-20% on Hahnemühle Universal Block Concept

The real classic in our line of pencils, the “Castell 9000”, has been being made by Faber-Castell since 1905. This pencil was, however, not the first Faber-Castell product, as the company has been manufacturing pencils since 1761. Nowadays, most of their pencils are produced in Brazil where Faber-Castell runs the largest coloured pencil factory in the world, which includes having their own tree nursery for reforestation.

The Artist Set contains a selection of 12 pencils with diverse hardness grades that are more suitable for artistic drawing.

More than 25 years old and over 100 million sold – the Tikky from Rotring is the true classic among mechanical pencils. There is now a Tilly ll version with a newly reworked design which has a softer grip and an improved fine-lead mechanism. The push button and the clip are made out of stainless steel and therefore hypoallergenic and resistant to lead slippage.

Because it has a retractable lead guide tube, it is safe to carry it around in any shirt or jacket pocket. The slip-proof rubber grip zone means that when writing or drawing the pen sits securely in your hand.

Actually the 8971 is really just a fat pencil but it seems that many artists or writers like the feel of such a hefty, „leaden“ lump in the hand. Sharpening this utensil really requires the purchase or theft of a SPECIAL SHARPEN FOR THICK PENCILS!

The pencils in the set from Faber-Castell revolutionize classic graphite drawing. Their soft and particularly matte stroke ensures reduced light reflection on the paper. This means that all the details of the drawing are always optimally visible, regardless of the lighting conditions of the surroundings or the angle of view of the observer. Digitizing your work by photographing or scanning is also easier. The high tonal value density of the pencils enables you to create high-contrast variations in order to achieve the greatest possible depth effect. The leads of the pencils are extra break-resistant so that you can throw yourself fully into your work.

In terms of environmental protection, the set relies on wood from sustainable forestry, environmentally friendly water-based paint and climate-neutral production.

Sketching and watercoloring with small equipment for on the go: The two artist sets from the Graphite Line by Caran d’Ache contain water-soluble graphite pencils in different degrees of hardness, colored, also water-soluble RGB graphite pencils and a water tank brush.

You can use the water-soluble pencils for sketching when working with watercolor paints, but also without additional water colors for delicate watercolor drawings in shades of gray. A special feature are the so-called RGB graphite pencils, which are named "Red-Green-Blue" after the color coding: When used dry, they produce a normal pencil line. If you paint the gray paint application with water, you will get finely watercolor shades of carmine red (575), phthalocyanine green (719) or Prussian blue (159).

The 13-part multi-technology set is supplemented by 3 RGB cubes, which behave in the same color as the RGB graphite pencils. The square cubes made of pure graphite, however, expand your options because you can also use the long side for a large-area paint application. With two watercolor colored pencils in ocher yellow and blood red for stronger color accents, water tank brush, sharpener and eraser, you then have a complete set of painting and drawing in a sturdy metal case with you on your painting excursions.

Glossy or matte? Both, of course! The 9000 & Pitt Graphite Matt set from Faber-Castell gives you the choice:

The eight Pitt Graphite Matt graphite pencils impress with an extra-matte smear that ensures reduced light reflection on the paper. Regardless of the ambient lighting and the viewing angle of the observer, all details are optimally visible at all times. You can also easily photograph and scan your drawing. The tonal value density is high for maximum depth effect. The pencils are available in HB, 2B, 4B, 6B, 8B, 10B, 12B and 14B and are ideal for monochrome graphite work.

For technical and artistic drawings with a classic shimmering stroke, the eight Castell 9000 pencils are at your disposal. These classics have been part of the brand's range since 1905. They are largely manufactured in Brazil in the world's largest colored pencil factory with its own tree nursery for reforestation. They are part of the set for varied work in hardness grades B, 2B, 3B, 4B, 5B, 6B, 7B and 8B.

Both variants are produced in a climate-neutral way. The barrels, treated with water-based varnish, are made of wood from sustainable forestry. The leads are break-proof. In addition to a paper wiper, a classic eraser and a kneaded eraser, a metal sharpener completes the scope of delivery.

With the liquid charcoal from Schmincke you bring your works to paper with the brush in the future. The paint has a gouache-like consistency. It consists of natural pigments, which are obtained by charring fruit seeds from the territory of the EU. Gum arabic is used as a binder.

The liquid charcoal allows you to work cleanly and without dust. You can dilute it with water to achieve different nuances and structures. Depending on the substrate and your paint application, the coal remains smudgeable and can be reabsorbed with water. In any case, we recommend that you test beforehand how your painting surface and the liquid charcoal behave in relation to each other.

Liquid charcoal is the ideal choice if you want to fill larger areas. You can combine it with classic charcoal or use it as a thin undercoat for oil paints. In contrast to the classic charcoal variant, the pigments have a better substrate adhesion, so they do not contaminate the oil paints as much.

Important: Since the liquid charcoal contains natural pigments, there may be minimal color variations in each batch.

With the three-part set from Schmincke, charcoal drawing becomes painting: The tubes of the trio contain pigments obtained by charring fruit pits and gum arabic as a binder. Thanks to its gouache-like consistency, this liquid charcoal allows you to work cleanly and dust-free. You can dilute it with water as needed to create different shades and textures or to fill large areas. Depending on the surface texture of the substrate, the paint remains smudgeable and you can pick it up again with water.

Since the pigments of the liquid charcoal have a good adhesion to the surface, you can use it ideally as an underpainting for oil paintings. Of course, there is nothing to stop you from combining the paint with classic charcoal.

Important: Since the liquid charcoal contains natural pigments, there may be minimal color variations in each batch.

Coates willow charcoal is known as the world’s finest drawing charcoal. Made from willow rods, it extremely high quality is able to satisfy even the most demanding artist. It is soft and produces deep black hues – it cannot be erased. This natural charcoal has been being produced from willow trees by the English family of Coates for over 40 years. The trees are grown on the high plateau of Somerset. Willow is known to grow very quickly, the rods reaching a length of up to 2.50 metres in one growing season (May to October). The fast growth is responsible for the soft willow wood and therefore for the soft texture of the drawing charcoal itself. Processing the rods into charcoal takes about 3 days and involves a number of separate steps.

Jaxell artist-quality pastel crayons are distinguished by their saturating colour application, high intensity colours and excellent lightfastness. They are not as hard as other carré crayons, can be smudged or blurred in finely nuanced ways and be used with watercolour techniques. The square shape allows you to cover large areas with colour but also allows you to do precise drawing with the edge as well. Jaxell crayons can be used in combination with aquarelle, red clay (ruddle), charcoal and acrylic paints. In order to protect work done with Jaxell crayons and make it non-tacky you can spray it with a fixative spray.

Pastels (chalks) are actually pure, fine colour-powder, a consistency that makes it possible for you to apply colour in a dry process or to apply a tinge of pigment to paper. It also takes well to being smudged or blurred if you want to optically mix colours or create other effects.  So as to make it more practical to use, a binding agent is added to the powder and a writing instrument is formed – sometimes jacketed in wood, sometimes only wrapped with a paper band or even just left naked and carefully packed in a padded box.

The round Toison d`Or 8550 chalks are produced with the type of quality demanded by artists, having as they do excellent non-fade properties and brilliant colours. They are wrapped in a paper jacket and, by virtue of its softness (small amount of binding agent), produce especially strong colours when rubbed on the page.

As would be expected, the adherence of the chalk to paper or cardboard is fairly weak. For this reason you should not wait until you are finished to fix the chalk but rather do this “as you go” during the work. All types of paper and cardboard can be used with chalks while keeping in mind that darker substrates produce the best results. CHARCOAL is the usual choice for making preliminary drawings if such are necessary. After application, the charcoal should be wiped away with a broom or rag to the greatest possible degree so as to avoid it having too great an affect on the subsequent pastel chalk colours.

Pastels (chalks) are actually pure, fine colour-powder, a consistency that makes it possible for you to apply colour in a dry process or to apply a tinge of pigment to paper. It also takes well to being smudged or blurred if you want to optically mix colours or create other effects. So as to make it more practical to use, a binding agent is added to the powder and a writing instrument is formed – sometimes jacketed in wood, sometimes only wrapped with a paper band or even just left naked and carefully packed in a padded box.

This set of six different brilliant colours is supplementary to the Koh-i-Noor´s standard colour set – for producing special accents and effects and more dazzling drawings.

The high-quality Cray-Pas oil pastels are characterized by: strong bright, smooth and highly lightfast colors. They can be applied to various surfaces such as paper, cardboard, canvas, wood, etc. Due to the well-assorted color palette, the crayons are suitable for portraits, landscapes, still life and abstract art, while different techniques such as stencil painting or scratching technique are possible.

The well-pigmented and inexpensive pastels meet the safety requirements of Euronorm 71/3 and are therefore also suitable for children.

Contents set of 12: yellow (003), orange (005), light orange (007), brown (012), red (019), pink (020), purple (024), yellow green (027), green (029), cobalt blue (036), black (049), white (050)

Content set of 25: white (051), lemon yellow (002), yellow (003), yellow ocher (015), yellow orange (105), orange (005), light orange (007), vermilion (018), red (019), pink (020), light purple (124), purple (024), light blue (125), cobalt blue (036), ultramarine (038), Prussian blue (043), yellow green (027), green (029), dark green (030), green gray (046), olive brown (047), brown (012), vandijck brown (017), gray (044), black (050)

Content set of 36: lemon yellow (002), yellow (003), yellow orange (105), orange (005), light orange (007), brown (012), yellow ocher (015), vandijckbraun (017), sepia (117), vermilion (018), red (019), pink (020), dark pink (122), light purple (124), purple (024), light blue (125), celine blue (025), paul veronese green (026), yellow green (027), light green (128), green (029), dark green (030), viridian green (031), olive green (234), cobalt blue (036), ultramarine (038), Prussian blue (043), gray (044), green gray (046), olive brown (047), pink gray (048), black (049), white (050), gold (051), silver (053)

Where is the next mini Picasso? The oil pastels offer him an optimal basis for demonstrating his talent. Specially designed to meet the needs of young artists between the ages of four and ten, the set from Sakura is the ideal choice for colorful lessons.

The round, paper-covered crayons sit comfortably in the hands of the youngsters and impress with their bright colors and high opacity. Thanks to their soft consistency, they are pleasantly easy to apply and do not crumble. Youngsters can use the oil pastels to create scratch pictures, try out stencil painting or imitate the effect of oil paints. Thanks to the light-resistant properties of the crayons, the resulting works of art will impress with their high color brilliance for a long time.

Are you planning a particularly challenging and varied calligraphy project? Then take a look at the Automatic Pen drawing and calligraphy nib. Depending on the variant, you can use it to make narrow, broad or parallel strokes. The stainless nickel-silver nib is suitable for waterproof and water-soluble inks as well as gouache, acrylic and poster paint. It is best to fill the paint into the nib, which is handmade in England, from the inside using a pipette or brush.

Before the first use, it is necessary to remove the oily protective film of the nib with soap and water.

Rohrer & Klingner calligraphy ink was developed in collaboration with the Schmincke company and comprises an assortment of 24 brilliant colour tones with a high degree of edge sharpness and an ideal drying time. The pigment ink is designed as much for calligraphy as it is for technical purposes and is suitable for use on many substrates like drawing paper and board, transparent paper and frosted polyester film (e.g. POLYESTER COPYING-DRAFTING FILM). In the case of calligraphy, more absorbent paper like hand-made vat paper, Ingres, etc. can also be used.

You can use nib pens or brushes for working with Rohrers calligraphy ink as well as airbrushes and isograph pens (0.35 mm). The wide range of uses runs the gamut from sketching and drafting to calligraphy and through to wet-in-wet watercolour painting. All colours can be mixed with one another and with ROHRER & KLINGNER TRADITIONAL INK. Shake well before using! Your tools can be cleaned with ROHRER´S SPECIAL CLEANER. 

Paper or board with a smooth surface should be used when drawing or writing with ink so that the nib can glide freely. Recommended is paper with both internal and external sizing because it will prevent the ink from bleeding and increases the brilliance of the colours. A soft paper or a rough surface can end up becoming ruffled so that the quill will get stuck, especially when the application is done quickly. Calligraphy inks are often found being used on ACETATE FILM. In that instance, preliminary tests should be made to be sure that the ink will be accepted. Substrates that are great for drawing and writing with quill and ink include ELEPHANT HIDE, HAHNEMÜHLE PEN AND INK DRAWING PAD or even the satin-finished paper from the CLAIREFONTAINE writing pads.

Drawing Indian ink is more opaque (greater coverage!) than basic drawing ink because of a high percentage of shellac (binding agent), which makes it great for applying fine lines and outlines. Rohrer & Klingner drawing Indian ink has further applications like calligraphy and pen (nib) drawings but can also be a great choice for lift-ground etching as well as artistic picture drawings done with a brush and washing techinques.

Deep black, sepia and bistre hues:  These three hues are produced in the traditional manner using pigments and shellac in an aqueous medium. They can be thinned with distilled water, are waterproof and eraser-proof when dry and the ink has great flow characteristics. The deep black hue contains a special gas soot and when used in its pure form is highly opaque (great coverage) and lightfast (non-fading). When thinned with water, convincing light and dark effects can be achieved. The sepia hue matches the organic sepia tint of squid secretion, is semi-transparent and to a large extent light resistant. The bistre hue (French bistre = walnut brown) is a classic brown tint that has seen use since the 13th century in the field of drawing - it was previously produced from the soot of burned wood! It, too, is semi-transparent, to a large extent light resistant and is especially great for delicate washed pen and brush drawings. 

Gold and silver hues: Bronze pigments (copper alloys), acrylic resin and water form the basis of the gold hue. Coated glimmer pigments (Iriodin), shellac, acrylic resin and water form the basis of the silver hue. Both inks can be thinned with water and applied with quills, brushes or an airbrush (nozzle size: ø 0,5-0,8 mm) on paper, cardboard or wood. Extremely absorbent surfaces like canvas should be primed with GESSO before applying these inks. For smooth surfaces like glass or metal, preliminary tests should definitely be made to assess effectiveness. These hues are intermixable - interesting colour and metallic effects can be achieved by mixing with ROHRER & KLINGNER DRAWING INK. Coloured undergrounds will also affect the optical appearance of both hues. A dark red, for instance, greatly enhances the gold tint; green and blue are the preferred undergrounds for silver. These inks are waterproof when dry.

In order to draw and write with nibs and ink you will need paper or paperboard with a smooth surface so that the nib can glide smoothly over it. Paper that has both internal sizing and surface (tub) sizing is recommended because it prevents the ink from bleeding and increases the brightness of the colours being used. A soft paper, or one with a rough surface, can tend to puff up when written on with a nib pen, which can end up making the nib jam into the paper especially when making quick strokes. Drawing inks are very often also used on ACETATE FILM. In this case, however, preliminary trials are necessary in order to be certain that the ink will be properly absorbed. Among the types of paper that are great for use with ink and nibs are ELEPHANT HIDE, the paper in the HAHNEMÜHLE PEN AND INK DRAWING PAD or the satined paper found in the CLAIREFONTAINE writing pads and notebooks.

This Rohrer & Klingner traditional ink with its high pigment content is great for use on a number of surfaces like drawing paper and board, transparent paper and frosted polyester films (e.g. POLYESTER COPYING AND DRAFTING FILM). In the case of calligraphy, more absorbent paper like hand-made vat paper, Ingres, etc. can also be used.

You can use nib pens or brushes for working with Rohrers & Klingner traditional ink, as well as airbrushes and isograph pens (0.35 mm). The wide application range runs the gamut from sketching and drafting to calligraphy and through to wet-in-wet watercolour painting. All ink hues are intermixable and can be mixed with ROHRER & KLINGNER CALLIGRAPHY INK. Because of its acrylate binding agent, the inks are smudge-proof and waterproof when dry. By not using a wetting agent (surfactant), ideal flow properties are achieved without the risk of the ink dispersing over the paper or bleeding through. Shake well before using! Your tools can be cleaned with ROHRER´S SPECIAL CLEANER. 

Paper or board with a smooth surface should be used when drawing or writing with ink so that the nib can glide freely. Recommended is paper with both internal and external sizing because it will prevent the ink from bleeding and increases the brilliance of the colours. A soft paper or a rough surface can end up becoming ruffled so that the quill will get stuck, especially when the application is done quickly. Calligraphy inks are often found being used on ACETATE FILM. In that instance, preliminary tests should be made to be sure that the ink will be accepted. Substrates that are great for drawing and writing with quill and ink include ELEPHANT HIDE, HAHNEMÜHLE PEN AND INK DRAWING PAD or even the satin-finished paper from the CLAIREFONTAINE writing pads.

With Indian Ink 1912, Schmincke offers you the opportunity to get to know a true ink classic. The water-based new edition is made according to historical recipes from 1912. Natural shellac serves as the binder. It ensures that the deep black ink has a silky sheen after drying and impresses with its waterproof properties. In addition, Indian Ink 1912 is lightfast and document-proof.

The product can be used pure or diluted with water. You have the option to use brushes or nibs for your drawing, painting or writing projects. Smooth, satin papers are recommended.

Important: Shake the ink before use. Clean your tools with soap and water immediately after use. Note that the ink is not suitable for writing pens.

Caran d'Ache Gouachefarbe Studio in solid cake form is a watercolour with natural binding agents and a high degree of pigment concentration. It has a matte, opaque finish when dry and does not crack. The robust metal case contains a plastic insert that can be removed for cleaning purposes.

Set of 7 paints includes: lemon yellow (240), vermillion (060), ultramarine blue (140), emerald green (210), grey (005), black (009) + 1 tube opaque white

Set of 14 includes: lemon yellow (240), vermillion (060), ultramarine blue (140), emerald green (210), yellow (010), crimson (080), purple (090), yellow-green (230), malachite green (180), ochre (035), brown (059), grey (005), black (009) + 1 tube opaque white

The Gouache Colors Extra Fine from Royal Talens close the gap between school and artist colors. They are highly pigmented and achieve an intense, opaque effect. You can easily create even color blocks without visible brush strokes. If you mix the colors with water, you get a more transparent look. This way you can also create softer color gradients without any problems. Due to the water solubility, it is still possible to revise your works even after drying.

The colors are based on dextrin. The consistency is smooth, the surface gloss is reduced.

With the Designers HKS® gouache paints from Schmincke, you can give your works a high color intensity. The 12 shades in the set allow you to apply them without streaking and can even be sprayed.

If you apply the colors directly from the tube, your work can be reproduced in true color. The assortment represents the essential HKS® shades. Of course, you can also create individual gradations - all Designers HKS gouache colors can be mixed with each other.

The lightfast colors dry to a satin finish. However, they can be dissolved and further processed at any time.

Info: The last two digits of the color number correspond to the HKS® numbering.

The Schmincke Akademie gouache is especially great for beginners, leisure time artists as well as for use in fine arts education. It consists of coarsely ground pigments with the addition of chalk. The paint can be used for opaque as well as for glazing painting techniques (when diluted with water and in combination with watercolours): in this way pictures can be produced that display completely different surface effects. Akademy gouache stands out by virtue of its ease of application and resolubility attributes. In addition, it is odourless and easy to wash out.

The basic assortment of 18 colours can be intermixed with other Schmincke gouache or watercolour paints to create further colours (SCHMINCKE HORADAM AQUARELLE PAINT or SCHMINCKE AKADEMIE AQUARELLE PAINT). Extremely clean colour mixtures can be made by means of the 3 optimized ground colours: primary yellow, primary magenta and primary cyan. Together with black and white they are available in a set of 5. The basic set of 8 includes: white, lemon yellow, vermillion, crimson, ultramarine, phthalo green, light ochre and black.

A selection of painting auxiliaries, primers and a surface finish (SCHMINCKE AUXILIARIES FOR GOUACHE) complete the gouache assortment. 

From the idea, this limited set of watercolor paints is designed for watercoloring urban motifs and landscapes. You will find here a compilation of colors that are particularly suitable for urban sketching. If you are still missing colors that you like to use on your forays through urban or rural areas, you will find space in the set for up to six additional colors that you can add individually.

Horadam by Schmincke is a solid watercolor paint of the highest artist quality, which is available in many brilliant, harmoniously coordinated shades. The color impresses with its good solubility (even when already dried) and optimal color release even on sensitive watercolor papers. The color is suitable for beginners and advanced artists alike.

The hiding power of the paint depends on the layer thickness and the pigment used. At Horadam, the scale ranges from glazing to opaque. Although the color is relatively light-resistant, you should not expose watercolor paintings to direct sunlight for long periods of time because of the mostly fine color application and, if necessary, apply a UV protection varnish.

The Berlin Edition is the result of a collaboration between Modulor and Schmincke. The concept, the development and the design of the product were a stimulating collaboration. For us, the icing on the cake is the illustrative watercolour by our employee Regula Neeracher on the sleeve.

With the compact watercolor paint box including travel brush and mixing palette, you are perfectly equipped for your outdoor painting tours. You can easily remove the mixed palette and bowls for cleaning after painting. The Van Gogh watercolor paint in fine study quality comes with its good workability, high pigmentation and lightfastness meet the needs of beginners as well as experienced watercolorists.

Basic Colors

Twelve basic colors - ideal for learning to mix.

Contents: Chinese white (108), permanent lemon yellow (254), azo yellow medium (269), permanent red light (370), madder lake dark (331), sky blue phthalo (535), ultramarine dark (506), sap green (623), viridian (616), burned terra di siena (411), yellow ocher (227), payne gray (708)

Metallic / interference colors

The shimmering, highly pigmented metallic and interference watercolor paints are deeply opaque and shine particularly beautifully on black watercolor paper. The 6 interference colors give you an extraordinary color experience and shimmer in different shades of color, depending on the angle.

Contents: silver (800), light fold (802), dark gold (803), copper (805), bronze (811), graphite (840), interference white (843), interference yellow (844), interference red (845), interference blue (846), interference violet (847), interference green (848)

Shades of Nature

Warm natural tones for your watercolor tours in the forest and meadow.

Contents: ocher yellow (227), pure Terra di Siena (234), pure umber (408), fired Terra di Siena (411), fired umber (409), Van Dyck brown (403), titanium yellow brown (291), azo yellow medium (269), permanent orange (266), juice green (623), olive green (620), azomethine green yellow (296)

Vibrant Colors

Twelve bright, strong shades for brightly colored watercolors.

Contents: permanent lemon yellow (254), transparent yellow medium (272), pyrrole orange (278), permanent red light (370), pink (357), quinacridone purple blue (593), dark ultramarine (506), sky blue phthalo (535), turquoise Blue (522), viridian (616), permanent green (662), permanent yellow green (633)

Muted colors

Muted colors, yet bright and intense.

Contents: titanium yellow brown (291), naples yellow bread (224), yellow orange (238), ocher yellow (227), quinacridone pink (366), olive green (620), davy gray (748), turquoise green (661), lavender (525), indigo (533), neutral hue (715), sepia (416)

Twelve basic colours plus three extra colours

Contents: chinese white (108), permanent lemon yellow (254), azo yellow medium (269), permanent red light (370), madder lake dark (331), sky blue phthalo (535), ultramarine dark (506), sap green (623), chrome oxide green fiery (616), burnt terra di siena (411), yellow ochre (227), payne grey (708), plus BONUS pots quinacridone pink (366), prussian blue (508), burnt umber (409)

This vegan water-based paint called Horadam Naturals is made from a base of gum arabic and contains only natural earth and plant pigments and juices, such as the real sap of the indigofera plant or the resin of the dragon's blood tree. The plant-based shades enable a particularly natural, subtle color palette. They can also be easily mixed with other watercolors and gouache paints to further increase the variety of colors. All Naturals paints are characterized by a delicate scent, which highlights the natural ingredients in a special way.

The ideal paintability on almost all types of paper guaranteed by their composition and the medium to high lightfastness (depending on the color) ensure a perfect painting experience with Naturals paints and long-lasting results. Even after drying, the colors are still water-soluble, so that small, supposed mistakes can be repaired with care if possible.

This vegan water-based paint called Horadam Naturals consists of a base of gum arabic and other natural plant substances: The colors in the "plant-based pigments" set contain only natural plant resins and saps, while the colors in the "mineral pigments" set contain only natural earth pigments. The plant-based shades in both sets allow for a particularly natural, subtle color palette. They can also be easily mixed with other watercolors and gouache paints to further increase the variety of colors. All Naturals paints are characterized by a delicate scent, which highlights the natural ingredients in a special way.

The ideal paintability on almost all types of paper guaranteed by their composition and the medium to high lightfastness (depending on the color) ensure a perfect painting experience with Naturals paints and long-lasting results. Even after drying, the colors are still water-soluble, so that small, supposed mistakes can be repaired with care if possible.

Granulating watercolors are becoming increasingly important in watercolor painting. The surface effect here differs somewhat from the normal flowing watercolors. The colors appear mottled, and it is precisely this effect that is desired for certain techniques. So what is behind the term granulate?

Granulation is the property of pigments to clump together in places on the paper. This has two causes: heavy pigment particles, such as cobalt or manganese, settle in the paper valleys. Light pigment particles cluster together due to attraction. In general, it can be said that many traditional pigments (cobalt, earths, etc.) tend to granulate more than modern inorganic pigments. This also explains why Schmincke has comparatively many granulating shades in some color ranges (e.g. blue or brown shades) and no or hardly any granulating shades in other ranges (yellow and red shades).

Supergranulating colors are watercolor paints with a special property: the combination of at least 2 granulating Horadam pigments intensifies this effect to "supergranulation". The shades are composed with pigments from different color ranges, resulting in additional color changings besides the granulating effect. For example, the shade "Deep Sea Indigo" is a combination of violet and green pigments, while "Glacier Brown" contains a brown and a green pigment. This novel structure formation of the colors varies depending on the substrate and the amount of water used. The rougher the paper, the stronger the granulation effect. All super-granulating Horadam watercolor inks have exclusively 4 and 5 star light fastness and contain largely pigments already known from Horadam. The opacity of the color shades is predominantly semi-transparent/semi-opaque. The super-granulating shades can also be used in combination with all 139 Horadam Watercolor shades as well as all Academy Watercolor shades.

The Nova oil and acrylic paintbrushes have a high elasticity and a high degee of sturdiness; when working on rough painting surfaces these synthetic paintbrushes will last much longer than a natural bristle brush. The fine synthetic filaments are especially effective with acrylic paints that are more often applied in thinner concentrations than oil paints.

The French-made Sennelier Acrylic Paint Abstract you can apply both with a brush and with the painting knife. Its high pigment concentration ensures a convincing opacity and a creamy-pastose heavy-body consistency. The paint is pleasantly easy to apply on numerous substrates. The structures of the paint application remain visible.

The innovative packaging is extremely robust and, for example, more pressure-resistant than classic tubes. Since no air can get into the soft pack from the outside, it also ensures optimum preservation. The fact that the color is visible from the outside makes it easy for you to choose.

Interesting for you: The range includes many monopigmented colors. This makes your individual color mixtures particularly pure.

Lascaux Neon is a fluorescent artist acrylic paint for special effects. Like all Lascaux colours, the fluorescent daylight colour is of particularly high quality. The high pigmentation and the use of a special pure acrylate binder make the difference to products from other manufacturers. Due to the high pigmentation, the luminosity of Lascaux neon is still very strong even when diluted, so it is economical to use. The luminosity is particularly high on white substrates, so we recommend priming with LASCAUX ACRYL COLOUR STUDIO TITAN WHITE, for example. Also on white paper with optical brighteners and under UV light (black light) the color shines particularly strongly. The colours can be mixed with each other as well as with other acrylic colours, but this reduces the luminosity. Compared to most other artist acrylic paints, fluorescent daylight colours are generally less opaque due to the nature of their pigments. To increase the opacity, a primer or undercoat with a similar shade is recommended. Despite the high pigmentation and although only the most lightfast fluorescent pigments are used, Lascaux neon is only lightfast to a limited extent - also due to the nature of the fluorescent pigments. The light fastness depends on the location and the applied layer thickness. Nevertheless, neon inks should not be protected with a UV varnish, because the UV absorber in the varnish prevents the black light effect, which is responsible for the characteristic glow of the neon inks.

Golden High Flow Acrylics liquid acrylic paints are designed for use with brushes, drawing tools, for airbrush and pen and ink applications. Additives such as flow improvers, smoothing agents and drying retarders create a very thin and free-flowing color. The finely milled color pigments and drying retarders ensure that your tools won't clog and stick as quickly. The paint layer created by the application is resistant to water and chemicals. This results in a wide range of applications, especially because the paints can also be used on various substrates.

Despite the low viscosity of the inks and their expressly intended use in nozzles, pens, fillers and with nibs, all tools used should always be thoroughly cleaned with soapy water immediately after use and emptied if necessary. Diameters below 0.35 mm are not recommended for tools.