Golden Heavy Body Acrylics

GOLDEN'S most opaque white, made with Titanium Dioxide, this is an essential white for most painters. 

Sometimes referred to as "mixing white" Zinc White provides a more transparent white option for mixing and glazing.

A warmer black, its name comes from the use of charred animal bone, as a pigment.

Produced with soot from burning gas the dark and fine particle size makes this GOLDEN's darkest most neutral black.

Somewhat warmer than Carbon Black, made with black iron oxide.

An inorganic pigment, sometimes called Nickel Titanate Yellow, it might be the coolest yellow GOLDEN offers, it is very pale and may show a faint greenish cast.

Inspired by the flower native to Western Europe, this is the palest of four single pigment [PY35] Cadmium Yellows offered by GOLDEN.

A bright, clean yellow. This inorganic pigment has the strength, opacity and lightfastness of a Cadmium, but without the UV/moisture sensitivities, making it an ideal yellow for outdoor use.

On the lighter end of GOLDEN's Cadmium Yellow offering, this yellow is slightly more intense than Primrose with good covering power.

GOLDEN Primary Cyan, Magenta and Yellow in the HB line should be of special interest to artists who want a totally pared down palette or who are in need of a tool for teaching about colour mixing and blending. They have been formulated to be close in...

Like all Cadmium Yellows, this is a bright clean color with good opacity, however the sensitivity to ultra-violet light and moisture prevent us from recommending it for outdoor use.

A mixture of pigments designed to replicate Cadmium Yellow with out the heavy metal or it's expense.

 Excellent lightfastness, bright and transparent yellow.

 Excellent lightfast and permanent yellow.

Filling in the deepest, more orange end of GOLDEN's Cadmium Yellow family, this paint offers the opacity and intensity you expect from Cadmium colours.

On the border of GOLDEN's orange colours, Diarylide Yellow is based on dichlorobenzidine pigment, which offers excellent opacity, lightfastness and durability.

Prized by artists for its brilliant and lightfast qualities, the Cadmium pigment requires careful handling for artist health and safety.

Some times referred to as "Perinone" Orange, can be used as substitute for Cadmium, Vat Orange is redder and darker than Cadmium orange.

A deeper orange with Vermillion qualities, Pyrrole has very good lightfast qualities even in tints and glazes.

The lightest variation of GOLDEN's single-pigment Cadmium Reds, this colour is highly regarded for its opacity and intensity. It is a synthesized colour first used in the early 1900's.

An excellent substitute for Cadmium Red Light, Pyrrole Red Light produces a very clean red that is slightly less opaque and more orange than the Cadmium.

The pigment in this Pyrrole Red, PR254, is also used in automotive finishes because it is exceptionally lightfast, and a very clean, bright red.

Clean, dark and rich, this beautiful organic red pigment fills the space between Cadmium Red Dark and Medium. It is a non-toxic, higher chroma alternative to Cadmium Red Dark that can be used for outdoor murals because of its UV/moisture durability.

A very bright orangish, semi-transparent red, is a synthetic pigment with good lightfastness. It is a good choice as an alternative to Cadmium Red Light.

Cadmium Red Medium became the most widely used red shortly after it was synthesized in 1907 because it offered greater permanence and intensity than the mostly plant-based reds used up to that time.

Cadmium Red Medium Hue is a more economical and non-toxic alternative to GOLDEN's single pigment paint. It offers brilliant colour but it is slightly more transparent and not as lightfast as actual Cadmium.

GOLDEN's darkest Cadmium Red, it offers good opacity and clean color that bridges red and maroon, with excellent lightfastness.  

GOLDEN Primary Cyan, Magenta and Yellow in the HB line should be of special interest to artists who want a totally pared down palette or who are in need of a tool for teaching about color mixing and blending. They have been formulated to be close in...

This is a darker variation of our Naphthol Red, serving as an affordable single-pigment alternative to Cadmium Red Medium that is less opaque and lightfast.

Using a warmer variation of the pigment in Quinacridone Violet, this red reveals more magenta in tints and is, like all of GOLDEN's "Quins" an excellent glazing color.

A modern version of historical Alizarin Crimson, which was a substitute for Rose Madder, a dye use for the British Red Coats. GOLDEN's mix of quinacridone and phthalo make this exceptionally lightfast and strong tinting, with a deep reddish brown...

People who remember the old Napthalmide maroon, which was very popular in its day, might recognize this as a close approximation to that storied color.

A transparent "quin," this single pigment color is a terrific start for brilliant reds and pinks as well as fiery glazes that are exactly what one associates with magenta.

A darker tint, this paint is conveniently mixed where many painters like to start using Quin Magenta, a 1:1 mixture with Titanium White.  

Essentially a lighter tint of Quinacridone Magenta, it is a convenient color for artists who want to mix and paint in the pastel color range.

This is a convenience mixture of Dioxazine Purple and Titanium white that delivers a classic purple tint straight from the tube. 

A very deep red-violet, this is single-pigment paint with great lightfastness and durability.

Cobalt Violet is a name used for several violet colour cobalt pigments. Toxic, costly, and weak, historical Cobalt Violets were replaced by Manganese Violet. GOLDEN's blend of Dioxazine Purple with Quinacridones and Zinc White, recreates the subtle yet...

This mixture of violet and red pigment with a touch of Burnt Umber and Titanium white creates a fairly neutral, opaque violet. 

This mixture of Anthraquinone Blue and Quinacridone Magenta is a very deep reddish violet with the best qualities of these two pigments.

A very deep single-pigment violet that is neutral to slightly red in tone, and moderately transparent colour. 

Prized for its very deep bluish purple, Dioxazine Purple is a single pigment colour with exceptional depth. It is slightly less lightfast and more vulnerable to fading in lighter tints.

One of the first synthesized pigments, this deep, nearly black  colour is alkaline sensitive so not found in acrylic paints. Our modern mixture provides a similar colour with great permanence.

The reddish variation on this very powerful tinting versatile blue. When used thickly it is dark and opaque, but phthalo makes beautiful transparent glazes. 

The greenish variation on this very powerful tinting versatile blue. When used thickly it is dark and opaque, but phthalo extends beautifully for glazes. 

Transparent colour originally made from ground cobalt glass and used in 16th and 17th century European paintings in place of Ultramarine. Historically Smalt loses colour over time, but this modern formula offers a classic deep blue that is permanent...

Historical azurite, from copper carbonate minerals, lacks the stability and durability required for modern painting, this mixture affordably approximates azurite's deep greenish blue. 

Historically a very expensive ground lazurite pigment, synthetic pigment has been used since the 1830's making it one of the most popular and affordable blues, Yves Klein blue is mostly Ultramarine. 

An exceptionally durable pigment, and costly, the unique depth and intensity of this blue inspired Van Gogh, Renoir and countless other artists. 

A mixture of ultramarine and phthalo blues with a little titanium white created as an affordable approximation of Cobalt blue at full strength, but with very different mixing properties. 

GOLDEN Primary Cyan, Magenta and Yellow in the HB line should be of special interest to artists who want a totally pared down palette or who are in need of a tool for teaching about colour mixing and blending. They have been formulated to be close in...

From the Cobalt family. Extremely lightfast, traditionally prized for its use in skies and as a part of many landscape palettes. The Cerulean Blue Deep is deeper and greener than the brighter, more traditional shades.  

With pigment closely related to Cobalt and Cerulean, this chromium variation is a slightly more transparent and more neutral blue well suited for skies in landscape paintings. 

Production of the beautiful barium-based pigment ceased in the early 1990's due to environmental and safety concerns, this modern mixture approximates the richness of manganese safely and affordably.

A mixture of titanium white and ultramarine blue pigments for a very opaque light blue.

A mixture of Phthalo Blue and Green with Titanium White for a strong tinting, opaque, Teal. 

 Genuine Cobalt Teal, excellent lightfastness and permanence. 

A deep, opaque Cobalt-based turquoise, this paint is very green in the mass tone and reveals more blue in its undertone and glazes. 

A convenient pre-mixed tint of GOLDEN's Turquoise Phthalo.   

A more blue Turquoise that is a very strong tinting colour that reveals cool gem tones in glazing. 

Phthalocyanine is among the strongest tinting pigments available, while semi-opaque in mass tone or full strength, it makes very transparent glazes. 

A rich, warm, green blend created by GOLDEN for painter and abstract phenomenist Paul Jenkins. 

Phthalocyanine is among the strongest tinting pigments available, this green is semi-opaque, with a warmer yellow-green undertone. 

Hookers Green was originally a mixture of Prussian Blue and Gamboge before a single pigment Hookers was developed. GOLDEN have re-created this colour using Anthraquinone Blue, Nickel Azo Yellow and Quin Magenta, for a dark mass tone and rich blue-green...

Originally made with Buckthorn berries native to western Asia, but cultivated in Europe since Roman times. The ripe berries make a pink dye, while the unripe berries produce a yellow juice or sap used as a dye and to make a yellow Sap Green pigment. Our...

Green earth is best known as the under painting of flesh in medieval painting. To recreate this colour GOLDEN blends six different colours, then reduces opacity with gel medium to match all of the properties of historical Terre Verte. 

The same pigment originally used in the green of US currency, it is a very durable, lightfast and opaque colour. 

GOLDEN's single-pigment Cobalt Green is deep, slightly bluish green with great opacity and lightfastness. 

Guignet of Paris patented the process for manufacturing Viridian Green in 1859. The popularity of this bright, exceedingly clear blue-green colour led some to believe that it could eventually replace all other greens, both ancient and modern. GOLDEN's...

A lighter vein of the pigment best known for its use in US currency, it is very durable, lightfast and opaque. 

A semi-opaque mixture of Hansa Yellow and Phthalo green, this colour is a versatile medium to dark green. 

A mixture of green and yellow prized for its warm jewel tones and glazing. This is among the most popular colours in the GOLDEN palette. 

A mixture of Hansa Yellow, Phthalo Green and white, this is a fairly opaque, cooler, medium value green.

A mixture of Hansa Yellow, Phthalo Green and white, this is a opaque, warmer, medium value green.

A modern mixture designed to replicate historical Naples Yellow without the toxicity of lead. The colour was one of the earliest synthesize pigments dating back to the 1600's and very popular with the old masters.

Part of the earth tone family, Yellow Oxide's is slightly more opaque than it's neighbours (Yellow Ochre) and less red, but with similar lightfastness and durability.

One of the earliest pigments known to man, ochres are mineral oxides used in colours from the reddish brown to, in this case, yellow-brown range. This very opaque and lightfast colour is often considered essential to a painters' palette. 

The transparent nature of this pigment give it a beautiful glazing quality that is unique among earth tones.

'The "Azo" (aye - zoe) is short for Azomethine, Nickel Azo pigment produces a transparent, brownish yellow at full strength but with enormous range. Excellent for creating rich amber glazes or extending further for high-pitched yellows. Tint with white...

Natural Iron-Oxide is the basis for this single-pigment colour, named after the region in Italy where it was first mined. Raw Sienna retains more of its yellowish colour because is created prior to the heating process that creates "burnt" sienna...

A modern mixture replacing the pigment originally produced in the early 1800's by collecting urine from oxen fed only mango leaves. GOLDEN's version is more permanent, more lightfast, totally humane and (best of all) urine-free.

The higher iron content in this single pigment paint gives it more of a reddish brown quality, clearly on the fringe it retains just enough of the amber tone to be included in the yellow family.

A reddish iron-oxide pigment is the basis for this brown that has a naturally light brown mass-tone that appears more red as it becomes extended in tints and glazes. 

One of the first red pigments known to man, this earth tone is a staple on many artists' palettes. It's incomparably opaque and lightfast, sometimes called Venetian Red, it is warmer than Indian or English Red.

Additional heating, or firing of the natural earth pigment creates the darker variation of a classic Sienna earth colour.

One of GOLDEN's most popular glazing colours, the brown mass tone belies the rich amber-red colours that come through in tints and glazes.

A mixture of Violet Oxide and Carbon black, this transparent colour has a very dark mass tone that tints and glazes to a rich gold-brown.

This is the lighter of GOLDEN's two Burnt Umber paints, with good opacity it extends and tints to a warm to neutral beige colour. 

Van Dyke Brown dates back to the 17th century from the Cologne and Kassel regions of Germany, GOLDEN has captured its rich peat undertone by using Transparent Red Iron Oxide and adding just enough Carbon Black to create a clean sepia tone. 

Umber is essentially clay, and this variation on the PBr7 pigment is the lighter (un-burnt) version of this classic earth tone that originated in the Umbria region of Italy.

A classic umber colour, GOLDEN's Burnt Umber provides the deep brown earth tone that painters have used for centuries.

Named after British painter William Payne (1760-1830), early formulas contained indigo, alizarin lake, and ivory black. Today more commonly a mixture of ultramarine blue and black, it is considered easier to control and less intense than black as a...

Actual Graphite pigment gives this fairly neutral, single pigment gray a slightly metallic sheen.

N3: A very dark Neutral Gray, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic grays allow artists to adjust the value or chroma of a paint colour...

N2: The darkest of GOLDEN's Neutral Grays, precisely matched to Munsell Gray for artists exploring values The Neutral Grays in this line are a series of achromatic grays. Achromatic grays allow artists to adjust the value or chroma of a paint...

N4: A darker than middle value Neutral Gray, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic grays allow artists to adjust the value or chroma of a...

N5: The middle value of GOLDEN Neutral Grays, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic grays allow artists to adjust the value or chroma of a...

N6: Lighter than middle value Gray, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic grays allow artists to adjust the value or chroma of a paint colour...

N7: A very light Neutral Gray, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic grays allow artists to adjust the value or chroma of a paint colour...

N8: The lightest of GOLDEN'S Neutral Grays, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic grays allow artists to adjust the value or chroma of a paint...