63 professional watercolors developed for the demanding artist. Formulated with premium grade pigments uniformly combined in a balanced medium ensures fluid, even washes and make Finest® the signature line of this traditional medium. Made in the USA.
Size: .47 oz (14 ml) A lightfast, transparent color, unique to Grumbacher, that has the classic intense Ruby Red masstone of traditional Alizarin, but with a rich Golden Yellow undertone. Made with permanent, modern, lightfast pigments, it is an exact color duplicate of the no longer available Alizarin Crimson Golden pigment.
Size: .47 oz (14 ml) A different Hue of Alizarin than Grumbacher's Alizarin Crimson, this transparent cool pink-red emulates the original color extracted from the madder root. It is highly fugitive and should not be used in works that will be exposed to intense light or sunshine.
Cadmium Red Deep
Size: .47 oz (14 ml) A high chroma, permanent and lightfast Dark Red masstone with a Dark Blue undertone that resembles a deep Red Violet Hue or Maroon. It is one of the Deepest Cadmium Red available in any watercolor brand. Good for adding warm depth to landscapes and portraits.
Size: .47 oz (14 ml) A rich, complex orange that falls in the warm temperature range when used straight out of the tube, but falls into the cooler range when mixed with white. Slightly muted, this color still radiates an intensity when used alone.
Cadmium Yellow Light
Size: .47 oz (14 ml) A mid-range light yellow with a slightly red undertone, this color has strong tinting strength and opacity. It is great for making bright greens, and is essential to any basic mixing palette. Perfect for a split triadic palette, landscapes, or warm toned palette.
Size: .47 oz (14 ml) Bismuth Yellow falls into the neutral range in color temperature, although it is slightly cooler than Cadmium Yellow Pale. Like the Cadmium Yellow Pale, it is bright and has a high tinting strength, but it is less opaque which makes for beautiful mixes with depth and brilliance.
Size: .47 oz (14 ml) A transparent, lightfast Olive Green with a yellow/orange under-tone. The original Sap Green was derived from the juice of buckthorn berries and was fugitive. Grumbacher Sap Green is an exact duplicate of the masstone and undertones of the original, but is completely lightfast. It is a must for the landscape and seascape palette.
Size: .47 oz (14 ml) A modern, permanent, lightfast high chroma cool, Dark Emerald Green with a Blue undertone. Since its introduction in the late 1930's, it has become the standard Green on every palette. It is used instead of Viridian when its less vivid effects are not important. It is used often in seascapes and landscape, and an essential for low key painters.
Size: .47 oz (14 ml) One of Grumbacher's most favored colors, Thalo Blue is a deep beautiful cyan with a green undertone. Its high chroma and tinting strength makes it close to a Spectrum Blue for mixing with complimentary colors. It is vital in seascapes, and landscapes. An essential for any palette.
Size: .47 oz (14 ml) Originally from the lapis lazuli stone, this vibrant blue is an essential of any artist's palette. A deep blue with a purple undertone, it can be mixed extensively to produce clean secondary and tertiary colors. It is a staple for shadows, portraits, landscapes, and seascapes.
Size: .47 oz (14 ml) The lightest of the Ultramarines has a mid-range Blue masstone that makes rich Blue washes that have no trace of Red in its undertone. It is slightly darker in Hue than Cobalt Blue. Originally from the lapis lazuli stone, this vibrant blue is an essential of any artist's palette.
Cobalt Blue Light
Size: .47 oz (14 ml) A transparent Bright Blue with a greenish undertone and excellent tinting strength. It was introduced in the 1820's and has become the great workhorse of modern painting and is a necessity for landscape and seascape painting.
Size: .47 oz (14 ml) The first synthetic color of the industrial revolution, this enigmatic blue can create a large range of tints from one tube with no mixing. A rich blue with a green undertone, it was popular among Japansese woodblock artists for seascapes. It is the same blue used in blueprints.
Cobalt Violet Light
Size: .47 oz (14 ml) A transparent reddish purple, this color is perfect for glazing. It is cooler than Thio Violet, cooler and brighter than Alizarin Purple, but warmer than Ultramarine Violet or Dioxazine Purple. Perfect for florals and sunsets.
Size: .47 oz (14 ml) Dioxazine is a rich, complex color that is very dark in masstone so much so that it is sometimes used as a black. Creates vibrant tints when mixed with white. Its very cool on the temperature spectrum with an extremely high tinting strength that can quickly overpower other colors in mixes, its advisable to use sparingly.
Size: .47 oz (14 ml) A transparent Blue Black named for the 18th Century English Watercolorist William Payne and adapted to oil color in the early years of the 19th Century. This color makes distinctive Blue Grays when mixed with White. It is also used to dull down bright colors and create cool colors because it is easier to use than most Blacks.
Size: .47 oz (14 ml) Named after the Flemish painter Van Dyke, this moody dark rich brown is identical to the fugitive original soft coal based pigment and was a favorite among the Old Masters for creating the deep backgrounds for portraiture. Excellent for creating a gallery tone effect, and chiaroscuro paintings.
Size: .47 oz (14 ml) A classic Natural Earth Brown that has a distinctive Red undertone made by roasting Natural Raw Sienna in a kiln. Although processed in the U.S.A., our Burnt Sienna is an exact duplicate of the now unavailable Italian Burnt Siennas of yesteryear.
Size: .47 oz (14 ml) A traditional, semi-transparent Dark Yellow-Tan Natural Earth Color that is similar to, but darker than, Yellow Ochre in masstone. It enjoys a high tinting strength. Although mined in the U.S.A., Grumbacher Raw Sienna is an exact match of the masstone, undertone, and mixing qualities of the unavailable Italian Siennas of yesteryear.
Size: .47 oz (14 ml) A soft yellow with a peachy bias, this is an extremely old color dating into 16th century BC, and was a favorite among the Old Masters. Traditionally used in landscape where a receding yellow is required. Also incorporated in fair to medium flesh tones.
Watercolors: What to Mix First
General Tips: When to Use Varnish
General Tips: Neutralizing Bright Colors
Watercolors: How to Paint White
General Tips: Earthtones
Watercolors: Prepping Your Paint
Watercolors: How to Lighten Color
Watercolors: Fixing Mistakes
General Tips: Color Theory