01. Zinc white

02. Titanium white

03. Buff titanium

04. Naples yellow pale
PW6 PY3 PY42

05. Naples yellow deep
PW6 PY3 PY42 PY83

06. Naples yellow rose
PW6 PY3 PY42 PR254

07. Cadmium yellow lemon (hue)

08. Cadmium yellow pale (hue)
PW6 PY3 PY74

09. Primary yellow

10. Cadmium yellow medium (hue)
PW6 PY83 PY74

11. Cadmium yellow deep (hue)
PW6 PY83 PY65

12. Indian yellow
PY42 PY83

13. Cadmium orange (hue) pomarańczowy
PO62 PY83

14. Vermilion (hue)
PR101 PR254

15. Cadmium red pale (hue)
PY83 PR254

16. Cadmium red medium (hue)
PR254 PR48:4

17. Cadmium red deep
PR254 PR48:4

18. Magenta

19. Carmine

20. Alizarin madder lake
PR48:4 PB29

21. Persian rose
PW6 PR122

22. Rose quinacridone pale
PW6 PR122

23. Rose quinacridone deep
PR122 PV23

24. Brilliant violet
PW6 PR122 PV23

25. Cobalt violet (hue)
PR122 PV23

26. Royal blue pale
PW6 PB15:3 PG7 PB29

27. Royal blue deep
PW6 PB29

28. Cobalt turquoise (hue)
PW7 PB15:3 PG7

29. Coeruleum
PW6 PB15:3 PG7

30. Cyan blue (Primary blue)

31. Phthalo blue (Primary blue)

32. Ultramarine blue

33. Cobalt blue (hue)
PW7 PB15:3 PB29

34. Prussian blue

35. Ultramarine green
PB29 PG7

36. Sap green
PY83 PG8

37. Olive green
PY42 PB27

38. Yellowish green

39. Permanent green pale
PY74 PG7 PY3

40. Permanent green deep
PY74 PG7 PY3

41. Chromium oxide green

42. Paolo Veronese green

43. Emerald green

44. Yellow ochre

45. Raw Sienna

46. Mars orange

47. Red ochre

48. Brown ochre

49. Burnt Sienna

50. Raw umber

51. Burnt umber

52. Van Dycke brown
PR101 PY42 PBlk11

53. Payne's grey (medium)
PBr6 PB29

54. Vine black

55. Lamp black


Opacity and glazing properties

The opacity of a pigmented colour is not only depending on the thickness of the colour application but also on the kind and concentration of the pigment as well as on the kind binder in the colour. all colours have been submitted to the same testing method: satndardized application on black and white striped saturated base. this allows a classification with the following 4 symbols:

  opaque  Semi-opaque   Semi-transparent  transparent


This describes the durability of a colour in daylight. A number of influencing factors play a role too, like intensity of sunlight, temperature, moisture, oxygen or gas content of the air.

8 – Excellent  – Very good  – Good

Color Index and Pigments names

The Color Index system is an international standard to denominate dyes and pigments. A combination of letters and numbers indicate the colour category. For example: PO 20, means Pigment Orange 20. Color Index names are: PW (Pigment White) / PY (Pigment Yellow) / PO (Pigment Orange) / PR (Pigment Red) / PV (Pigment Violet) / PB (Pigment Blue) / PG (Pigment Green) / PBr (Pigment Brown) / PBk (Pigment Black).



Painting medium


Linseed oil

Stand linseed oil


12 assorted tubes




– water soluble

– consistency and typical properties of oil paints

– compatibility with other auxiliary  additives.

Water solubility.

A characteristic feature is that these paints are water-soluble, which helps to avoid the need to dilute with solvents traditionally used in oil painting (turpentine, turpentine oil, etc.) and which may often cause allergies or skin irritation. When using these paints, it is enough to wash the working tools with soapy water. The use of water as a solvent also eliminates the problem of unpleasant odors, which is very significant when working in closed and poorly ventilated rooms. Another undeniable advantage is the low cost and the availability of “solvent” – just open the tap.

Consistency and typical properties of oil paints.

Although these colors are water-soluble, they are genuine “oil paints”, that is, they consist mainly of vegetable oils which determine their physical and chromatic properties:

– thick and sticky texture that shows the brush strokes or spatula perfectly

– intense colors, almost all opaque, lightfast

– excellent adhesion on all surfaces, even on he  “greasy” ones

– the flexibility and irreversibility of the color coating after complete drying

– no volumetric shrinkage even  if thick layers applied.

The drying process of these paints, as in the case of traditional oil paints, occurs through the oxidation of certain bonds in molecular chains. These linear chains slowly bind together through the absorbed oxygen to form a three-dimensional, and therefore solid, structure with high light reflection power, thus giving the bright and intense color appearance typical for oil paints. It is important that even if the colors seem “dry” to the touch after some time, which may vary from 1 to 6 days depending on the paint thickness and surface, you should wait one or two months before any final varnishing.

Compatibility with other additives.

The paints and  additives for artistic painting available on the market can be divided into two categories: oil (lipophilic) and water (hydrophilic), both incompatible. An innovative feature of the new paints is their compatibility with both categories: oil and water, and with related additives. This property gives artists huge opportunities of artistic expression, the possibility of obtaining previously unattainable effects and the use of art materials of a different nature. The examples shown here represent only some of the possible uses for the new paints, and there are many more that artists can discover and experiment with.



Compatibility with oil paints and additives for oil paints.

Hydro-oil paints can be perfectly mixed with all oil paints and additives dedicated  to them (linseed oil, turpentine, etc.) in any proportions, remembering that if the  ratio exceeds 30% the water solubility will be lost.

Compatibility with acrylic paints and dedicated additives.

Unlike traditional oil paints, these paints can be mixed with acrylic paints in any proportions giving some application advantages:

–  they slow down the drying time of acrylic paints, thus improving adhesion, thanks to which the colors are more “greasy”

– their better consistency and viscosity make the paint processing more effective

– the final layer is more flexible and “full”. However, it is advisable to dilute the colors with some water before mixing them with acrylics to avoid excessive build-up of viscosity.

Compatibility with tempera.

Both today and in the past, some artists have tried to obtain paints with tempera opacity and dullness combined with other typical features of oil paints. The so-called “fat temperas” have been tested by many artists, more or less successfully. Mixing hydro-oil paints in any proportions with tempera gives the possibility of obtaining good results. In fact, when using the most popular “lean” temperas , the flexibility and adhesion to the demanding surfaces is significantly improved while leaving the opacity and “flatness” features  of the paint coating almost unchanged.


As mentioned HYDR-OIL can be mixed with all conventional oil-based media, which, however, when added in large amounts, will reduce or eliminate the property of water solubility. For this reason, special additives, also including water-soluble ones, have been developed to eliminate such effect

Water-soluble linseed oil.

This is modified vegetable oil obtained from the cold pressed flax seeds. When added to paints, it makes them more fluid without making them “thinner” and giving them a shine.