This is a jumbo graphite pencil with an extra thick 5.3mm break-resistant lead.

The hexagonal pencil has superior break-resistant leads made of finely ground graphite and clay which is smooth, never scratchy and guaranteed to sharpen easily.

The Eco Pencil is produced with wood from certified sustainable forests and is coated with environmentally-friendly water-based varnish.

The Castell 9000 Jumbo is perfectly suited for quick sketches and drafts as well as shading extended areas. Ideal for artistic work, sketching and drawing.

Available in 5 degrees of lead hardness. Sold individually or in assorted sets.

 This is a jumbo graphite pencil with an extra thick 5.3mm break-resistant lead.

The hexagonal pencil has superior break-resistant leads made of finely ground graphite and clay which is smooth, never scratchy and guaranteed to sharpen easily.

The Eco Pencil is produced with wood from certified sustainable forests and is coated with environmentally-friendly water-based varnish.

The Castell 9000 Jumbo is perfectly suited for quick sketches and drafts as well as shading extended areas. Ideal for artistic work, sketching and drawing.

Available in 5 degrees of lead hardness. Sold individually or in assorted sets.

 This is a jumbo graphite pencil with an extra thick 5.3mm break-resistant lead.

The hexagonal pencil has superior break-resistant leads made of finely ground graphite and clay which is smooth, never scratchy and guaranteed to sharpen easily.

The Eco Pencil is produced with wood from certified sustainable forests and is coated with environmentally-friendly water-based varnish.

The Castell 9000 Jumbo is perfectly suited for quick sketches and drafts as well as shading extended areas. Ideal for artistic work, sketching and drawing.

Available in 5 degrees of lead hardness. Sold individually or in assorted sets.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control. Filbert brushes are flat brushes with a rounded edge. Suitable for everything from base coating to applying washes, and for creating thin, flowing organic shapes and dynamic lines.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control. Filbert brushes are flat brushes with a rounded edge. Suitable for everything from base coating to applying washes, and for creating thin, flowing organic shapes and dynamic lines.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control. Filbert brushes are flat brushes with a rounded edge. Suitable for everything from base coating to applying washes, and for creating thin, flowing organic shapes and dynamic lines.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control. Filbert brushes are flat brushes with a rounded edge. Suitable for everything from base coating to applying washes, and for creating thin, flowing organic shapes and dynamic lines.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control. Filbert brushes are flat brushes with a rounded edge. Suitable for everything from base coating to applying washes, and for creating thin, flowing organic shapes and dynamic lines.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control. Filbert brushes are flat brushes with a rounded edge. Suitable for everything from base coating to applying washes, and for creating thin, flowing organic shapes and dynamic lines.

Dala 877 Bright brushes are siliar to the interlocked flat brush but the bristles are shorter, providing a different spring action. Creates sharp edges with greater control.

Dala 877 Bright brushes are siliar to the interlocked flat brush but the bristles are shorter, providing a different spring action. Creates sharp edges with greater control.

Dala 877 Bright brushes are siliar to the interlocked flat brush but the bristles are shorter, providing a different spring action. Creates sharp edges with greater control.

Dala 877 Bright brushes are siliar to the interlocked flat brush but the bristles are shorter, providing a different spring action. Creates sharp edges with greater control.

Dala 877 Bright brushes are siliar to the interlocked flat brush but the bristles are shorter, providing a different spring action. Creates sharp edges with greater control.

Dala 877 Bright brushes are siliar to the interlocked flat brush but the bristles are shorter, providing a different spring action. Creates sharp edges with greater control.

Dala 877 Bright brushes are siliar to the interlocked flat brush but the bristles are shorter, providing a different spring action. Creates sharp edges with greater control.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Fine quality interlocked natural bristle. These brushes have stiff resistance for maximum control.

Best suited to all types of oil based or heavy bodied acrylic. Can also be used for dry brushing ceramics.

Colour Number:	526
Vehicle Oil:	Linseed Oil
Lightfastness:	Excellent
Opacity:	Transparent
Series:	1
Pigment Code:	PB15,PG7
Permanence:	Permanent

Phthalo Turquoise is an intense blue-green pigment with a red undertone. It is made from the modern pigment Phthalocyanine which was introduced in the 1930s. It is a transparent pigment.

Colour Number:	379
Vehicle Oil:	Safflower Oil
Lightfastness:	Excellent
Opacity:	Transparent
Series:	1
Pigment Code:	PB15,PG7
Permanence:	Permanent

Manganese Blue Hue is a clear greenish azure blue colour. It is based on the now obsolete Manganese Blue made of Barium Manganate.

Colour Number:	263
Vehicle Oil:	Linseed Oil/Safflower Oil
Lightfastness:	Excellent
Opacity:	Transparent
Series:	2
Pigment Code:	PB29
Permanence:	Permanent

French Ultramarine is a rich transparent blue. It was created by French chemist Guimet in 1828 as a synthetic but chemically identical alternative to the expensive pigment derived from Lapis Lazuli.

Colour Number:	545
Vehicle Oil:	Safflower Oil
Lightfastness:	Excellent
Opacity:	Transparent
Series:	2
Pigment Code:	PR122
Permanence:	Permanent

Quinacridone Magenta is a rich deep violet-red colour. It is based on the Quinacridone pigment. The name Magenta comes from a lake colour named in 1859 after the battle in Magenta, Italy.

Colour Number:	726
Vehicle Oil:	Linseed Oil
Lightfastness:	Very Good
Opacity:	Semi-Opaque
Series:	2
Pigment Code:	PR254,PR255
Permanence:	Permanent

Winsor Red is a warm mid-range red colour, with orange undertones. It is a permanent and lightfast colour.

Colour Number:	644
Vehicle Oil:	Safflower Oil
Lightfastness:	Excellent
Opacity:	Opaque
Series:	1
Pigment Code:	PW4,PW6
Permanence:	Extremely Permanent

Titanium White is a clean white pigment. It is the most opaque white pigment and is considered a standard strong white colour.

Winsor Lemon is a clear bright yellow colour with excellent tinting properties. It is a variation of the Hansa pigments which were discovered in the early 1900s in Germany.

Colour Number:	149
Vehicle Oil:	Linseed Oil
Lightfastness:	Excellent
Opacity:	Semi-Opaque
Series:	1
Pigment Code:	PO62,PY74
Permanence:	Permanent

A pale yellow, Chrome Yellow Hue is a carefully combined selection of pigments closely resembling genuine Chrome Yellow without the latter's defects. Chrome Yellow Hue is lightfast and permanent.

Colour Number:	319
Vehicle Oil:	Linseed Oil/Safflower Oil
Lightfastness:	Excellent
Opacity:	Transparent
Series:	2
Pigment Code:	PR101,PY139
Permanence:	Permanent

Indian Yellow is a vibrant yellow pigment which has been used by artists such as Turner. Originally a colour created in India from the urine of cows exclusively fed on mango leaves, Winsor & Newton created an alternative closely resembling the original.

Winsor Yellow is a clean bright yellow pigment. It is part of the Yellow Hansa group of modern pigments first developed by the German Hoechst company in the early 1900s.

Colour Number:	242
Vehicle Oil:	Safflower Oil
Lightfastness:	Excellent
Opacity:	Opaque
Series:	1
Pigment Code:	PW4,PW6
Permanence:	Extremely Permanent

Flake White Hue is an opaque titanium based white formulated to match traditional Flake White while avoiding the use of toxic lead. Flake White can be found in the earliest Chinese paintings found.

Colour Number:	748
Vehicle Oil:	Safflower Oil
Lightfastness:	Excellent
Opacity:	Opaque
Series:	1
Pigment Code:	PW4
Permanence:	Extremely Permanent

Zinc White is an opaque white colour based on zinc pigments. It is an excellent tinting white and is also known as Chinese White. It was introduced in the UK by Winsor & Newton in the mid-19th century.

Colour Number:	644
Vehicle Oil:	Safflower Oil
Lightfastness:	Excellent
Opacity:	Opaque
Series:	1
Pigment Code:	PW4,PW6
Permanence:	Extremely Permanent

Titanium White is a clean white pigment. It is the most opaque white pigment and is considered a standard strong white colour.

Colour Number:	415
Vehicle Oil:	Safflower Oil
Lightfastness:	Excellent
Opacity:	Opaque
Series:	1
Pigment Code:	PW4,PW6
Permanence:	Extremely Permanent

As its name suggests, Soft Mixing White is an excellent white mixing colour. A combination of Zinc and Titanium, it is a soft opaque white colour.

Colour Number:	337
Vehicle Oil:	Linseed Oil
Lightfastness:	Excellent
Opacity:	Opaque
Series:	1
Pigment Code:	PBk6
Permanence:	Extremely Permanent

Lamp Black is one of the oldest pigments. It is made of pure carbon, originally from the residual soot of burnt oil lamps. It is a black with a bluish tint, producing a variety of cool blue greys.

Colour Number:	465
Vehicle Oil:	Linseed Oil
Lightfastness:	Excellent
Opacity:	Opaque
Series:	1
Pigment Code:	PB29,PBk7,PW6
Permanence:	Permanent

Payne's Gray is a dark blue grey made from a mixture of Ultramarine, Mars Black and sometimes Crimson. It was named after the 18th c. water-colourist William Payne who created the mixture and often recommended it to his students as an alternative to plain black.

Colour Number:	676
Vehicle Oil:	Linseed Oil
Lightfastness:	Excellent
Opacity:	Transparent
Series:	1
Pigment Code:	NatBr8,PBr7
Permanence:	Permanent

Vandyke Brown is a brown pigment named after the Flemish painter Van Dyke who used it in many of his paintings. It is an earth pigment, and is often used for shading.

Colour Number:	76
Vehicle Oil:	Linseed Oil
Lightfastness:	Excellent
Opacity:	Opaque
Series:	1
Pigment Code:	PBr7
Permanence:	Extremely Permanent

A rich dark brown pigment, Burnt Umber is made from natural brown clays found in earth. It was named after Umbria, a region in Italy where it was mined. Burning the raw pigment intensifies its colour.

Colour Number:	74
Vehicle Oil:	Linseed Oil
Lightfastness:	Excellent
Opacity:	Transparent
Series:	1
Pigment Code:	PBk11,PR101
Permanence:	Extremely Permanent

Burnt Sienna is a rich brown pigment made by burning Raw Sienna. Named after Siena in Italy, where the pigment was sourced during the Renaissance, it is a transparent pigment with red-brown tones.

Colour Number:	317
Vehicle Oil:	Linseed Oil
Lightfastness:	Excellent
Opacity:	Opaque
Series:	1
Pigment Code:	PR101
Permanence:	Permanent

Indian Red is an opaque red colour with blue undertones. Originally made of natural red iron oxides found in earth, it is one of the oldest pigments and is favoured for its permanence.

Colour Number:	362
Vehicle Oil:	Linseed Oil
Lightfastness:	Excellent
Opacity:	Opaque
Series:	1
Pigment Code:	PR101
Permanence:	Extremely Permanent

Light Red is a red earth pigment based on natural and synthetic iron oxide. It is an opaque colour with a brown undertone and is permanent.

Colour Number:	552
Vehicle Oil:	Linseed Oil
Lightfastness:	Excellent
Opacity:	Transparent
Series:	1
Pigment Code:	PR101,PY42
Permanence:	Extremely Permanent

Raw Sienna is a bright brown pigment. One of the oldest pigments, it can be found in prehistoric cave art. It is named after Siena, Italy where the pigment was sourced during the Renaissance.