THE GUIDE TO

UTRECHT PROFESSIONAL
ARTISTS' MATERIALS

From the beginning Utrecht Art Supplies led the industry

in promoting studio craft through tutorials, materials data
and articles that made the company a valued resource for
artists and educators.

Included with every order from the Utrecht Linens

catalog, the “Utrecht Guide” was a familiar fixture in
classrooms and studios across the country. While some
product formulas may have changed slightly over the
years (please refer to utrechtart.com for current data),
overall the Guide is as relevant today as in the 1960s.

We hope this digital reprint proves as popular and useful

to contemporary artists as the original was in the last
century!

Matthew Kinsey
Utrecht Art Supplies
“Ask the Experts” Team

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THE GUIDE TO UTRECHT PROFESSIONAL ARTISTS' MATERIALS
One of the practical properties' of acrylic colors It should be applied very carefully. Do not use which produces brilliant and concentrated colors
is it's rapid drying. An underpainting can be built rapid brushstrokes since air bubbles can be with excellent working properties.
up quickly. The rapid drying of acrylic colors introduced into a water-based paint very easily
allows the artist to apply multiple layers in quick this way. The air bubbles would produce UTRECHT WHITE is a special non-yellowing oil
succession. You can get very subtle effects in somewhat of a matte-like finish. You should painting white manufactured by Utrecht,
gradations of color and form by overpainting always test the varnish on a little sample piece carefully ground in safflower oil whose
one layer of transparent color over another. to make sure it is the degree of gloss that you outstanding feature is that it is non-yellowing. It
want. also produces a flexible and durable paint film.
The general rule in applying Utrecht Acrylic Safflower oil is a thoroughly tested and
Mediums which are transparent or semi-opaque THE MANUFACTURE AND TESTING OF generally accepted vehicle for artists' oil colors.
is to brush on carefully without introducing air SUPERIOR PROFESSIONAL UTRECHT OIL Utrecht White is safely intermixable with all the
bubbles into the acrylic paint layers. Utrecht AND ACRYLIC COLORS different Utrecht Oil Colors which are also
Acrylic Colors can be used in a wide range from Utrecht's four indispensible conditions that intermixable with each other because of linseed
watercolor techniques to heavy impasto govern the production of our superior oil's chemical similarity to safflower oil.
painting. permanent artist's colors:
UTRECHT'S PROPER PROFESSIONAL
UTRECHT GLOSS ACRYLIC MEDIUM is the (1.) Determined and uncompromised effort to FORMULATION AND QUALITY
basic vehicle in the manufacture of Utrecht produce superior professional artist's colors -Proper Maximum Pigment
Acrylic Colors. It is of a syrupy consistency regardless of cost. -Proper Minimum Vehicle
which dries clear and glossy. The degree of (2.) Finest ingredients and formulation: -No Adulterants or Fillers Used
gloss and/or transparency (for glazing) can be -Proper maximum of 100% pure,
controlled with the addition of water or Utrecht permanent and brilliant pigments. Artists' colors are essentially manufactured by
Matte Medium. -Proper minimum of 100% pure and mixing and grinding pigments and vehicle.
permanent vehicles. Pigment particles are insoluble; they are
UTRECHT GLOSS ACRYLIC GEL MEDIUM -100% free of all adulterants and fillers. actually dispersed and suspended in the
has a heavy body that can produce very unique (3.) Expert knowledge and experience in vehicle. Each pigment requires a different
painting and glazing techniques. Mixing more formulation, manufacturing and testing. proper minimum percent of vehicle to produce a
color with the acrylic gel you can produce a (4.) Utrecht meets all known Health & concentrated and workable "paste."
thicker less transparent paint layer. In the Safety Standards of Art & Craft Institute.
glazing technique mix more Utrecht Acrylic Gel UTRECHT PROFESSIONAL
with the Utrecht Acrylic Colors; then you can Utrecht manufactures artists' colors with strict FORMULA
apply multiple transparent layers of various adherence to the highest artistic and scientific
thickness producing unique coloristic effects. standards. Utrecht maintains quality control over The proper maximum of the highest grade
Generally when glazing, you will be applying a every aspect of production, from the initial 100% pure pigment and minimum of vehicle is
darker transparent layers of color over a -lighter stages of formulation to the final automatic filling an indispensable requirement of the Utrecht
color so that the underlayer reflects light. A of tubes, jars and cans. Supreme Professional Quality Colors. As
basic example is to tint the acrylic gel with a represented by the diagram Formula A.
blue and apply thickly over a yellow layer of FINEST TESTED INGREDIENTS Utrecht's proper formulations contribute to the
acrylic color. Theresult will be a visual green Utrecht carefully selects and uses only the finest high color (or tinting) strength, brilliance, proper
which will refract a greater amount of light quality, full strength pigments and vehicles drying time, working qualities, consistency,
because of the thickness of the gel compared to regardless of cost. This is a primary requirement permanence and durable paint film.
a thin glaze. A very thick layer of Utrecht Acrylic in the production of Utrecht's highest
Gel may take overnight to dry through. As the professional quality permanent artists' oil and UTRECHT'S PROPER FORMULATION AND
gel dries it gets clearer and clearer and you can acrylic colors. PAINT FILM
glaze over it with different acrylic colors and
degrees of thickness of the acrylic paint layer PERMANENCY: The choice of pigments for Utrecht's properly formulated and
Utrecht Oil Colors and Utrecht Acrylic Colors manufactured professional artists' colors, the
UTRECHT ACRYLIC GEL OPAQUE: makes it have been carefully tested and are universally vehicle permanently binds or adheres the
possible to apply a thick texture of opaque recognized as permanent by artists and color pigment particles together. It also contributes to
layers of acrylic color. The degree of experts. See next page for a complete listing of the adhesion of the different paint layers and to
opaqueness can be controlled with addition of the pigment composition and lightfastness the canvas support through the centuries.
clear acrylic medium and gel. The paint layers classification. For example, less vehicle than the proper
or glazes with addition of opaque gel can percentage may produce an impermanent paint
produce unique coloristic effects. PURITY: Each pigment and vehicle must be film, which will become brittle and disintegrate
free of impurities, adulterants and fillers. with age. The improper excess of vehicle
UTRECHT MATTE MEDIUM is made to be produces a color with undesirable properties,
mixed with Utrecht Acrylic Colors. It diffuses the BRILLIANCE: Each pigment used must be as such as weakening its color strength and
light and reduces the natural gloss of the brilliant and clean in color tone as it can possibly affecting its permanency.
Utrecht Acrylic Colors. be.

UTRECHT ACRYLIC MATTE GEL MEDIUM STRENGTH: Each pigment used must behigh in PIGMENT PERCENTAGE AND
produces similar results as the Utrecht Acrylic color and tinting strength. MANUFACTURING COSTS
Gloss Gel Medium. However, it does not have a In terms of dollars and cents the pigment is
high gloss and is reduced in transparency. ADHESIVENESS AND PERMANENCY OF THE generally the most expensive ingredient in the
Different mixtures of Utrecht Matte Gel and VEHICLE: An important requirement both formulation. UTRECHT FORMULA [A] is of
Gloss Gel can produce different degrees of Utrecht Oil and Utrecht Acrylic Colors is that the excellent professional quality and has great
gloss transparency and matteness. vehicles must be stable, permanent and with money value. Utrecht's Professional Artists'
superior adhesive properties. Colors have a high percentage of pigment and
UTRECHT ACRYLIC IRIDESCENT TINTING therefore high manufacturing cost.
MEDIUM mixed with Utrecht Acrylic Colors UTRECHT PROFESSIONAL ARTISTS'
produces a dried paint layer with a more ACRYLIC COLORS Buying direct from Utrecht one of America's
reflective and iridescent quality. Mix a little at a Supreme Professional Quality major manufacturers of artists colors makes it
time until the desired result is achieved. The Utrecht is one of the first developers and possible for the artist to purchase supreme
reflective and iridescent effect is greater with manufacturers of professional artists permanent professional quality at low prices.
transparent colors than with opaque colors. acrylic colors in the world. Utrecht introduced FORMULAS B and C are lower in cost to
the line in 1957 after years of research and manufacture. Formula B represents a good
UTRECHT MODELING PASTE AND testing. This contributed to the greatest quality, but has less pigment in the formulation
EXTENDER is a flexible material. It is made innovation in the history ofartists colors in 500 than Formula A. Formula C is of poor quality
from precipitated calcium (sometimes called years; i.e. since the invention of oil colors. All that is called a "student grade" color. The
marble dust), pure titanium and acrylic polymer the different Utrecht Acrylic Colors and Gesso pigment percent can be reduced with
emulsion. It can be built up to thick impastos Colors are safely inter-mixable. substitutions of inexpensive fillers or
without cracking or flaking. One can tint adulterants; also with excessive vehicle, whose
Modeling Paste and Extender with colors and Utrecht Artists Acrylic Colors are carefully mixed presence can be improperly masked with the
build up an underpainting which will be less and ground with Acrylic Polymer emulsion solidifying action of stabilizing agents. Use of
expensive than with pure acrylic colors. producing brilliant concentrated colors which dry substandard ingredients can also reduce costs.
to a tough permanent paint film.
VARNISHING THE ACRYLIC PAINTING MEASURING THE PERCENT OF PIGMENT IN
The physical character of an acrylic painting has UTRECHT PROFESSIONAL ARTISTS OIL A PAINT FORMULA
a toughness that makes varnishing it an option. COLORS
If you want to produce an even gloss varnish for Supreme Professional Quality Utrecht The amount of pigment in a formulation of an
a certain look we suggest the Professional Oil Colors are carefully ground in artist color can be discovered. This is done by
following procedure: Utrecht Gloss Acrylic the highest quality alkali refined Linseed Oil mixing a measured amount of the color to be
Medium is the basic varnish for acrylic painting. and/or Safflower oil of neutral natural acid; tested with a measured amount of white paint.
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Simply, the more high grade pigment in the If the paint is too fluid it will limit the range single step canvas preparation could be
formulation, the stronger it will tint the white. of painterly effects. If the paint is too sticky or developed.
Utrecht uses a reflectometer to measure tacky, it may be difficult to brush it out. An
scientifically the tint strength of every oil and artists' paint of the proper consistency can be In 1957, after years of careful research and
acrylic color formulation and comparing the applied from the smoothest paint layer to testing, Utrecht manufactured and introduced
reading to a high standard established by the thickest impasto in a controlled manner. professional Utrecht Acrylic Gesso and Utrecht
Utrecht Manufacturing Corp. This is to assure Acrylic Colors. The introduction of Utrecht
the artist that he is receiving the proper (4.) COLOR STRENGTH TEST: We suggest Acrylic Gesso contributed to the great
maximum of pigment and therefore, colors of you make a color or tint strength comparison of innovation in canvas preparation. Utrecht is one
high tint strength. We will explain how you can Utrecht Professional Acrylic Colors and Utrecht of the first major manufacturers of Professional
test Utrecht Colors for yourself in the next Professional Oil Colors against any other brand Acrylic Gesso and Acrylic Colors in the world. It
section. imported or domestic regardless of it's selling provided artists with a very simple single step
price. The consistency of an artists paint is no method of preparing their own canvas, for
Each color must be manufactured according to certain clue to its color strength. This can only acrylic or oil painting. This contributed
its individual physical and chemical be determined by tinting it with white. For significantly to the acceleration of the practice of
characteristics. Each pigment is different and example, the excessive vehicle in the student Artists everywhere preparing their own canvas.
has various characteristics, for example, the grade color can be stiffened with improper use Utrecht Acrylic Gesso has become one of the
particular hardness, size and shape of the of stabilizers to mask the smaller amount of most widely used priming today.
pigment particle; also its specific gravity, vehicle pigment in its formulation. Pigment shortage in
absorption properties. an artists' color can be easily discovered with UTRECHT ARTISTS CANVAS
the simple color strength test. The general function of the linen and cotton
The pigment and vehicles of Utrecht Oil and canvas support is to provide a foundation upon
Utrecht Acrylic Colors are carefully mixed a) Begin by noting the color name or color index which painting is permanently adhered to. Linen
and ground on the three roller mill several times name and the pigment composition printed on and Cotton canvas are the two basic supports
until each color has achieved its optimum the label of the color to be tested. For example, which artists generally use for oil and acrylic
brilliance and intensity, and the proper Cadmium Yellow Pale should not be compared painting today. Each has its own special
maximum of pigment and minimum of the with Cadmium Yellow Deep or Hansa Yellow. properties and characteristics. The proper
vehicle has been completely dispersed. Only colors of the same color name and choice of the canvas support and texture
pigment composition should be compared. depends on the artists painting requirements.
UTRECHT'S PROPER CONSISTENCY:
An important quality test is to measure the paint b) Carefully measure out one level teaspoon of TEXTURE AND WEIGHT OF CANVAS
consistency for proper response to the artist's the color to be tested and three level The texture of the canvas provides a
brush and/or palette knife work. A two millimeter tablespoons of white. Use the same tube of mechanical grip for the paint layers to adhere to
volume of paint is accurately measured and white throughout the test. Make sure that there it. Therefore, the rougher the texture and
placed in the center of a glass plate; another are no air pockets in the paint caused by heavier the weight of the canvas provides
plate is placed over it, on top of which is rested careless placement in the spoon. greater adhesion for heavier applied paint
a two-kilogram weight (over four pounds). The layers.
paint should not spread beyond a determined c) Thoroughly mix the color and white with astiff
fixed point. palette knife until all streaking has disappeared. CROSSBRACING THE UTRECHT EXTRA
HEAVY DUTY STRETCHERS
YOU CAN TEST UTRECHT PROFESSIONAL d) First spread smoothly with a palette knife the The cross bracing of larger works reduces the
OIL AND ACRYLIC COLORS AGAINST ANY tinted mixtures of Utrecht Oil or Acrylic color on possibility of the 'twisting' of Utrecht
BRAND. half of a piece of canvas or paper. Next spread professional extra-heavy 1 l/4"x 2 ¼" stretchers.
Discover For Yourself The High Professional the other brand tinted color next to it. The brand This twisting can be produced by the tension
Quality of UTRECHT ARTISTS' COLORS which is stronger or richer in color has the created by the stretching procedure. Tension
greater amount of pigment in the formula and is can also be produced by the greater shrinkage
Since 1961, Utrecht has distributed millions of of higher quality. The batch which has the paler of the linen than cotton canvas during the drying
copies of instructions on how to test and tint has a smaller percentage of pigment in the of the glue sizing. However, the stretching of
compare Utrecht Oil and Acrylics with any other formula and is of poorer quality. primed canvas results in less tensions and
brand regardless of cost, domestic or imported. twisting of the stretchers.
It is important to remember that tint strength of
FOUR IMPORTANT TESTS FOR QUALITY different colors (and different pigment Cross Bracing Utrecht's Extra-Heavy Duty
YOU CAN EASILY PERFORM composition) are not necessarily equal. There Stretchers:
can be variations. For example: a high grade Utrecht Professional Extra Heavy Crossbraces
Utrecht has consistently recommended over the Phthalocyanine Blue has a stronger tint strength are 3/4"x2 1/4" and have four rounded edges to
years that artists test and immediately discover man a high grade Pure Cobalt Blue. What is minimize producing an impression on the
for themselves the superior professional quality significant is the comparative tint strengths of canvas. They come in four basic sizes: 36", 46",
of Utrecht Professional Oil Colors and Utrecht two or more brands of same color name and 56" and 68" which can be easily cut to the
Professional Acrylic Colors. pigment composition. required length. A canvas that may need
crossbracing is when the longer side exceeds
This is a very clear demonstration of the great approximately 44" regardless of the length of
confidence we at Utrecht have in the high SINCE 1949, UTRECHT HAS PLAYED A the shorter side. When the length of the long
professional quality of the artists colors we SIGNIFICANT ROLE IN THE REVIVAL OF side exceeds 60" you may use two or three
manufacture. We will outline some significant ARTISTS PREPARING THEIR crossbraces across the shorter distance. In
but simple tests you can easily-perform. These OWN CANVAS order to saw the crossbraces to size one can
tests are accepted by artists and experts as use a mitre box or a carpenter square to
useful aids in judging the quality of permanent Today it is a completely accepted practice for indicate with a pencil line precisely where to
artists colors. An important part of this artists to prepare their own canvas. Since 1949, saw. This is to make sure the end of the
procedure is to make comparative tests with any Utrecht has been a significant force in bringing crossbrace fits flush with the stretcher. Place the
other brand regardless of their selling price. this about throughout the whole contemporary crossbrace strip of wood cut to the required
art world. It seems hard to believe today, but for length to fit snugly between the shorter distance
(1.) MASS TONE: Mass tone is the color quality many years before 1949, only a small between the inside space of the stretchers. One
of the paint as it comes out of the tube or percentage of artists prepared their own canvas. can easily connect the cross brace to the back
jar. Spread the paint out smoothly with a with a There were two major reasons for this. of the stretcher strips with steel mending plates
palette knife and visually examine it for the (a) The simple procedure for preparing canvas with screws (with or without the use of Elmer's
intensity, brilliance and cleanness of color was not generally familiar, glue.) When placing a cross brace across two
quality. | (b) Also, there was not a complete line of parallel sides one can still key out the other two
unprimed canvas easily available for the sides to further tighten the canvas, if needed.
(2.) UNDERTONE: The undertone of a color can professional artist.
be revealed in two ways: Tinting the color with THE STRETCHING OF THE CANVAS
white or scraping the paint with a stiff palette In 1949 Utrecht began a program publishing There are several equally good ways to stretch
knife very thinly over the surface of white paper. instruction booklets and articles on the simple primed or unprimed canvas. We will suggest
The whiteness of the surface should be partly procedure of preparing canvas in the Utrecht one method which has been successfully used
visible through the paint. Examine the catalog which millions of copies were distributed for many years. The unprimed linen and cotton
undertone also for it's brilliance, intensity and over the years throughout the USA. In 1949 canvases have a degree of natural elasticity
cleanness of color quality. The color of the Utrecht also began developing a range of which allows for easier handling and stretching
undertone can appear somewhat different than unique textures and weights of properly woven than pre-primed linen or canvas. It is important
the mass tone. The importance of the mass and unprimed canvases. The Utrecht superior to handle and stretch already prepared canvas
undertone of a paint is obvious- that is one of professional line of unprimed canvas provided carefully to avoid producing creases. You can
the color qualities with which the artist will many artists with a strong incentive to begin use either a Staple Gun using 5/16" staples or a
express himself. preparing his own canvas. Hammer using 1/2" carpet tacks. A magnetic
tack hammer can speed the process of nailing
(3.) WORKING QUALITY: The consistency of For about 500 years before 1957 the two step and stretching your canvas. It will be helpful if
the paint as it comes out of the tube or jar procedure of glue sizing and applying oil priming before beginning the stretching procedure, mark
should be tested for its working qualities. Use a white on the canvas for oil painting was the only the center of each side of the stretcher and
brush, knife or even your fingertips. Oil colors generally accepted method and materials to be canvas with charcoal. This will help you to line
have a different feel or texture from acrylic color. used. In the early 1950's Utrecht believed that a up the canvas with the middle of the stretchers.

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It is recommended to have the front of the indispensable for canvas priming; these UTRECHT OIL PRIMING
canvas facing away from you and with the back standards guide their formulation and For Oil Painting Only
of the canvas facing you. This will enable you manufacture. The oil priming method involves two simple
to stretch the canvas more tightly toward you. steps,
Utrecht Acrylic Gessos will retain their (a) First to double size the canvas with Utrecht
Attaching Side One: Center the canvas on the whiteness and flexibility indefinitely. The high rabbit skin glue solution, followed by
stretchers so that it will overlap at least three adhesive strength Pure Polymer Emulsion (b) an application of Utrecht White Oil Priming.
inches on all the sides equally. Begin attaching produces a priming that becomes one with the The priming must be allowed to dry at
the canvas to the stretchers with a staple gun canvas. It thins with water, dries water-resistant least ten to fourteen days before it can be
or hammer in the center of the shorter side and is oil proof. painted on. Some Artists who oil prime a large
(corresponding with position A on the diagram). number of canvases at one time divide the work
Next pull the canvas tightly toward the corner of Utrecht Acrylic Gessos and Acrylic Colors over a three day period.
the same short side and fasten the canvas with Adhere to a Wide Range of Surfaces. (a). On the first day apply the first sizing on all
a tack or staple about three inches from the end The acrylic emulsion of Utrecht Acrylic Gessos stretched unprimed canvas
of the stretcher strip. (Position B) This is to have a high adhesive strength that can be (b). On the second day sand the dried first
allow room to fold the canvas in the corners and applied and adhere to almost any clean surface sizing and apply the second sizing
nail in, which is done after all four sides are that is not greasy or oily, such as linen, cotton, (c). On the third day begin the priming
attached. Repeat this on the opposite corner of paper, cardboard, wood, Masonite, plywood, procedure
the same side. (Position C) Now the first side of masonry and stone. Before gessoing Masonite
the canvas has now been fastened with only the surface should be sanded. THE SIZING OF THE UNPRIMED CANVAS:
three tacks or staples.
Priming Must Dry Under Normal Conditions. Sizing is a solution made by dissolving Utrecht
Attaching Side Two: Turn the canvas completely Never use artificial heat to accelerate the drying Professional high strength Rabbit Skin Glue in
around with the opposite untacked shorter side of either Utrecht Acrylic Gesso, the glue sizing hot water. Its purpose is to penetrate and
on top. Pull tightly from the center and away or Utrecht oil priming white. Let it dry under protect the fibers of the canvas from any
from the opposite shorter side fasten normal room temperature conditions. harmful absorption and action of the oil from the
the tack or staple in the center of the strip at priming and oil paint layers which can lead to a
Position D. Then, tack or staple one corner THE UTRECHT GESSO PREPARATION slow disintegration of the canvas fibers over
(Positions E) pulling tightly in a direction away It is recommended to gesso unprimed canvas time.
from the center of the stretcher and at the after it has been already mounted on the
same time away from the opposite side. The stretchers. Utrecht Acrylic Gesso can be applied GLUE SIZING RECIPE:
tack or staple in Position E should be about 3 with a wide 3" Utrecht Gesso brush. No
inches away from the end of the stretchers. Now preliminary sizing or sealing is technically 6 Level Tablespoons of Utrecht Rabbit
repeat the procedure for fastening the opposite necessary. Skin Glue
corner 3" away from the end (Position F). 1 Quart of Hot Water
The significant ingredient of Utrecht Acrylic
Finishing Attaching Sides One and Two: The Gessos is the acrylic polymer emulsion. This This time tested recipe for making the sizing
canvas is now stretched tautly with only six contributes to the sealing of the canvas fibers, solution with Utrecht High Grade Rabbit Skin
tacks or staples. Begin stretching and nailing (replacing the need for the traditional rabbit Glue preserves both it's inherent high adhesive
the tacks or staples no more than two inches skin glue sizing) protecting it from any harmful strength and flexibility.
apart, starting out from the center of the short absorption of oil from the oil paint layers. Utrecht Rabbit Skin Glue comes in a fine
sides stretching the canvas toward you. Artists find it is more efficient to prepare several granulated form that can easily be measured
Leave all the corners unlocked until the final canvases at one time. and dissolved without any preliminary soaking.
step of the stretching procedure. Make only enough rabbit skin glue sizing for
FIRST PRIMING: several hours use; after that,if needed, make a
Attaching Sides Three and Four: Repeat the First thin Utrecht Acrylic Gesso with up to 1/3 fresh batch. Glue sizing solution will gradually
above stretching procedure used on sides one water before the first priming so that the Gesso cool over a period of several hours and begin to
and two on the longer sides. can flow more easily into the fibers of the jell. Never re-heat the jelled sizing solution to
canvas. This is important in order to have the liquefy it . This will decrease its adhesive
The Canvas Corners: After you have stretched priming permanently anchor itself into the linen properties. Some artists use a double-boiler so
all four sides the corners can be done. Neatly and cotton fibers. Begin by moistening the brush when the glue sizing solution is made it is
fold and tuck in the canvas under at the corners with water. Work the brush back and forth in one placed over the bottom pot which is filled with
and place the tacks or staples in the wider part direction and then in a cross direction with a very hot water which has just been removed
of the stretcher joint which is either at the top or little pressure so the Gesso can better penetrate from the-stove. This will safely delay the jelling
bottom of the edge at alternate ends of the the fibers of the canvas. Do one area at a time. action of the glue solution. The granulated form
stretcher strips. Note: Large size canvases: One Utrecht Rabbit Skin Glue can be stored
can place two tacks or staples about an inch Priming The Sides: Apply Utrecht Acrylic Gesso indefinitely in a dry place.
apart at each of the six positions A-F. on the sides of the canvas where it has been
tacked or stapled onto the stretchers. This will PREPARATION OF SIZING SOLUTION:
THE PREPARATION OF THE CANVAS eliminate any unraveling of the edges of the Bring the quart of water to a boil, remove from
The basic requirements of the primed canvas is unprimed canvas. Also to protect the canvas the burner before adding the glue. Begin by
to provide a foundation for the paint layers to from any accidental contact with oil paint. adding the six level tablespoons little by little to
permanently adhere to it. Utrecht Acrylic Gessos the quart of hot water and keep stirring until it is
and Utrecht Oil Priming White are the two major Smoothing The First Priming: After the first completely dissolved. Never boil a glue sizing
tested canvas priming materials Utrecht priming of Utrecht Acrylic Gesso has dried, the solution over a burner. It will decrease its
manufactures. We will describe the method of canvas may have a little roughness, caused by adhesive strength.
canvas the fuzz of the fabric. This can be easily
preparation with these priming materials. eliminated by rubbing a very fine grain An alternative method of preparing the glue size
sandpaper very gently over the whole surface of is to first gradually stir in the six level
UTRECHT ACRYLIC GESSOS For Oil or the canvas. When sanding over the rim of the tablespoons of rabbit skin glue in a pint of hot
Acrylic Painting stretchers place your finger tips underneath and water. After which add the second pint of hot
Utrecht Acrylic Gesso is used as a priming for gently raise the canvas away from the rim. This water to make it a quart and stir the solution.
both oil and acrylic painting. It has eliminated is to avoid producing an impression of the This method has been found by some to be a
the need for the traditional glue sizing the stretcher rim on the surface of the canvas. quicker way to dissolve the glue compared to
canvas. Utrecht Acrylic Gessos' are a dissolving it directly into a quart of water.
completely formulated painting ground ready to Second Gesso Priming: The second priming of A quart of sizing solution can cover
apply to the unprimed canvas. It will dry in a Utrecht Acrylic Gesso does not need to be approximately five square yards, depending on
matter of hours and be ready to paint on. thinned with water. Apply it as the first. Do not the texture. If one quart is not sufficient for the
sand the second priming in order to preserve its canvas to be sized, you can make more.
Utrecht Manufacturers Professional Acrylic protection of the canvas fibers. | Rougher textures have more surface
Gesso and Artists Acrylic Gesso. and,therefore, require a greater quantity of glue
They both are formulated and manufactured to TONE GROUNDS: Over the centuries, artists sizing solution. The second sizing will use a bit
fulfill the strict requirements of canvas have painted on either a white or a tone ground. less sizing since the absorbency of the linen or
preparation. Both Utrecht Acrylic Gessos are A tone ground can be made by tinting Utrecht cotton has been greatly reduced.
composed of pure titanium dioxide [PW6] with Acrylic Gesso with any Utrecht Acrylic Color or
carbonate of calcium and ground in pure acrylic Gesso Color. One can also apply the tinted APPLYING THE GLUE SIZING:
polymer emulsion. Titanium dioxide is the most Gesso to the sides of the stretched canvas.
brilliant white available. The particle size of Note: Acrylic colors can be applied directly to Cover the entire canvas with the glue sizing with
carbonate of calcium is microscopically larger unprimed canvas because of the high adhesive a 3 inch wide housepainters type brush. To
than titanium dioxide. This produces a priming strength of the acrylic emulsion vehicle. avoid
surface with a slight tooth which many artists missing any areas it is best to concentrate on
prefer for the way it responds to brush work. -Clean your hands thoroughly with soap and one area at a time. The brush should be worked
Utrecht Professional Acrylic Gesso has a warm water after priming. back and forth in one direction and then
greater percentage of titanium dioxide in its another. Apply with a little pressure so the sizing
formulation than Utrecht Artists Gesso. will penetrate and anchor itself into the fibers of
Both Utrecht Acrylic Gessos' have great the canvas. Some artists also run their bare
whiteness and covering power, which is fingers (or wearing rubber cloves) over the wet

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size area to make sure no spots are missed. canvas: and damar varnish five pound cut and gum
This will also help the sizing penetrate into the Never add oil to Utrecht Oil Priming White, this turpentine.
fibers of the canvas. would make the priming fatter. Its leanness (1.) PURE GUM TURPENTINE. Gum
must always be preserved. Begin by mixing Turpentine is a common thinner or dilutant for
Glue Sizing the Sides: Glue size the sides of the small amounts of gum turpentine to the Utrecht oil paints and varnishes. It is a most valuable
canvas where it is nailed or stapled to the Oil Priming White with a palette knife. During diluting agent since it evaporates quickly without
stretchers to prevent the edges of the fabric the mixing some paint will accumulate on the leaving any residue. Avoid excessive use of
from unraveling. This will also protect the palette knife which can be removed with the aid pure gum turpentine, by itself it can
canvas from any direct contact with any oil paint of another palette knife. One way to test if the weaken the bond between pigment particles
during the process of priming and painting. workable consistency has been reached is to and the linseed oil binder in oil paint.
pick up a moderate amount of paint on the knife Turpentine is, of course, absolutely lean.
Smoothing the First Dry Sized Surface: After and shake it gently. If any paint falls from the
several hours, or the next day, the sized canvas knife it is ready to use. (2) UTRECHT DAMAR CRYSTALS are derived
may dry with a little roughness produced by the from trees growing in the Malay states and in
fuzz of the canvas. This is easily remedied PRIMING WITH A PALETTE KNIFE: Begin by the East Indies. Damar is bright, clear,
by very gently rubbing a very fine grain placing a portion of the thinned Utrecht Oil transparent and ranges in color from water
sandpaper over the whole surface. When Priming White in the center of the sized canvas. white to deep straw. The best grade available is
sanding over the rim of the stretchers gently Spread it in one direction and then in the Utrecht Singapore Damar Crystal, No.1. It is
raise the canvas up from the back of the opposite and in a diagonal direction. This will soluble in gum turpentine. Damar has stood the
stretchers with your fingertips to avoid allow you to work it into the texture of the test of time and retains it's colorless
producing any impression of the stretcher rim on canvas easily and completely. Concentrate, as appearance. It provides an excellent protection
the surface of the canvas. always, on one area at a time. from the atmospheric gases and dampness and
is not subject to oxidation. Damar gives great
SECOND SIZING: The second sizing should be Priming The Edges: Place a small portion of depth to colors as well as clarity. As part of the
applied in a similar way as the first. The painting medium it contributes to a gloss effect
second sizing, however, should never be two or three inches from the edge of the canvas which can be decreased by the addition of more
sanded. This is to prevent any possible removal and then spread the priming towards turpentine. It also renders a certain tackiness to
of the any of protective sizing. The second the edge. To avoid the formation of a ridge by the painting medium which contributes a degree
sizing will be applied over a shorter period of the stretcher, raise the canvas gently from of control of brushwork.
time since it attaches itself to the first sizing underneath with your fingertips.
without penetrating the fibers itself, which the Making Damar Varnish 5 Lb Cut:
first sizing has done already. Do not store the Painting The Sides: After the canvas is primed Damar Varnish five pound cut is the basic
sizing solution. Dispose of any remaining some artists paint the sides of the canvas where ingredient in making oil painting mediums and
amount at the end of the sizing procedure and it has been tacked or stapled onto the stretchers varnishes is made from a recipe based on a
clean all utensils with hot water and brushes which has already been double-sized. Thin the ratio of five pounds of damar crystals
with warm water. white or tinted priming with turpentine to dissolved in one gallon of gum turpentine.
brushable consistency and then carefully apply This ratio is a derivation of the term five pound
-Always clean your hands thoroughly with soap with a No. 12 Utrecht bright bristle brush. cut.
and warm water after sizing.
The Optional Second Priming: The second UTRECHT READY-TO-MAKE DAMAR
OIL PRIMING WHITE white priming can be applied the next day or VARNISH UNIT:
Utrecht Oil Priming White is composed of any time after the priming has dried. This will Utrecht, in 1962, developed and introduced
Titanium Dioxide [PW6], Zinc Oxide [PW4] and somewhat reduce the texture of the canvas. A Ready-to-Make Damar Varnish units. This, for
barium sulfate ground in the proper low double primed canvas is not technically the first time, greatly simplified the preparation
percentage of the finest quality linseed oil. The necessary, but is solely determined by the kind of Damar Varnish five pound cut by supplying a
result is a very lean priming white. Fulfilling the of surface the artist wishes to paint on. quart container with 10 1/2 ounces of Singapore
indispensable requirements for a permanent oil Damar Crystals #1 in a mesh bag. All that is
painting ground. Utrecht Oil Priming White can To Finish:The artist may eliminate any necessary is to pour one pint of gum turpentine
also be used in the underpainting or painting in unevenness by gliding a clean palette knife into the container and then close it. Make sure
general. over the whole surface of the primed canvas the string of mesh bag hangs outside the
container, held firmly in place by the lid.
THE CLASSIC RULE OF PAINTING FAT PRIMING WITH A BRISTLE BRUSH: Using a Occasionally shake the container to aid the
OVER LEAN Utrecht large bright bristle brush size 12 - 24, dissolving of the crystals, making sure the bag
This fundamental rule of oil painting, fat over apply the priming by stroking the brush in all is completely submerged. Within 24-36 hours it
lean, is concerned with the permanent adhesion directions with a wrist-waggly motion, working will be ready. After which, remove the bag.
of the different oil paint layers in the painting. A it well into the weave. After evenly distributing Utrecht has added 1/2 oz. extra of the damar
lean paint layer containing less oil is the priming over the whole surface, finish by crystals to allow for any undissolved remainder.
therefore more absorbent than a fatter paint going over lightly with a clean brush carefully in Damar 5 Lb. Cut will appear slightly cloudy
layer with a greater percentage of oil. The lean line with the weave. due to it's natural waxes which have an
layer has the ability to absorb some of the oil important protective function for the paint
from the fat or even lean paint layer on top of it. TONE GROUNDS: Tone grounds may be layers When dry the Damar Varnish film will
This absorption produces adhesion of the paint directly applied on the sized canvas or over the become clear and transparent.
layers by anchoring the top oil paint layers into first white priming. A small amount of any oil
the bottom lower leaner layers. Therefore, one color or mixture needs to be added to tint the Making Damar 5 Lb Cut with a pound of Damar
can apply either a lean or fat oil paint layer over Utrecht Oil Priming White. There is an Crystals: It is very simple to make it yourself.
a dry absorbent lean oil paint layer. This advantage of mixing quick drying oil colors such Wrap one pound of damar crystals in a lint free
produces a permanent adhesion between the as burnt or raw umber to speed up the drying of lightweight cotton rag. Tie it at the
paint layers. However, a fat, non-absorbent the colored tone ground. A tone ground is top, through this you can place a rod or stick.
dried oil paint layer cannot be painted over thinned and applied in the same manner as the Pour 25 ounces of gum turpentine in a wide
because neither a lean or fat paint layer will white priming. mouth quart jar. Then lower the bag into the
permanently adhere to it. However, the final container- submerging it completely into the
paint layer can be either lean or fat. Generally -After priming is complete, wash your hands turpentine. Place the rod over the top of the
speaking, the three simple ways to oil paint thoroughly, with soap and warm water container and cover. Damar 5 Lb. cut is
follow the rule of painting over a dry lean paint produced after 24-36 hours. After which, remove
layer. DRYING TIME: The oil priming should dry 10-14 the bag.
(a) Use a lean oil painting medium sparingly days at normal room temperature before being
(b) In the underpainting, mix colors with a little painted on. If you prepare several canvases at (3.) UTRECHT ALKALI REFINED LINSEED
of any Utrecht Oil White, all of which are lean. one time then you will have a stock that is dry OIL: Linseed oil is the universally accepted
(c) Of course, if one wishes, the final paint and ready to paint on. vehicle for
layers can be fat since they will not be grinding Professional Artists Oil Colors. It is
overpainted. However, in acrylic painting the UTRECHT OIL AND ACRYLIC PAINTING produced by processing the seeds of the flax
very high adhesive strength of the acrylic MEDIUMS & VARNISHES plant. It is then refined by removing all the
polymer emulsion vehicle produces the The proper use of professional painting impurities. Utrecht Linseed Oil has a neutral
adhesion of the different acrylic paint layers mediums for oil or acrylic painting is an natural acid which very important. This makes it
which may be applied in a random sequence. important tool that can expand the range of ideal for manufacturing high quality professional
Therefore, the rule of painting fat over lean or paint quality, textures and coloristic effects the oil colors with a tough and durable paint film and
lean over lean applies to only oil painting- it artist can produce. It can also contribute permanent in color. Utrecht Linseed Oil is much
does not apply to acrylic painting. significantly to the brilliance and permanency leaner than Utrecht Stand Oil. This leaness is
of the painting. an indispensible property for a vehicle in the
UTRECHT OIL PRIMING PROCEDURE: production of Professional Artists Oil Colors.
The Utrecht Oil Priming can be applied with The leaness of the linseed oil is also an
either a large trowel shaped knife or a large stiff OIL PAINTING MEDIUMS important consideration in the formulation of oil
bright bristle brush. The Ingredients of the Oil Painting Medium: painting mediums. It is a drying oil that produces
Professional oil painting mediums can be easily a workable oil paint consistency. When dry it
The Thinning of Utrecht Oil Priming White with and economically made from time-tested produces a tough, durable
lean gum turpentine to a workable consistency ingredients, each one with a definite function permanent and adhesive paint film; which can
enabling easy application over the sized and purpose. They are stand oil, linseed oil be overpainted. Note: It is important to use oil

9
colors on the palette which have not begun to lean over lean will determine the use of oil comes out of the tube is called short
dry are still at the peak of their adhesive painting medium described earlier The final oil paint. It has a stiff buttery quality which
strength. paint layers or in alia prima painting (painting retains it's brush marks easily; and
wet paint layers into wet)', a fatter painting when stippled with a palette knife
(4.) UTRECHT STAND OIL. medium can be used, such as the stand oil- creates many short crisp peaks of paint,
Utrecht Stand Oil is a heavy-bodied polymerized damar concentrates (which are fat and very fat). from which the term is derived. Short
oil that is highly recommended ingredient of the Very little is needed to accomplish it's basic paint produces a paint quality not easily
oil painting medium because of its superior purpose. One way of using it is to dip the tip of a obtained by any other means.
qualities. Utrecht Stand Oil is non-yellowing, palette knife in a mixture of stand oil-damar
produces paint film of exceptional durability, concentrate and mix it with only two inches of LONG OIL PAINT : Short paint can be
flexibility and tough nature which resists the paint as it comes out of the tube. This will made long with a mixture of a little stand
action of solvents. Utrecht Stand Oil is much increase its brilliance and add roughness and oil or painting medium, with stand oil in
fatter than linseed oil and is a slower drier. durability to it. We wish to note that only a few it. You will notice far fewer pointed
Stand oil by itself is very fat. The drying time artists use the fat or very fat oil painting peaks of paint after stippling with a
can be shortened with addition of gum mediums. A fat final paint layer to becomes palette knife. The peaks level off gently.
turpentine in the oil painting medium, as well as glossy and "non-porous", which protects it Long paint tends to leave no
reducing it's fatness. Utrecht Stand Oil is made against the absorption of atmospheric dirt. brushmarks. It can produce a fluid b
from linseed oil that has been heated to over However it can not be overpainted because of
500° in a vacuum. During the heating the it's excessive fat and non-porous paint layer. Of With the controlled use of oil painting
molecules of linseed oil unite to form larger course, in alla prima painting the artist can use mediums the artist can produce a whole
molecules and this thickens the stand oil. These any of the oil painting mediums listed above. range from short to long paint. This
new molecules are highly resistant to yellowing, contributes significantly to the artists
cracking and disintegration. Pure Stand Oil UTRECHT FLEX GEL ability to express himself in terms of a
added to oil color will give a fluid quality to the Ingredients: Clear colloidal transparentizer great variety of paint quality.
paint which has a tendency to dry to a smooth ground in non- yellowing safflower oil. The non-
paint film free of brush marks. The addition of yellowing property is especially important for THE GLAZING TECHNIQUE
various amounts of damar varnish or gum thicker applications of oil paint. FLEX-GEL is an The classic glazing technique is an important
turpentine can modify the degree of accent of Oil Painting and Glazing Medium manufactured and special means to mix colors. The glazing
brush marks and also speeds drying time. by Utrecht of a similar buttery consistency as Oil technique which has been used by artists for
Paint. This important factor opens up a whole over five centuries is essentially the application
BASIC RECIPES FOR PROFESSIONAL OIL new range of painterly effects unattainable by of a thin transparent veil of a darker color which
PAINTING MEDIUMS fluid painting and glazing mediums. FLEX-GEL has been mixed with all-purpose lean painting
The basic recipes for professional oil painting increases the artists flexibility in oil paint and glazing medium over another dry lighter oil
mediums are listed below. The leaner oil textures. color to produce brilliant coloristic effects. A
painting mediums are designed for general • FLEX-GEL can render the thinnest to heaviest parallel can be made by placing a blue color
painting. This will contribute to maintaining the impasto layers of opaque oil color transparent. It cellophane over a yellow color with green as the
leaness and the permanent adhesion of the can be applied by brush or painting knife. This result. The glazing technique is used/or both oil
different paint layers in the work. The fatter can be done while retaining the oil colors' and acrylic painting.
oil painting mediums are only designed for final buttery consistency and without making the
paint layers and for alla prima painting; paint fluid. UTRECHT PROFESSIONAL ACRYLIC
(i.e. painting wet oil paint into wet oil paint.) It is • Very little FLEX-GEL should be used with oil COLORS, MEDIUMS AND VARNISHES
very easy and economical to make one's colors to accomplish its purpose. Acrylics have proven to be today's most
own painting mediums and varnishes. Also most versatile artist's colors, varnishes and
important is that the artist can custom make mediums. Utrecht Acrylic mediums provide an
them by varying the proportions of the time VARNISHING THE OIL PAINTING entirely different approach and can produce
tested ingredients to meet individual artistic The purpose of the final coating of picture very unique painterly effects which are different
requirements. An important property of degree varnish is to give (he painting an even gloss and from the oil painting technique. Two or more
of leaness or fatness of the oil painting medium contribute to the protection of the painting from Utrecht Acrylic Mediums can be mixed together
can be easily controlled: absorption of atmospheric dirt and moisture. to expand the range of effects

(a) by controlling the ratio of stand oil to gum VARNISHING AN OIL PAINTING. The high adhesive strength and fast drying of
turpentine. For example, as we increase the There are two basic varnishes for oil painting. Acrylic Polymer Emulsion Vehicle is the
percentage of stand oil this will increase the fundamental property of the unique technique of
degree of fatness. Conversely, increasing the Retouching Varnish: acrylic painting.
percentage of gum turpentine will increase the 5 Parts: Damar Varnish 5 Lb. Cut
leaness. 13 Parts: Gum Turpentine * THINNING OF UTRECHT ACRYLIC COLORS:
Utrecht Acrylic Colors, Gesso Colors, Acrylic
(b) By introducing the leaner Utrecht Linseed Oil Final Damar Picture Varnish: Mediums and Varnishes thin with water and
the artist can reduce the fatness of the stand oil. 4 Parts: Damar 5 Lb. Cut dries water-resistant. Excessive thinning with
Using this approach one can modify the wide 1 Part: Gum Turpentine water is never recommended because it may
range of recipes which we have listed below up to 5% stand oil can be added. reduce the adhesion between the acrylic
polymer emulsion and the pigment particles.
SUGGESTED BASIC RECIPES: There is a recommended procedure in However, when producing thin, transparent
varnishing a picture. Retouching Varnish is washes of acrylic colors it is recommended to
Leanest Basic Painting Medium: considered a temporary varnish and it isapplied thin with a mixture of 50% water and 50%
1 Part: Utrecht Linseed Oil when the surface of the painting is dry to the acrylic medium. The process of acrylic painting
5 Parts: Gum Turpentine touch. Final Picture Varnish is applied only has great freedom The paint layers can be
when the painting is thoroughly dry. A painting applied in any sequence governed solely by the
Leaner Basic Painting Medium: with a moderate impasto or thinly applied paint painterly and coloristic effects the artist wishes.
1/2 Part: Utrecht Linseed Oil layers can receive a final picture varnish You cannot mix Utrecht Acrylic Colors with Oil
1/2 Part: Utrecht Stand Oil anytime after six months of drying. A painting Paint, turpentine, damar varnish or any oil
5 Parts: Gum Turpentine with heavy impasto should dry between one and painting medium.
two years after completion of the painting.
Lean Basic Painting Medium: Varnish a picture on a day with low humidity and
1 Part: Utrecht Stand Oil a painted surface free from moisture. Make sure
5 parts: Gum Turpentine that the large bristle brush you use is free of
moisture. Also, clean the surface of the painting
All Purpose Lean Painting and Glazing with a soft, lint-free cloth. Lay the painting in a
Medium: (Many Artists use this recipe flat or upright position on your easel and apply
from start to finish) the varnish methodically one area at a time to
1 Part: Utrecht Stand Oil make sure every part is covered. Work in a
1 Part: Damar Varnish 5 Lb.. Cut correct angle to the light so you can see the
5 Parts: Gum Turpentine areas which have hot been touched. After a few
days dry spots may appear, this is caused by
Fat Stand Oil -Damar Concentrate: greater absorbency in certain areas. Simply rub
1 Part: Utrecht Stand Oil a small amount of Utrecht Linseed Oil in that
1 Part: Damar Varnish 5 Lb Cut. area to restore the normal shine and carefully
3 Parts: Gum Turpentine wipe off any excess.

Very Fat Stand Oil - Damar LONG AND SHORT OIL PAINT
Concentrate: Paint Quality and Oil Painting Mediums. The
2 Parts: Utrecht Stand Oil consistency and paint quality of oil colors can be
1 Part: Damar Varnish 5 Lb Cut controlled with the use of the oil painting
mediums. The two fundamental oil paint
SOME BASIC RULES IN USING OIL qualities are called Short and Long Paint.
PAINTING MEDIUMS.
The time-tested rule of painting fat over lean or SHORT OIL PAINT : The oil paint as it

10
GUARANTEED FINEST QUALITY Hansa Yellow Pale, A (P036) and Titanium Dioxide (PW6)
PERMANENT 100% PURE INGREDIENTS Hansa Yellow 10G-41 (PY3 ) Lightfastness: 1- Opaque
EXPERTLY FORMULATED Lightfastness: 2 • Transparent Naphthol Crinison,A
MANUFACTURED AND TESTED Hansa Yellow Light, A Naphthol Carbamide (PR170 F5Rk)
Hansa Yellow 10G-41 (PY3 ) Lightfastness: 2 • Transparent
• HIGH PIGMENT CONCENTRATION AND Lightfastness: 2 • Transparent Naphthol ITR Red Light, A
HIGH COLOR STRENGTH Hansa Yellow Light, 0 Naphthol RedFRLL(PR9)
• ALL COLORS 100% FREE OF Hansa Yellow 4GX (PY73), Zinc Oxide (PW4) Lightfastness: 2 • Opaque
ADULTERANTS OR FILLERS Lightfastness: 1 • Semi-Opaque Naphthol Permanent Red Light {In Jars) A.
• HIGHEST GRADE PERMANENT 100% Mars Yellow, 0 Naphthol Red (PR-112) FOR
PURE PIGMENTS Synthetic Hydrated Yellow Iron Oxide (PY42) Lightfastness: 2 • Opaque
• PROPER CONSISTENCY AND EVEN Lightfastness: 1 • Opaque Naphthol Permanent Red Deep, A
TEXTURE Naples Yellow Hue, 0 Naphthol Carbamide (PR 170) F5RK
• COLORS OF OPTIMUM BRILLIANCE AND Hansa Yellow X (PY75) Synthetic Hydrated Lightfastness: 2 • Opaque
INTENSITY Yellow Iron Oxide (PY42) and Zinc Oxide Naphthol Red Light, 0
(PW4) Lightfastness: 2 • Opaque Naphthol FOR (PR112) Zinc Oxide (PW4)
HEALTH LABELING STANDARD Utrecht Yellow, A Lighttastness: 2 • Semi-Opaque
CONFORMS TO ASTM D4236 Utrecht Hansa Yellow 4GX (PY 73) Quinacra Red, A
Manufacturing Corporation is an industry Lightfastness:! • Transparent Quinacridone Red (PV 19)
member of the Arts & Crafts Materials Utrecht Yellow, 0 ^ Lightfastness: 1 • Transparent
Institute. Utrecht supports the voluntary Hansa Yellow 4GX (PY 73), Zinc Oxide (PW4) Red Oxide, A
labeling standard of the Institute. Lightfastness: 1 • Semi-Transparent Synthetic Red Iron Oxide (PR101)
Yellow Oxide Ochre, A, Lightfastness: 1 • Opaque
THE AP SEAL: Most Utrecht Colors bear the Synthetic Hydrated Yellow Iron Oxide.(PY42) Utrecht Red, A
AP Approved Products Seal of the Art and Lightfastness: 1 • Opaque Naphthol FOR (PR112) and Hansa Yellow
Craft Materials Institute, Inc. are certified as Yellow Ochre, 0, W 4GX
being non-toxic in a program of toxilogical Natural Hydrated Yellow Iron Oxide. (PY43) (PY 73) Lightfastness: 2 • Semi-Transparent
evaluation by a medical expert, subjected to Lightfastness: 1 • Opaque Utrecht Red, 0
review by the Institute Toxilogical Advisory Zinc Yellow Hue, 0 Naphthol AS-D (PR112) and Hansa Yellow
Board, to contain no materials in sufficient Hansa Yellow 10G-41 (PY3) Zinc Oxide (PW4) 4GX
quantities to be toxic or injurious to humans, or Lightfastness: 2 • Semi-transparent (PY 73) Lightfastness: 2 • Semi-Transparent
to cause acute or chromic health problems.
ORANGES VIOLETS
Pure Cadmium Orange, A,W Dioxazine Purple, A
LIGHTFASTNESS CATEGORIES: Pure Concentrated Cadmium Sulfo - Selenide Carbazole Dioxazine (PV 23RS)
• LIGHTFASTNESS 1 = EXCELLENT (PO 20) Lightfastness: 1 • Opaque Lightfastness: 2 • Transparent
Represents excellent lightfastness. The great Cadmium Orange, 0 Gesso Color Dioxazine Purple, A
majority of colors Utrecht manufactures are Pure Concentrated Cadmium Sulfo-Selenide Carbozole Dioxazine [PV 23RS]
extremely permanent. [PO 20]with barium sulfate Lightfastness: 2 • Transparent
• LIGHTFASTNESS 2= VERY GOOD Lightfastness: 1 Opaque • Manganese Violet, 0
Represents very good lightfastness. These Gesso Color Hansa Orange , A Manganese Ammonium Pyrophosphate
colors are classified as durable. Hansa Yellow 5R [PY 1 Modified] and (PV16)
• LIGHTFASTNESS 3 = MODERATE Perinone Lightfastness: 1 • Transparent
Represents moderate lightfastness. Orange (PO 43) 1 Permanent Violet, W
• Utrecht has only one pigment in this Lightfastness: 2 • Transparent (Complex Silicate of Sodium and Aluminum
category: Alizarin Crimson. Indo Orange Red , A with
Vat Orange OR (PO 43) Sulfur [PB 29] and Carbazole Dioxazine [PV23
CODE: A = ACRYLIC W = WATERCOLOR Lightfastness: 1 • Semi-Transparent RS], Lightfastness : 2 • Transparent
0=OIL Utrecht Orange, 0 Quinacra Violet, A
Hansa Yellow 5R (PY1 Modified) Indo Orange c Quinacridone Violet (PV19)
VEHICLES: (P043) and Zinc Oxide (PW 4) Lightfastness: 1 • Transparent
ACRYLIC: 100% Acrylic Polymer Emulsion Lightfastness: 2« Semi-Transparent Ultramarine Violet, 0
Utrecht Orange, A Complex Silicate of Sodium and Aluminum
Safflower oil. Hansa Yellow 5R (PY1 Modified) Indo Orange with
(P043)Lightfastness: 2 • Semi-Transparent Sulfur (PV15)
WATERCOLOR: Pure Gum Arabic Lightfastness: 1 • Translucent
REDS
Alizarin Crimson, A, 0, W BLUES
YELLOWS Synthetic 1:2 Dihydroxyanthraquinone on Brilliant Blue, A
Azo Yellow Medium , A Alumina Base (PR83) Copper Phthalocyanine (PB 15), Chlorinated
Hansa Yellow 4 GX (PY 73) Lightfastness: 3 • Transparent Copper Phthalocyanine (PG7) and Titanium
Lightfastness: 1 • Transparent Pure Cadmium Red Light, A, W Dioxide (PW6) Lightfastness: 1 • Opaque
Azo Yellow Orange, A Pure Concentrated Cadmium Seleno- Sulfide Brilliant Blue Purple, A
Diarylide Yellow HR 70 (PY83) [PR 108] Lightfastness: 1 • Opaque Complex Silicate of Sodium and Aluminum
Lightfastness: 1 • Transparent Pure Cadmium Red Medium, A with
Pure Cadmium Yellow Lemon, A Pure Concentrated Cadmium Seleno- Sulfide Sulfur (PB29) Titanium Dioxide (PW6)
Pure Concentrated Cadmium Zinc Sulfide. [PR 108]Lightfastness: 1 • Opaque Lightfastness: 1 • Opaque
(PY 35)Lightfastness: 1 • Opaque Pure Cadmium Red Deep, W Pure Cerulean Blue, 0, A, W
Pure Cadmium Yellow Light, A,W Pure Concentrated Cadmium Seleno- Sulfide Oxides of Cobalt and Chromium (PB36)
Pure Concentrated Cadmium Zinc Sulfide' [PR 108] Lightfastness: 1 • Opaque Lightfastness: 1 • Opaque
(PY 35) Lightfastness: 1 • Opaque Pure Cadmium Red Extra Deep, A Pure Cobalt Blue, A, W, 0
Pure Cadmium Yellow Medium, A Pure Concentrated Cadmium Seleno- Sulfide Oxides of Cobalt and Aluminum (PB28)
Pure Concentrated Cadmium Sulfide (PY 37) [PR 108] Lightfastness: 1 • Opaque Lightfastness: 1 • Translucent
Lightfastness: 1 • Opaque Cadmium Red Light, 0 Cerulean Blue Hue, 0
Pure Cadmium Yellow Deep, A, W Pure Concentrated Cadmium Seleno-Sulfide Copper Phthalocyanine (PB15) and Zinc
Pure Concentrated Cadmium Sulfide (PY 37) [PR 108] with barium sulfate Oxide
Lightfastness: 1 • Opaque Lightfastness: I • Opaque (PW4)
Cadmium Yellow Pale, 0 Cadmium Red Medium, 0 Lightfastness: 1 • Semi-Opaque
Pure Concentrated Cadmium Zinc Sulfide Pure Concentrated Cadmium Seleno-Sulfide Cobalt Blue Deep Hue, 0
(PY 35) with barium sulfate [PR 108] with barium sulfate Complex Silicate of Sodium and Aluminum
Lightfastness: 1 • Opaque Lightfastness: 1 • Opaque with
Cadmium Yellow Light, 0 Cadmium Red Deep, 0 Sulfur (PB29)
Pure Concentrated Cadmium Zinc Sulfide Pure Concentrated Cadmium Seleno-Sulfide Lightfastness: 1 • Translucent
[PY 35] with barium sulfate [PR 108] with barium sulfate Cobalt Blue Hue, 0
Lightfastness: 1 • Opaque Lightfastness: 1 • Opaque Complex Silicate of Sodium and Aluminum
Cadmium Yellow Medium, 0 English Red Light, 0 with
Pure Concentrated Cadmium Sulfide [PY 37] Synthetic Red Iron Oxide (PR101) Sulfur (PB29)
with barium sulfate, Lightfastness: 1 • Opaque Lightfastness: 1 • Opaque Lightfastness: 1 • Translucent
Cadmium Yellow Deep, 0 Gesso Color Alizarin Crimson, A Gesso-Color Phthalocyanine Blue,A
Pure Concentrated Cadmium Sulfide [PY 37] Synthetic 1:2 Dihydroxyanthraquinone on Copper Phthalocyanine [PB 15]
with barium sulfate, Lightfastness: 1 • Opaque Alumina Base. [PR 83] Lightfastness: 1 • Transparent
Gesso Color Hansa Yellow Medium, A Lightfastness: 3 • Transparent Gesso-Color Ultramarine Blue, A
Hansa Yellow 4GX (PY 73) Gesso Color Naphthol Red Medium,A Complex Silicate of Sodium and Aluminum
Lightfastness: 1 • Transparent NaphtholAS-D (PR 112) with
Gesso Color Yellow Oxide , A Lightfastness: 2 • Transparent Sulfur (PB 29]
Synthetic Hydrated Iron Oxide [PY 42] Light Portrait Pink, A Lightfastness: 1 • Translucent
Lightfastness: 1 • Opaque Napthol HF 35 (PR 188) Benzimidazolone Phthalocyanine Blue, 0, A, W

11
 Copper Phthalocyanine (PB15) Chlorinated Copper Phthalocyanine (PG7) Amorphorous Bone Carbon Black (PBk9) and
Lightfastness: 1 • Transparent Hansa Yellow X (PY75) & Amorphous Bone Complex Silicate of Sodium and Aluminum
Turquoise Deep, A Carbon Black (PBk9) with
Copper Phihalocyanine (PB 15) and Lightfastness: 2 • Semi-Transparent Sulfur (PB29)
Chlorinated Utrecht Green, A Lightfastness: 1 • Semi-Transparent
Copper Phthalocyanine (PG7) Chlorinated Copper Phthalocyanine (PG7) and
Lighifastness: 1 • Transparent Hansa Yellow 4GX (PY 73) METALLIC HUES
Ultramarine Blue, A, 0, W Lightfastness: 1 • Transparent Iridescent Tinting Medium, A
Complex Silicate of Sodium and Aluminum Utrecht Green, 0 Titanium Coated Mica Flakes and
with Chlorinated Copper Phthalocyanine (PG7) and Amorphorous
Sulfur (PB29) Hansa Arylide Yellow 4GX (PY 73) and Zinc Carbon [PBk7]
Lightfastness: 1 • Translucent Oxide (PW4) Lightfastness: 1 • Transparent Lightfastness:! • Translucent
Ultramarine Blue Light, 0 Viridian, 0, W Permanent Bronze, A
Complex Silicate of Sodium and Aluminum Hydrous Chromium Sesquioxide [PG 18] Titanium Coated Mica Flakes and Amorphous
with Lightfastness :1 • Opaque f Permanent Bronze, A
Sulfur (PB29) Viridian Hue, A Titanium Coated Mica Flakes and Amorohous
Lightfastness: 1 • Translucent Chlorinated Copper Phthalocyaninc.(PG7), Carbon (PBk7) Synthetic Hydrated Yellow Iron
Ultramarine Blue Deep, 0 Natural Iron Oxide (PBr7) and Titanium Oxide (PY 42)
Complex Silicate of Sodium and Aluminum Dioxide (PW6), Lightfastness: 1 • Opaque Lightfastness: 1 • Opaque
wi^h Permanent Silver, A
Sulfur (PB29) Lightfastness: 1 • Translucent BROWNS Titanium Coated Mica Flakes and Amorphous
L'iiecht Biue, A Burnt Sienna, A, 0, W Bone Carbon Black (PBk7)
Copper Phthalocyanine (PB 15) and Titanium Calcined Natural Iron Oxide, (PBr7) Lightfastness: 1 • Translucent
Dioxide (PW6) Lighttastness: 1 • Semi-Transparent Permanent Gold, A
Lightfastness: 1 • Semi-Transparent Burnt Umber, A, 0, W Titanium Coated Mica Flakes,and Synthetic
Utrecht Blue, 0 Calcined Natural Iron Oxide (PBr7) Hydrated Yellow Iron Oxide (PY42)
Complex Silicate of Sodium and Aluminum Lightfastness: 1 • Opaque Lightfastness: 1 • Translucent
with Gesso-Color Burnt Sienna, A
Sulfur (PB29) and Copper Phthalocyanine Calcined Natural Iron Oxide [PBr7] WHITES
(PB15) Lightfastness: 1 • Opaque Gesso-Color Unbleached Titanium, A
Lightfastness: 1 • Transparent Gesso-Color Burnt Umber Titanium Dioxide [PW 6], Natural Iron Oxide
Calcined Natural Iron Oxide [PBr7] [PBR7] Lightfastness: 1 • Opaque
GREENS Lightfastness: 1 • Opaque Permanent Chinese White, W
Chromium Oxide Green, A, 0 Raw Sienna, A, 0, W Titanium Dioxide [PW6] Lightfastness: 1
Anhydrous Chromium Sesquioxide (PG17) Natural Iron Oxide (PBr7) Titanium White, 0
Lightfastness: 1 • Opaque Lightfastness: 1 • Opaque Pigment: Titanium Dioxide (PW6) and Zinc
Emerald Green, A Raw Umber, A,0,W Oxide (PW4), Lighttastness: 1 • Opaque
Chlorinated Copper Phthalocyanine (PG7), Natural Iron Oxide (PBr7) Titanium White, A
Hansa Yellow FGL (PY97) and Titanium Lightfastness: 1 • Opaque Titanium Dioxide (PW6)
Dioxide (PW6) Lightfastness: 1 • Opaque Lightfastness: 1 • Opaque
Gesso-Color Phthalocyanine Green, A BLACKS Unbleached Titanium, A
Chlorinated Copper Phthalocyanine [PG 7] Gesso-Color Mars-Ivory Black Titanium Dioxide (PW6) and Natural Iron
Lightfastness:! •Transparent Synthetic Black Iron Oxide [PBk 11] and Oxides (PBr7), Lightfastness: 1 • Opaque
Green Earth Hue, 0 Amorphorous Bone Carbon Black [PBk9) Utrecht Non-Yellowing White, 0
Chlorinated Copper Phthalocyanine (PG 7) Lightfastness:! • Opaque Titanium Dioxide [PW 6] and Zinc Oxide
Natural Hydrated Yellow Iron Oxide (PY43) Ivory Black, A, 0, W [PW4]
Amorphous Bone Carbon Black (PBk9) Amorphorous Bone Carbon Black (PBk9) Lightfastness:! • Opaque
Lightfastness: 1 • Semi-Transparent Lightfastness: 1 • Opaque • The Vechicle for Utrecht While is Non-
Hookers Green Permanent, A Mars Black, 0,A Yellowing Safflower Oil, which is chemically
Chlorinated Copper Phthalocyanine (PG7), Synthetic Black Iron Oxide (PBkll) similar to Linseed Oil and is therefore safely
Hansa Yellow 4GX (PY73) Synthetic Hydrated Lightfastness: 1 • Opaque inter-mixable with alt Utrecht Oil Colors.
Yellow Iron Oxide (PY42) and Amorphous Utrecht Black, 0 Utrecht Professional Gesso, A
Bone Synthetic Black Iron Oxide (PBkll) Amorphous Titanium Dioxide [PW 6] and precipitated
Carbon Black (PBk9) Bone Carbon Black |PBk9) calcium carbonate, Lightfastness:! • Opaque
Lighliastness: 1 • Semi-Transparent Lightfastness: 1 • Opaque Utrecht Artists Gesso, A
Phthalocyanine Green, A, 0, W •am important unique comhinulion of the best Titanium Dioxide [PW 6] and precipitated
Chlorinated Copper Phthalocyanine (PG7) qualities of calcium carbonate, Lightfastness:! • Opaque
Lightfastness: 1 • Transparent Ivory Black (an intense black with high tint Utrecht Oil Priming White, 0
Permanent Green Light ,W strength) and Titanium Dioxide [PW 6] and Zinc Oxide
Hansa Yellow 10G-41 [PY3] Chlorinated Mars Black (a dense, opaque black, with (PW 4) and Barium Sulfate
Copper heavier pigment Lightfastness:! • Opaque
Phthalocyanine [PG7] particles) Zinc White, 0
Lightfastness : 2 • Transparent Zinc Oxide (PW4), Lightfastness: 1 - Opaque
Permanent Green, A GRAYS
Pure Concentrated Cadmium Zinc Sulfide (PY Gesso-Color Neutral Grey, A A Publication of:
35) Chlorinated Copper Phthalocyanine Amorphorous Bone Carbon Black [PBK9] UTRECHT MANUFACTURING CORP.
(PG7). Natural Iron Oxide [PBr7] and Titanium 33 THIRTY FIFTH STREET
Lightfastness: 1 • Opaque Dioxide [PW 6], Lightfastness:! • Opaque BROOKLYN, NEW YORK 11232
Permanent Green, 0 Medium Gray, A U.S.A.
Chlorinated Copper Phthalocyanine (PG7)and Amorphorous Bone Carbon Black (PBk9), Tel: 718-768-2525
Zinc Oxide (PW4) Natural Iron Oxide (PBr7) and Titanium
Lightfastness: 1 • Semi-Opaque Dioxide (PW6) Lightfastness: 1 • Opaque
Sap Green, 0 Paynes Gray, A, 0,W

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Intended for historical reference only; not for use as a guide to current product lines. Dick Blick Holdings/Utrecht Art Supplies is not responsible for any
damage to personal property that may result from use of the information presented herein. © Copyright 2014 Dick Blick Holdings Inc. All rights reserved.

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