Monday, 10 April 2017

Winsor & Newton Watercolours - full range

My first watercolours over 35 years ago was a small Winsor & Newton Cotman sketching kit that I still had until my car was broken into and it was taken about 10 years ago. I'd changed the colours over to professional colours by then but I rather liked that palette and it had been all over the world with me...

Winsor & Newton started in England in 1832, and is one of the most famous watercolour brands, usually available throughout the world. They are available in whole and half pans as well as in tubes of various sizes. Some even come in extra large 37ml tubes :-)

Here is the full range of 96 current colours. There are also swatches of some of the limited edition watercolours that have been released from time to time, and some that have been discontinued.

The swatches have been photographed and colour matches are ok but not perfect. I'll note in my comments where they are way out. The most difficult to match are the warm yellows and orange-reds.


PY53 is not a powerful pigment so generally looks quite soft. I prefer the other stronger cool or lemon yellows such as Winsor Lemon or Winsor Yellow as a cool to mid yellow on the palette.
Winsor & Newton Watercolours - Lemon Yellow, Bismuth Yellow, Cadmium Lemon, Winsor Lemon, Winsor Yellow.

I rather like the Transparent Yellow of this row, and PY150 is a lovely mid-yellow pigment that is absolutely transparent. Turner's Yellow in interesting - it has more of a slight yellow ochre pastel look to it than it appears here - picture the look of a cad deep mixed with a little white.
Winsor & Newton Watercolours - Lemon Yellow Deep, Aureolin, Transparent Yellow, Cadmium Yellow Pale, Turner's Yellow.

These yellow are all much more orange-yellow than they appear - I just can't adjust to make them look right. Winsor Yellow Deep is made with an excellent warm yellow pigment and is a great choice for a warm yellow in the palette.
Winsor & Newton Watercolours - New Gamboge (now made with PY150 + PR209), Cadmium Yellow, Winsor Yellow Deep, Indian Yellow, Cadmium Yellow Deep.

Cadmium Orange and Winsor Orange are more orange then they look here and Winsor Orange Red Shade is more or a warm red. Transparent Orange is one of the most beautiful single pigment oranges I think - along with Schmincke Transparent Orange and Da Vinci Benzimida Orange Deep and Daniel Smith Transparent Pyrrol Orange.
Winsor & Newton Watercolours - Cadmium Orange, Winsor Orange, Winsor Orange Red Shade, Transparent Orange (Limited Edition Colour), Bright Red (discontinued).

 Scarlet Lake is probably the best warm red option in a W&N palette.
Winsor & Newton Watercolours - Cadmium Scarlet, Scarlet Lake, Cadmium Red, Cadmium Red Deep, Winsor Red.

 I like Winsor Red Deep for a good strong crimson. These swatches are closer to reality. I never use Alizarin Crimson but I do think it is helpful that is is still manufactured, as long as it is clearly marked as fugitive.
Winsor & Newton Watercolours - Rose Dore, Quinacridone Red, Winsor Red Deep, Permanent Alizarin Crimson, Alizarin Crimson.
Permanent Rose is great as a mixing rose or even as a primary red. W&N are the only manufacturer to still make genuine Rose Madder, and I'm glad it is still available to see what it looks like though it is fugitive so should be protected from light.
Winsor & Newton Watercolours - Sanguine Red (discontinued), Permanent Carmine, Permanent Rose, Rose Madder Genuine, Opera Rose.

 Quinacridone Magenta is a perfect choice for a CYM palette.
Winsor & Newton Watercolours - Quinacridone Magenta, Permanent Magenta, Cobalt Violet, Permanent Mauve, Quinacridone Violet.

I like the granulation of PV15 Ultramarine, though it is not a strong mixer. I was really surprised to see this pigment in the rather amazing Smalt Blue limited edition colour.
Winsor & Newton Watercolours - Ultramarine Violet, Winsor Violet (Dioxazine), Smalt Blue (limited edition), Indanthrene blue, cobalt Blue Deep.
French Ultramarine is a palette staple. Winsor Blue Red shade and Phthalo Sapphire are very similar - both phthalo blue red shade colours.
Winsor & Newton Watercolours - French Ultramarine, Ultramarine (Green Shade), Cobalt blue, Phthalo Sapphire, Winsor Blue Red Shade.

Winsor Blue Green Shade is often known as phthalo blue green shade - a lovely choice as a cool blue in a palette.
Winsor & Newton Watercolours - Antwerp blue, Prussian blue, Winsor Blue (Green Shade), Cerulean Blue Red Shade, Cerulean Blue.

Cobalt colours are expensive, but add so much lovely texture. I particularly love Cobalt Turquoise.
Winsor & Newton Watercolours - Manganese Blue Hue, Phthalo Turquoise, Cobalt Turquoise Light, Cobalt Turquoise, Cobalt Green.

Winsor Green and Winsor Green Blue Shade are the same thing if they are made with PG7. Also known as phthalo green blue shade. Viridian is a similar colour but more gentle and not staining.
Winsor Green (Blue Shade), Winsor Green, Viridian, Winsor Green (Yellow Shade), Terre Verte.

I love Perylene Green for the shadows in foliage and am rather fascinated by the granulation and opacity of PG17 though I've never really explore this pigment.
Perylene Green, Oxide or Chromium, Hooker's Green, Permanent Sap Green, Olive Green.

Green gold is useful for the look of sunlight shining through foliage.
Winsor & Newton Watercolours - Terre Verte (Yellow Shade), Green Gold, Naples Yellow, Naples Yellow Deep,
Yellow Ochre Light .

The Raw Sienna is a mix which is a shame as raw sienna PBr7 is a a lovely pigment. I like the yellow ochre and the lovely granulating Yellow Titanate.
Winsor & Newton Watercolours - Yellow Ochre, Raw Sienna, Yellow Titanate, Gold Ochre, Quinacridone Gold (genuine - discontinued)

Magnesium Brown is rather fun. Schmincke has just released a colour using this pigment too. Burnt Sienna is a gorgeous burnt orange colour. I prefer PBr7 burnt siennas but this will mix in a similar way to make greys with ultramarine.
Winsor & Newton Watercolours - Quinacridone Gold, Gold Brown (limited edition), Brown Ochre, Magnesium Brown, Burnt Sienna.

W&N Indian red is a fairly well behaved version of this colour. It can be rather wild and a little crazy, (which can be fun, but more difficult to control). Indian Red Deep is an interesting red-brown pigment made by a few other manufacturers. 
Winsor & Newton Watercolours - Light Red, Venetian Red, Indian Red (limited edition), Brown Madder.

Raw Umber one of the colours which is produced as either this mid-toned colour or a dark cool brown colour depending on the manufacturer. I prefer the deeper version as a dark cool brown is not easy to mix.
Winsor & Newton Watercolours - Potter's Pink, Perylene Maroon, Perylene Violet, Caput Mortuum Violet, Raw Umber.


The very chocolate-coloured Dark Brown was a limited edition colour.
Winsor & Newton Watercolours - Burnt Umber, Vandyke Brown, Dark Brown (special limited edition), Sepia, Indigo.

W&N Mars Black can be seen here - it is the most granulating black, made with PBk11. 
Winsor & Newton Watercolours - Payne's Grey, Neutral tint, Ivory Black, Lamp Black, Mars Black

I don't tend to use black or white watercolours much but they are important, as are some greys for convenience.
Winsor & Newton Watercolours - Charcoal Grey, Davy's Grey, Chinese White, Titanium White.
This post was updated in June 2017. I am very grateful to Winsor & Newton Australia who presented each member of the Australian Watercolour Institute with a gift package including a paint dot card with the full W&N range. I was finally able to add the missing 5 colours :-)

As always, please let me know if I have made any errors.
Happy painting :-)

See also -
Blockx full range here
Daniel Smith new colours 2017 here
Daniel Smith full range here
MaimeriBlu full range here
Mijello Mission Gold full range here
Old Holland full range here
Schmincke new colours 2017 here 
Schmincke full range here
Winsor & Newton full range here



Da Vinci range here
Lukas range here
M.Graham range here
Rembrandt range here
Sennelier range here

I am still working on Hydrus, Daler Rowney, Holbein, QoR, Art Spectrum and ShenHan PWC, though will post up partial ranges of these brands as well.




8 comments:

  1. Nice to see them all. Thanks for doing this and the additional comments.

    I don't use the tubes (except for a vintage tube of their New Gamboge) because I prefer the Daniel Smith because it rewets better. I like to use pans so I either use Daniel Smith or I have the Winsor and Newton pans. The pans don't have nearly as many color choices as the W&N tubes so it is nice to see the colors.

    I ended up with quite a selection as I love the heavy enameled boxes the W&N pans come in but I end up with repeats of a lot of colors I don't necessarily use often. I have been able to order whole pans from the UK which extends my color choices nicely. I too am disappointed in their raw umber.

    In general I really like their line of pan paints. That's what I started with and used until a few years ago so. Pelikan watercolors from Germany circa 1969. The Winsor and Newton professional grade are quite a step up from them but the feel of using the pans is the same.

    I have never gotten used to using fresh paint from tubes on an open palette so I always put my Daniel Smith in half or whole pans. I like to be able to switch them in and out easily. I think it wastes less paint and allows me more options.

    I have some Schminke pans too. I think I'll go back and check out those posts.

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    Replies
    1. W&N are the only manufacturers who use a different formulation for their pans and tubes, as far as I know, though I believe some heat their pans a little which is interesting - I even have a W&N one that was perhaps over-heated! It's certainly deformed.

      I work from dried paint in pans/palettes almost exclusively - the only time I use wet tube paint is when painting a really large area where it is simply faster to start with the wet tube colour to make enough for a whole wash. That canvas was 6'x6', which is not something I use regularly!

      One of the joys of watercolour is, after all, its portability. And one of the reasons I fell in love with DS paints is the ease with which they rewet. I never pre-wet or spray them before use; just touch them with a damp brush and paint.

      The W&N pans do rewet better than the tube colours that have been allowed to dry in the palette, unless you add glycerine.

      I think Schmincke make all their colours in both tube and pan form. With the new additions they have really filled some gaps in their range. I'll be posting up some suggested palettes in many different ranges...eventually.

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    2. I have quite a lot of the Schmincke half pans but I just don't use them. I use my Daniel Smith the majority of the time with the Windsor and Newton pans occasionally. (When a class specifies Windsor and Newton.) I never got used to using the paint straight from the tube. The Daniel Smith took a bit to get used to because it rewet so easily. My old Pelikans I had to drop water in and then wait a bit for them to soften. The Windsor and Newton aren't that bad but I do have to spray them and wait a bit. I love the range of the Daniel Smith. They are the only ones with Buff Titanium and I love their Primatek colors. I've been experimenting with their iridescent and duochrome line too.

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  2. Thanks so very, very much for these posts. I find it very useful to see the samples side by side with the pigment information, etc. Thanks also for your comments - very helpful for me as a new-ish watercolorist. [Side note: I use mostly WN tube colors in my palette and have found them easier to re-wet than the DS. I guess it's just what you're used to...]

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  3. I've had a fresh pan of Winsor and Newton Prussian blue for about a year - only used a few times. I found it really weak the first time I used it and didn't use it after. Then I was doing a swatch today and I used it, really wet it and scrubbed it about to get some thicker application, and it was full of little gritty particles like sand. Have you ever come across this before in this or any paint? The bits don't re-wet into paint or anything, it just looks gritty. (I did then dig down quite deep for colour to see if it was contamination, it wasn't).
    Thank you for sharing your wonderful blog.

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    Replies
    1. I've had EXACTLY the same problem with the W&N Prussian blue! I found it weak and gritty and really could not get the colour to pop at all - especially when compared to the luscious creaminess of indigo.

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