HORADAM® Aquarell – Finest artists’ watercolours, series 14
The Premium Range
- 139 brilliant, intensely colours in half and full pans, as well as 5 ml and 15 ml tubes + oxgall
- 50 supergranulating colours in half pans, 5 ml and 15 ml tubes
- 162 of the 189 colours with the highest possible lightfastness (4 + 5 stars)
- 4-times liquid-poured pans for maximum yield
- Same formulation for pans and tube colours
- Always controllable paint flow – even on soft watercolour papers
- Easily re-wettable and re-usable after drying
- Quality range “Made in Germany”
- Selected Gum Arabic as a binder and natural oxgall as a traditional dispersant
The Standard Range
Our 139 HORADAM watercolours offer an exceptionally broad colour spectrum and meet the highest quality standards of a premium watercolour. In addition to well-established traditional colours the brand also includes innovative shades using unique pigments like Perylene, Quinacridone and transparent iron oxides. Many of the 92 single-pigment colours enable particularly vibrant mixtures while the 22 granulating colours produce fascinating effects (marked with "G" on the colour chart).
50 supergranulating watercolors
Supergranulating colours are characterised by a special feature: the combination of at least two granulating HORADAM pigments intensifies this effect into "supergranulation." These colours are made up of pigments from different colour families, allowing not only granulation effects but also color shifts.
The natural texture formation varies depending on the substrate and the amount of water being used. Rough paper enhances the granulation effect as well.
The 50 supergranulating colours are divided into 10 thematic sets, each with 5 colours: Deep Sea, Glacier, Galaxy, Forest, Tundra, Volcano, Shire, Desert, Haze, and Urban. All supergranulating HORADM watercolours are highly lightfast (4 and 5 stars).
4-times liquid poured pans
Schmincke has created an exceptional quality aspect that is second to none: the time-consuming liquid filling of HORDAM watercolours in half and full pans. The watercolour is poured four times in the pans with several weeks of drying phases. This results in a highly concentrated, maximum yield watercolour.
Selected gum arabic
A key component of our artist watercolour is the classic watercolour binder “Kordofan Gum Arabic” from the dry zones south of the Sahara. Due to natural variations we test all available batches with each purchase and always select the best quality of the respective vintage. This ensures small but noticeable quality advantages. A careful cleaning processand the individual use of all other recipe components guarantee a harmonious range that is easily picked up with a brush.
Painting sets
Our extensive selection of painting sets ranges from small travel sets to classic metal boxes with various assortments as well as numerous sets and boxes with supergranulating colours. In addition, sophisticated watercolour artists can find elegant and well-equipped wooden boxes in our range.
Watercolour mediums
Our popular Aqua mediums offers a wide range of mediums to expand creative possibilities, achieve special effects or protect finished watercolours.
HORADAM® Aquarell - Colour chart
Brilliant, lightfast white with highest opacity and strongest lightening power.
Cold, pure, lightfast traditional zinc white with good white lightening power; slightly cold bluish nuance. Due to transparency the best mixing white.
Semi-opaque, cold light yellow for soft colour layers.
Highly opaque, slightly greenish, cool yellow. Heavy metal free alternative to cadmium yellow lemon. Creates brilliant mixtures.
Slightly transparent pure yellow or lemon yellow, when applied in thin layers. In stronger layers tendency to ochre.
Highly transparent lemon yellow. Alternative to the original toxic chromium yellow lemon.
Highly transparent light yellow. Mixture of two modern, organic pigments. Alternative to the original toxic chromium yellow.
Reddish yellow. Alternative to the original used toxic chromium yellow deep. Tendency to orange.
Alternative to the original toxic chromium orange by using a lightfast, organic pigment.
Greenish yellow. Heavy metal-free alternative to cadmium yellow lemon. Basic yellow with good painting- and mixing properties. Creates brilliant mixtures with phthalogreen.
Brilliant yellow with modern, organic pigment. Heavy metal-free alternative to cadmium yellow. In thick layers semi-opaque, in thin layers transparent. Good lightfastness and mixing properties.
Intense brownish gold. Very good mixing properties. Perfect for warm green shades. Imitation of Pigment PO 49 which is no longer available.
Brilliant orange-red with an organic, lightfast pigment. Mixed with ultramarine finest soft, neutral greys are achieved. The intensive reddish character is ideal for mixtures of very light reds.
Modern replacement of former animal metabolism product from India, which was prohibited long ago. Classic, very transparent, mix of two pigments.
Traditional colour from anorganic pigments. Often used for portrait_x000D_ and nude painting.
Traditional colour. Cool lemon-cadmium-pigment. Alkali-resistant. Especially for mixing yellow-greens and greens.
Strong, brilliant yellow with opacifying character. In the Colour Theory often used as primary yellow (Y).
Highly brilliant, strong yellow with opacifying character.
Brilliant cadmium yellow with opacifying character.
Strong and brilliant with good mixing properties.
Brilliant, strong orange. Opacifying character. Good mixing properties.
Imitation of the originally toxic lead pigment with anorganic pigments. _x000D_The white contents creates opacifying character.
Traditional colour, opacity effected by white content. Mixed from 4 pigments, _x000D_to achieve the traditional reddish-yellow. Recommended for portrait and nude painting.
Very intense, semi-transparent and warm red. Darker and more yellowish than vermilion light.
Lightest and most yellowish transparent red. More reddish than transparent orange.
Transparent red. Less yellowish than vermilion light.
Warmer deep red with higher lightfastness, replaces dark red (14 345).
Dark, cold red. More light and bluish than dark red.
Expanding range of cadmium reds. Medium red with opacifying character.
Brilliant colour with opacifying character. To be used as lightest red.
Deep red with slight brownish tendency. Opacifying character.
Transparent, bluish red. Modern, lightfast, organic pigment. Different colour layers have strong influence on the character from red to deep red.
Originally obtained from real Cochenille-louses. Modern pigment allows today lightfast alternative.
Cool, saturated deep red with good transparency. Alternative to madder lake deep (14 358) with better lightfastness.
Traditional colour. Soft pink mixed from two pigments. The manganesian lake pigment creates bluish reds. Light resistance of stronger layers is rather good.
Cool, saturated deep red, good transparency. Originally an alumina pigment lake of alizarine, the main dyestuff of the former important madder plant. Synthetic production of alizarin since 1870.
The lightfastness of the traditional alizarin-hue has been improved by anthrachinone pigments. The colour is deeper now.
Cadmium-free alternative to cadmium red orange (14 348) with lightfast organic pigments.
Intense dark red similar to alizarin but warmer. Transparent.
Modern alternative for the traditional dyestuff crimson or Cochenille with good lightfastness and opacifying character.
Metal-free alternative to the traditional vermilion. Organic pigment with good lightfastness and opacifying character.
Cadmium-free alternative to cadmium red deep (14 350). Lightfast, organic pigment with high tinting strength.
Original dyestuff replaced by organic quinacridone pigment. _x000D_Bluish alternative to primary colour magenta (14 352).
Red violet between purple magenta and quinacridone violet._x000D_ Intense and lightfast.
Historical pigment. Brownish, dull, very light rose red. Strongly granulating.
Dark wine red. Brownish intense violet. Very lightfast. _x000D_Ideal as shadow colour for reds.
Blue-violet between quinacridone violet and manganese violet. _x000D_Intense and lightfast.
Soft blue-violet. Strongly granulating. More bluish than Schmincke violet.
Traditional colour. Bluish violet, cannot be mixed from other pigments.
Warmest Phthalocyanine. More reddish than the replaced helio blue reddish._x000D_ Now one-pigment-colour.
Cerulean blue based on phthalocyanine. Pigment specially treated to be used_x000D_ for watercolours. Basic blue for mixtures. Close to cyan (C).
Traditional colour. The pigments mixed with white result in a lightfast light _x000D_blue. Ideal for neutral, soft blues.
Cobalt-free cerulean blue. The zinc oxide preserves the character of the colour. _x000D_Similar to primary colour (C) of Colour Theory. Similar to helio cerulean.
Strong blue. High tinting strength. Modern, lightfast, organic pigment._x000D_ Warm, deep blue with strong depth effect.
Soft, greenish light blue. Sky blue for landscape painting._x000D_ Strongly granulating.
Traditional deep greenish blue. High tinting strength. Creates very brilliant _x000D_greens by mixing with yellow.
Originally traditional plant dyestuff from India. Perfect for shading and_x000D_ deepening of colours.
Metalfree alternative to cobalt blue. Semi-transparent blue due to _x000D_zinc white content.
Clear blue. Best suited for landscape and blue sky painting.
Very lightfast, deep blue, more reddish than cobalt blue light (14 487)._x000D_ Granulating. Tone and chemistry very similar to smalts blue of the late_x000D_ Middle Ages. Often used to paint sky and horizon.
Traditional deep blue. High tinting strength and good lightfastness. Colour is_x000D_ achieved by mixture of 3 pigments. Slightly more greenish than Prussian blue_x000D_ (14 492).
Synthetic alternative of a classic ultramarine extracted from the semiprecious_x000D_stone lapis lazuli. Also used as basic colour for mixing violets.
Blue violet cannot be achieved by any other colour. Good lightfastness like _x000D_all other ultramarine pigments and little tinting strength. Granulating.
Strong, saturated blue. Two-pigment mix. Slighly dimmer than ultramaine _x000D_finest (14 494).
Lightfast, slightly warmer alternative to indigo (14 485). Modern, organic_x000D_ pigment.
Very lightfast turquoise, opacifying character. Very brilliant.
More greenish than cobalt cerulean (14 499) with equally high lightfastness.
Highly transparent, cool, very lightfast standard colour._x000D_ Well suited for mixing brilliant greens.
Opaque green with very high tinting strength. Recommended for _x000D_landscape painting.
Transparent, brilliant green. Warmer than phthalo green (14 519).
Neutral olive green with excellent mixing properties. Important basic_x000D_ colour for green nuances in landscape painting.
Contains pure natural earth. Not very colourful, but perfect transparent._x000D_ Recommended for toning down flesh tints in the portrait and nude painting.
Extremely brilliant transparent green. Alternative to chromium oxide green _x000D_brilliant (14 511). Well suited for mixtures with yellows and reds._x000D_ Recommended for landscape painting.
Lightfast alternative to mixture of gamboge gum, Prussian blue and_x000D_ partly indigo.
Traditional brilliant yellow-green. Contains 2 transparent, lightfast pigments._x000D_ Recommended for landscape painting.
Traditional green. Contains 2 lightfast pigments. Recommended for _x000D_landscape painting.
Brilliant yellow-green. Mixed colour of two lightfast pigments._x000D_ Slightly more neutral than may green (14 524).
Lightfast alternative to mixed colour from Prussian blue and not lightfast_x000D_ yellow lake. Well suited for bluish shadings in landscape painting.
Highly transparent green. More lightfast alternative to the classic pigment _x000D_formerly made from berry juice.
Lightfast alternative to olive green (14 515). _x000D_Mixture of two lightfast pigments.
The pigment is a “spinel” combination of cobalt-aluminium titanium-nickel-_x000D_zinc oxide. Excellent lightfastness.
Violet, deep red-brown. Synthetic pigments create high tinting strength and_x000D_ opacity. Recommended for landscape painting and portrait.
Modern brown, transparent when applied in thin layers. Reddish alternative to _x000D_burnt Sienna (14 661).
Orange coloured brown red. Very colour-intense, opaque pigment;_x000D_ a synthetic red iron oxide. Very good lightfastness.
Granulating warm brown. Darker and warmer than burnt Sienna (14661).
Warm brown. Transparent alternative to burnt Sienna (14 661). Ideal for mixing.
Warm reddish yellow brown from 2 modern, organic pigments.
Brilliant yellow ochre. Synthetic hydrated iron oxide with opacifying character. Very lightfast. Recommended for landscape painting.
Brilliant yellow ochre from natural earth pigment. Light transparent. Very good lightfastness. Recommended for landscape painting.
Fully transparent alternative to yellow ochre (14 655). Ideal for mixing.
Modern, anorganic, opaque pigment. Slightly warmer than yellow _x000D_ochre (14 655 ) and yellow raw ochre (14 656).
Pure natural earth. Traditionally from Italy. Very lightfast.
Traditional earth colour. Recommended for landscape painting.
Reddish. Sepia brown from animals formerly adjusted with madder lake. _x000D_Today synthetic production with lightfast pigments.
Originally gained from the cuttlefish. At that time not lightfast and storable. _x000D_Replaced by lightfast pigment mixture. Often used for first layers.
Granulating, very greenish dark brown. Similar to Vandyke brown (14 669), but _x000D_lighter and more transparent. Ideal for landscape painting.
Pigments from natural earth.Transparent light brown. Standard colour for landscape painting.
Warm brown. Contains only pure, burnt natural earth ._x000D_Basic colour for landscape painting.
Modern greenish alternative to sepia brown (14 663).
Lightfast alternative to the former madder brown. Modern, organic pigment. _x000D_Recommended for portrait and nude painting.
Warm brown. Transparent alternative to burnt umber (14 668).
Very deep black. Formerly made from carbonized ivory, nowadays produced by dry_x000D_ destillation of degreased bones. Small quantities of calciumphosphate add slightly_x000D_ grey-bluish tone. Often used for dark tones and colour turbidity.
Greyish black. Consisting of pure carbon. Recommended for first layers.
Traditional violet-grey. Mixture of red violet, blue and black._x000D_ Recommended for first layers and deepening of greens.
Traditional Schmincke neutral grey. Mixture of red, blue and black._x000D_ Slightly cooler than neutral tint.
Extremely dark black-green. Ideal shadow colour especially for landscape _x000D_painting.
Neutral grey from complementary colours without black content. Remains colour-neutral even after mixing with white.
Brownish greyblack, pigmented with lamp black._x000D_ Consisting of pure carbon.
Internationally requested bluish variation of Schmincke Payne’s grey (14 783).
Opaque dark grey. Particularly suitable for combination with pencil_x000D_ or for mixing.
Pure and brilliant. Not achievable by mixing. Without evaluation of lightfastness.
Pure and brilliant. Not achievable by mixing. Without evaluation of lightfastness.
Pure and brilliant. Not achievable by mixing. Without evaluation of lightfastness.
Pure and brilliant. Not achievable by mixing. Without evaluation of lightfastness.