Professional Watercolour

Revival Colours

Revival Collection is a range of 8 new historical colours widely used in the past by the greats, now back with the same vibrancy and improved formulations making them safer to use for the artists and more permanent in time.

Aureolin Hue

A bright yellow, a more sustainable alternative to the cobalt yellow version, based on a modern synthetic pigment.

Story

A speciality of Winsor and Newton as it was introduced as a colour by them. It was first made in 1831 by Nikolaus Wolfgang Fischer in Breslau characterizing it as "Doppelsalze" or double-salts and its chemical composition is potassium cobaltinitrite.

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Field's Orange

A Single pigment red orange, inspired by George Field's specially levigated vermillion for a strong intense colour.

Story

Described by George Field as the ‘first of the secondary colours in relation to light”. Field describes orange vermilions warm tints resembling those found in Titian or Rubens. This colour created by Field is featured in Queen Victoria's Watercolour box.

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Tyrian Purple

Intense deep purple with a red blue undertone, an excellent alternative to the Murex sea snail version.

Story

A dye of great importance in antiquity, this intense purple with pink red blueness is seen throughout the history of art. It was obtained from a secretion of a sea snail (Murex brandaris) from the Mediterranean and was expensive and not lightfast.

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Viridian Hue

Transparent green with a cool blue undertone, similar to genuine viridian loved by artists, but safer to use.

Story

Viridian is another pigment introduced by Winsor & Newton. Prior to that, oxide of chromium green was created with chrome yellow with blue which varied in its transparency and opacity and deteriorated over time.

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Cinnabar Green

Vibrant yellowish green which offers tinting and toning potential with other primary and secondary colours.

Story

A green copper tartrate or copper arsenic pigment of the XVIII century. This yellow biased green has a brightness in its mass an undertone making it distinct from our other greens. Featured in the Winsor & Newton’s tint books throughout history.

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Ostwald Grey

Opaque warm grey perfect for toning, providing a soft granulating texture that mixes beautifully with other colours.

Story

Emerging interest in subtle palettes with increasing blacks and mineral colours including greys with the toning possibilities they offer. Winsor & Newton’s tint books feature an extensive range, of greys and blacks in the palette and their uses.

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Mineral Grey

Semi-transparent grey with a greenish tone that offers ready solutions to softer toning as well as granular textures.

Story

Described by Field as a grey addition which offers a softer shift than black or white when tinting or toning and is considered extremely useful. Extensive research in mineral and ultramarine greys by Field features throughout WN history in tint books.

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Ultramarine Ash

Beautiful transparent soft granulating grey blue that offers breadth in its tinting and toning possibilities.

Story

Ultramarine ashes were the inferior grades of blue obtained from lapis lazuli, varying in strength of colour. Like ultramarine, the ashes were useful for tinting. Winsor & Newton improved this pigment which excels in the beauty and translucency of its colour.

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