter when mixed with whites. Very useful for mixing.
Very beautiful earthy green and mono pigment.
This splendid greenish blue is used to create very beautiful range of greens.
This blue is very drier-reactive, accelerating the drying power of the colours with which it is mixed. Tint power is extremely strong.
Magnificent bright green with an underlying shade of yellow.
A splendid blue with a rich purple blue undertone.
A deep and intense blue with a touch of red.
Very beautiful blue with a shade having an underlying green tone. Very bright and frank.
With phthalo green it forms very beautiful turquoise. With the yellows of the beautiful greens. With the ocher of the more muted greens and with the pink or the purple Isaro a beautiful range of mauves.
This deep and intense reddish brown has a high drying power. So, is excellent for making preliminary sketches with a very diluated first coat.
Magnificent blue with an underlying shade of mauve. Very useful for composing magnificent mauves, especially with quinacridones like Isaro pink for example.
With black or burnt sienna, it makes it possible to obtain very beautiful Payne grays and with burnt umber to create a beautiful indigo.
This yellowish-brown is darker than yellow ochre but has the same undertone. This natural earth produces outstanding transparency effect.
Very beautiful earth turning red. This color is, in my opinion, essential on the palette as it is rich in mixture. With blues, for example, burnt Sienna is a nice range of grays. With the reds, she creates "brick red" colors.
Real cobalt blue with a great purity of tone. Bright and close to primary blue. We can define it as the most blue of blues because it does not draw on green (like Prussian blue) or red (like overseas).
This natural iron oxide is a fine rather cold brown with a greenish undertone.
Close shade of natural indigo.
This deep and intense reddish brown has a high drying power. So, is excellent for making preliminary sketches with a very diluated first coat.
This vivid and strong bluish greens a good staple green to produce a large range of greens.
Dark blue with an underlying green hue. This blue is very useful for creating greens, it is actually the blue of greens.
It is a dark blue, which corresponds to a dark reddish blue. It is ideal for nuancing cool colors like violets and blues by giving them more depth. Also useful for forming greens, especially with chartreuse yellow.
Very beautiful light blue, which pulls slightly towards green. Particularly suitable for working the sky.
This earthy green is very Opaque.Â
Mixed with yellows or earths (ochre, umber, sienna), it produces a usefull range of greens for the landscapists
This colour is more Transparent and less dull than chromium oxide green. Emerald green produces splendidly luminous green when mixed with cadmium yellow. Landscapists and some portraitists prefer it because his undertone is less vivid than the phtalo green.
A reddish brown more Opaque and intense than the burnt umber
A intense cold brown with a violet shade.
Very beautiful brown, slightly red. For watercolorists looking for uniform washes, March Brown may be preferred over natural soils.
Very beautiful light blue, which pulls slightly towards green. Particularly suitable for working the sky.
It is a dark blue, which corresponds to a dark reddish blue. It is ideal for nuancing cool colors like violets and blues by giving them more depth. Also useful for forming greens, especially with chartreuse yellow.
Dark blue with an underlying green hue. This blue is very useful for creating greens, it is actually the blue of greens.
Real cobalt blue with a great purity of tone. Bright and close to primary blue. We can define it as the most blue of blues because it does not draw on green (like Prussian blue) or red (like overseas).
Magnificent blue with an underlying shade of mauve. Very useful for composing magnificent mauves, especially with quinacridones like Isaro pink for example.
With black or burnt sienna, it makes it possible to obtain very beautiful Payne grays and with burnt umber to create a beautiful indigo.