Pure white, semi-opaque in relation to titanium white and bluer. Ideal for lightening multicoloured shades.

Pure, brilliant white. Possesses the highest opacity and tinting power of all white colours.

Titanium white with ultrafine primary grain, providing a semi- transparent effect. Forms fine white haze effects which display a milky blue shimmer in glancing light. An ideal colour to create atmospheric perspectives.

Highly stable pigments are used to imitate the asphalt colour which was widespread in the 19th century, a translucent, deep brown of low stability which was able to show through the colour layers.

Opaque grey with delicate red tinge, without black pigments.

Semi-opaque grey with green tinge, without black pigment.

Light stone grey, a "neutral" grey for the beholder.

Opaque bluish grey, similar to slate grey.

Greenish, semi-transparent grey. Specially developed to produce the Italian masters' famous "sfumato" â€" a fine grey mist which was applied to portraits, for example, in order to lend them a softer look.

Pleasant, warm dark grey with a "hint" of violet.

Particularly fine gas black with maximum depth of colour. This provides for high intensity and tinting power.

Traditional Schmincke grey colour. Very similar to a dark neutral grey.

Traditional deep black, opaque and lightfast. Formerly obtained from charred ivory pieces, now produced via the dry distillation of degreased bones.

"Cool", inorganic black with a gentle tinge of charcoal. Produces a blue-tinged grey when mixed with white.

Modern organic black pigment. Very deep in full tone, close to a Russian green in glazes. Produces green-tinged grey tones when mixed with white. Atrament was the name for a very cold black in Roman times.