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Colours

Discover our carefully curated selection of professional-grade colours and pigments, sourced from the finest manufacturers worldwide.

From vibrant hues to subtle earth tones, each colour is selected for its quality, permanence, and depth. We believe in the power of colour to transform and inspire.

Explore our palettes, collections, and individual colours. Every shade tells a story, every pigment carries a legacy of craftsmanship.

CURATED WITH CARE

Pigments

Pigments are finely ground, insoluble colour particles that give paints, inks, and pastels their hue. They don’t dissolve; they are held in a binder (oil, acrylic polymer, gum arabic, etc.) and appear differently depending on particle size, purity, and how they interact with the binder and surface.

ARTIST VS. STUDENT (STUDY) GRADE

Pigment load: Artist-grade carries a higher proportion of pigment to binder. Student-grade uses less pigment, so colour can feel weaker or chalkier.
Fillers/extenders: Student paints rely more on fillers (e.g., chalk, silica) to reduce cost and control flow, which can dull chroma and reduce transparency.
Single vs multi-pigment: Artist ranges often offer single-pigment colours for clean mixing; student lines more often blend multiple pigments to imitate expensive colours.
Label transparency: Artist-grade typically lists pigment codes (e.g., PB29 Ultramarine, PR108 Cadmium Red) and lightfastness ratings; student lines may be less specific.
Consistency/handling: Artist paints are milled for smoother handling and stronger tinting; student paints may feel pasty or require more medium to behave similarly.

QUALITY FACTORS

Particle size & distribution: Finer, well-distributed particles give smoother films, stronger tinting, and more even transparency; coarser particles can enhance texture and granulation (sought after in watercolour).
Purity: Fewer impurities mean cleaner hue, more predictable mixing, and often better lightfastness. Impurities can introduce muddiness or shifts when mixed.
Lightfastness: Resistance to fading under light. Look for ASTM I (Excellent) or II (Very Good). Some organics are more vulnerable unless specially stabilised.
Opacity/Transparency: Intrinsic to each pigment’s refractive index and particle shape. Opaque pigments cover; transparent ones glaze and mix cleanly.
Tinting strength: How powerfully a pigment influences a mix. High-tinting colours (e.g., phthalos) need tiny amounts; low-tinting earths require more.
Wetting/dispersion: How readily a pigment integrates into the binder and stays evenly distributed. Good dispersion improves flow, reduces bronzing, and yields stable films.
Oil absorption/vehicle interaction: Some pigments absorb more binder, affecting drying time, gloss, and film strength (notably in oils and acrylics).

WHY PRICES VARY

Rarity & raw material cost: Cobalts, cadmiums, genuine quinacridones, and certain historical colours cost more than abundant iron oxides (ochres, umbers).
Manufacturing complexity: Some pigments require complex synthesis, calcination, or controlled precipitation and multiple milling passes.
Safety & compliance: Handling and testing of heavy-metal pigments (cadmium, cobalt, chromium) adds cost; suppliers follow strict REACH/Prop 65 and global standards.
Batch consistency & QC: Tight quality control for hue, particle size, and performance increases production costs but ensures reliable results.
Particle engineering: Speciality grades (optimised for translucency, granulation, or high chroma) command higher prices.

SOURCING

Natural earths (iron oxides): Ochres, siennas, and umbers are mined, washed, sometimes heat-treated (e.g., burnt sienna) for warm, stable colours.
Mineral/metal pigments: Cobalt and cadmium families are manufactured from mined metals and refined through controlled processes for stability and chroma.
Synthetic inorganics: Titanium dioxide (PW6) for opacity/whiteness; modern ultramarine (PB29) is synthesised for consistency compared to historical lapis.
Synthetic organics: Azo, phthalocyanine (PB15:3/PG7), quinacridone (PV19/PV122) offer intense chroma and strong tinting at relatively low mass.
Responsible sourcing: We work with suppliers who prioritise ethical mining, environmental stewardship, and traceable batches, reducing environmental load while preserving performance.

QUICK TIPS WHEN CHOOSING

Prefer single-pigment colours for clean mixing.
Check pigment codes and lightfastness rather than just colour names.
Test masstone, tints, and a glaze to reveal covering power, tinting strength, and transparency.
Keep a swatch book with notes on drying shift, granulation, and sheen in your preferred medium.

Watercolour

Luminous, transparent colour that flows with water. Our watercolour selection features professional-grade pans and tubes from renowned makers.

Each colour is formulated for maximum lightfastness and rewetting ability. From delicate washes to bold saturated strokes, these watercolours offer exceptional control and brilliance.

We stock both traditional gum arabic watercolours and innovative formulations, ensuring you have the perfect medium for your artistic vision.

ARTIST VS. STUDENT GRADE

Pigment load: Artist colours carry more pigment for stronger tints and cleaner mixes; student colours are lighter and can look chalky when overworked.
Single‑pigment availability: Artist ranges offer more single‑pigment colours for predictable mixing and glazing.
Additives: Excess dextrin/fillers in student paints can reduce transparency and rewetting.
Lightfastness: Look for ASTM I/II across the palette; avoid fugitive dyes for lasting work.

QUALITY FACTORS

Binder: Gum arabic with glycerine/honey balances flow and rewetting; too much humectant can cause stickiness in pans.
Granulation & flow: Particle size and surfactants affect texture and how paint moves on the page.
Transparency/opacity: Choose transparent pigments for glazing; semiopaque/opaque for coverage and lift.
Rewetting: High‑quality pans and tubes should reactivate readily without scrubbing.

FORMATS

Half/whole pans for portability; tubes (5–15 ml) for studio and large washes.
Metal boxes and porcelain palettes preserve moisture better than raw plastic.

QUICK TIPS

Build a core set of transparent single‑pigment primaries for clean mixes.
Test liftability and staining before committing to a piece.
Match paper sizing (hot/cold‑pressed) with your paint’s flow to avoid blooms you don’t want.

Gouache

Opaque, matt colour with a velvety finish. Gouache combines the portability of watercolour with the covering power of oils.

Our collection includes both traditional and designer gouache formulations, each offering rich pigmentation and excellent coverage. Perfect for illustration, design work, and fine art applications.

From subtle pastels to deep, saturated colours, gouache provides unmatched versatility and a distinctive aesthetic that stands apart from other mediums.

WHAT MAKES GOUACHE DIFFERENT

Opacity: Achieved by high pigment load and sometimes inert whites; covers underlying layers even at low film thickness.
Matt finish: Minimises glare for reproduction; shows values accurately under studio lights.
Reactivation: Traditional gum‑arabic gouache lifts with water; acrylic gouache cures waterproof.

QUALITY FACTORS

Even grind and dispersion prevent streaking and patchiness.
Lightfast, single‑pigment colours produce cleaner mixtures.
Balanced formulation avoids cracking when used thickly.

QUICK TIPS

Use soft brushes for flat, even passages; mist palette to maintain rewetting without flooding.
Reserve acrylic gouache for layers that must not reactivate.

Acrylic

Fast-drying, versatile colour for contemporary artists. Our acrylic range includes heavy body, fluid, and high flow formulations from leading manufacturers.

Each acrylic paint features high pigment loads and superior lightfastness. They can be thinned to watercolour transparency or used straight from the tube for impasto techniques.

From studio workhorses to innovative speciality colours, our acrylics offer professional quality that performs consistently across all applications.

BODIES & HANDLING

Heavy body: Thick, buttery; holds peaks for impasto and knife work.
Fluid/high flow: Self‑levelling for glazing, fine detail, airbrush, and staining.
Open/slow‑dry: Extended working time for blending on the surface.

QUALITY FACTORS

Pigment strength and lightfastness across the range.
Binder clarity for luminous glazes; minimal colour shift from wet to dry.
Low filler content to avoid plastic sheen and chalkiness.

QUICK TIPS

Thin with medium, not water, when exceeding ~20% to maintain film strength.
Use isolation coats and varnishes to protect surface and unify sheen.

Oil

Rich, buttery colour with unmatched depth and blending capability. Our oil paint collection represents the pinnacle of traditional colour making.

Each colour is ground with the finest pigments and linseed oil, creating paint with exceptional working properties. From quick-drying alkyds to traditional slow-drying formulations.

We offer both artist and professional grades, ensuring access to the highest quality oils whether you're beginning your journey or are an established master.

BINDERS & DRYING

Linseed: Strong film, slight amber tone; the studio standard.
Safflower/walnut: Paler oils reducing yellowing in lights; slightly softer films.
Alkyds: Modified oils for faster touch‑dry without sacrificing strength.

QUALITY FACTORS

High pigment load with minimal extenders for maximum chroma.
Consistent milling for smooth brushout and clean tints.
Transparent colours that glaze beautifully; opaques that cover in two coats.

QUICK TIPS

Work fat over lean: increase oil content in successive layers.
Use odourless mineral spirits or gum turpentine responsibly, ventilating well.
Allow adequate curing before final varnishing (typically months).

Drawing

The foundation of all visual art. Our drawing collection features premium pencils, charcoal, and ink for artists who demand precision and quality.

From delicate sketching pencils to bold charcoal sticks, from traditional Indian ink to modern technical pens—each tool is chosen for its reliability and performance.

Whether you're capturing quick gestures or creating detailed studies, our drawing materials provide the consistency and control you need.

Surfaces

The canvas upon which your vision comes to life. We offer a range of surfaces from traditional stretched canvas to handmade papers and professional boards.

Each surface is selected for its texture, absorbency, and archival quality. From smooth hot-pressed papers to textured cold-pressed varieties, from primed linen to cotton canvas.

The right surface elevates your work, providing the foundation for techniques and materials to shine.

Mediums

Explore our collection of professional painting mediums—oils, acrylics, and watercolours from renowned manufacturers.

Each medium offers unique properties and possibilities. Rich, buttery oils for classical techniques. Versatile acrylics for modern expression. Luminous watercolours for delicate washes and bold statements.

We stock only artist-grade materials with superior pigment loads, ensuring your work maintains its vibrancy for generations.

Tools

The instruments of creation. Our tool selection includes premium brushes, palettes, and essential accessories for every medium and technique.

From natural hair brushes that hold their shape to synthetic alternatives that perform beautifully, from traditional wooden palettes to modern mixing surfaces—each tool is chosen for quality and longevity.

The right tools don't just make work easier; they become extensions of your creative vision, reliable companions in your artistic journey.

Manufacturers

We partner with the world's finest art supply manufacturers, each with a legacy of excellence and commitment to quality.

From historic European colour makers to innovative contemporary brands, we curate our selection based on proven performance, sustainable practices, and dedication to the craft.

Browse our featured brands and discover the stories behind the materials. Each manufacturer brings unique expertise and tradition to their products.

About Us

BY-MUNK was founded on a simple belief: artists deserve access to the finest materials, presented with clarity and care.

We are artists, collectors, and craftspeople who understand the relationship between creator and material. Every product in our collection has been tested, evaluated, and chosen for its exceptional quality.

Our commitment extends beyond commerce. We believe in sustainable sourcing, fair partnerships, and supporting the artistic community through education and accessibility.

CONTACT

hello@by-munk.com

Use with Watercolour

Enhance and modify your watercolour work with professional mediums designed to expand creative possibilities.

From gum arabic for increased transparency and gloss, to ox gall for improved flow and wetting, each medium offers unique properties. Explore masking fluids for preserving whites, granulation mediums for textured effects, and lifting preparations for corrections.

Our selection includes traditional formulations and modern innovations, all designed to work harmoniously with professional watercolours.

KEY MEDIUMS

Gum arabic: Increases transparency and gloss; slows drying for smoother edges.
Ox gall/surfactants: Improves wetting and flow, reducing unwanted beading on sized papers.
Granulation medium: Accentuates texture with suitable pigments.
Masking fluid: Preserves highlights; remove gently to protect paper fibres.
Lifting prep: Helps remove or soften dried passages without scouring the surface.

QUALITY & CARE

Use fresh masking fluid and clean nibs/brushes immediately after use.
Test on a scrap of the same paper—sizing and cotton content affect results.

Use with Gouache

Specialised mediums that preserve gouache's distinctive matt finish while enhancing workability.

Flow improvers help achieve smooth, even coverage without compromising opacity. Matt mediums extend paint while maintaining that characteristic velvety surface. Each product is formulated to complement gouache's unique properties.

Perfect for illustration, design work, and fine art applications where gouache's flat, opaque finish is essential.

ESSENTIAL ADDITIVES

Matt mediums to extend paint without adding sheen.
Flow improvers for brushmark reduction and even flats.
Reactivation control: consider acrylic gouache where waterproof layering is required.

TIPS

Work from mid‑tones, reserving lights and darks for last to avoid over‑mixing.
Use firm, soft‑tipped brushes; avoid scrubbing to keep layers clean.

Use with Acrylics

A comprehensive range of acrylic mediums for every technique and application.

Gels for texture and impasto, retarders to slow drying time, modelling pastes for three-dimensional work. Choose from gloss, satin, or matt mediums to control sheen. Each medium extends paint, modifies consistency, and opens new creative avenues.

From glazing to pouring, from heavy body impasto to watercolour-like washes, these mediums transform acrylic paint into whatever you envision.

CORE MEDIUMS

Gloss/satin/matt mediums to adjust sheen and extend colour.
Retarders and "open" additives to increase working time.
Gels (soft to extra‑heavy) and modelling pastes for body and texture.
Pouring mediums for level films and reduced crazing.
Texture additives: glass bead, pumice, sand for special surfaces.

QUALITY NOTES

Choose archival acrylic polymers with minimal colour shift on drying.
Thin excessively with medium rather than water to protect film integrity.

Use with Oil

Traditional and modern oil painting mediums for every stage of your work.

Refined linseed oil for general use, stand oil for enamel-like finishes, alkyd mediums for faster drying. Damar and copal resins for glazing, paint thickeners for impasto, and solvents for thinning and cleaning.

Each medium is chosen for purity and performance, supporting both traditional fat-over-lean techniques and contemporary approaches.

ESSENTIAL MEDIUMS

Linseed, walnut, safflower, and stand oils to adjust flow and gloss.
Alkyd mediums to accelerate drying and improve flexibility.
Damar/copal varnish blends for traditional glazing effects.
Odourless mineral spirits and gum turpentine for thinning/cleaning.

PRACTICAL GUIDANCE

Observe fat over lean to reduce cracking risks.
Ventilate well and use appropriate containers for solvent waste.

Use with Charcoal & Pastels

Fixatives and mediums designed to preserve and protect dry media work.

Workable fixatives allow for layer building while preventing smudging. Final fixatives provide lasting protection without altering colour or tone. Available in both aerosol and pump spray formats, each formulation is tested for archival quality.

Preserve your charcoal drawings and pastel paintings without compromising the delicate surface quality that makes these mediums so expressive.

FIXATIVES

Workable: Light application between layers to maintain tooth.
Final: Protective topcoat; test first to avoid value shift.

TIPS

Spray outdoors or in a booth; several light passes beat one heavy coat.
Choose archival, non‑yellowing formulations; avoid aerosols on very thin papers.

Pencil

From precise technical drawing to expressive shading, pencils offer unrivalled control. Quality graphite and coloured pencils differ widely in core formulation, wood casing, and lightfastness.

GRAPHITE GRADES & BUILD

HB for general sketching; H–4H for fine, hard lines; B–8B for rich, dark shading.
Uniform cores reduce scratchiness and produce even tones; cedar casings sharpen cleanly without splintering.
Mechanical/clutch pencils accept graded leads for consistent line width.

COLOURED & WATERCOLOUR PENCILS

Wax‑based: Creamy lay‑down and easy blending; may bloom if applied heavily.
Oil‑based: Sharper points, crisp details, slower to wear.
Watercolour pencils: Activate with water for washes; choose lightfast cores for permanence.

QUALITY FACTORS

Consistent core centring prevents breakage when sharpening.
High lightfastness ratings resist fading under display lighting.
Low‑filler cores give richer colour and smoother gradients.

QUICK TIPS

Layer lightly and blend gradually; reserve solvent/medium for final passes.
Fixative helps bind powdery passages and reduce smudge.

Charcoal

Charcoal delivers deep, velvety blacks and rapid tonal shifts. Its character depends on wood source, burn, and binder content.

TYPES

Willow/vine sticks: Soft, responsive, easily erased—ideal for gesture.
Compressed sticks/pencils: Denser and darker with added binders; hold points for detail.
Powdered charcoal: For large veils and atmospheric grounds.

QUALITY FACTORS

Even burn yields consistent hardness and predictable marks.
Low grit content prevents scratching; clean sticks reduce dust.
Paper tooth matters—choose textured, heavier stocks for layering.

QUICK TIPS

Fix in light passes between stages to retain tooth.
Blend with paper stumps or chamois; avoid over‑polishing the surface.

Pastel

Pastels deliver pure, immediate colour. Formulation and binder levels define softness, dust, and coverage.

TYPES

Soft pastels: High pigment, minimal binder; lush colour and easy blending.
Hard pastels: Cleaner edges, fine detail, and underdrawing.
Oil pastels: Waxy, intense; work well on non‑traditional grounds.
Pastel pencils: Control and detail with less dust.

QUALITY FACTORS

Lightfast pigments maintain vibrancy; avoid fugitive dyes for exhibition work.
Even sticks prevent crumbling; consistent softness across colours aids layering.
Use sanded papers/boards for multi‑layer techniques.

QUICK TIPS

Block in with hard pastels; reserve soft, high‑chroma sticks for accents.
Fix sparingly to avoid dulling; consider framing under glass with spacers.

Ink

From calligraphy to illustration, inks vary by binder and colourant, affecting flow, permanence, and compatibility with pens and brushes.

TYPES & USE

India ink (shellac‑based): Waterproof when dry; deep black for brush and dip‑pen.
Pigmented drawing inks: Lightfast particles suspended in acrylic; ideal for illustration and airbrush.
Dye inks: Brilliant but less lightfast; suited to sketchbooks and reproduction.
Fountain‑pen inks: Formulated to flow and not clog; most are not waterproof.

QUALITY FACTORS

Particle size affects nozzle safety for technical pens and airbrush.
pH and binder choice influence paper bleed and edge sharpness.
Lightfast, pigment‑based inks are preferred for display work.

QUICK TIPS

Match ink to tool—avoid shellac inks in fountain pens.
Use bleed‑resistant, sized papers for crisp lines.

Canvas

Canvas varies by fibre (cotton/linen), weave, weight, and priming. Each variable affects brush feel, absorbency, and longevity.

FIBRE & WEAVE

Cotton: Economical, even weave; ideal for studies and contemporary work.
Linen (flax): Stronger fibres, subtle irregular weave; superior longevity and feel.
Fine weave for detail; coarse weave for texture and visible tooth.

PRIMING

Acrylic gesso: Universal ground for oils and acrylics; resists oil migration.
Oil priming: Exceptionally smooth for oils; not suitable for acrylic underlayers.
Multiple coats, properly sanded, create a stable, responsive ground.

QUALITY FACTORS

Stretcher build: kiln‑dried bars, proper keys, and corner joints resist warping.
Fabric weight and tension affect sag and drum‑tightness over time.

QUICK TIPS

Seal edges/backs of raw linen to reduce moisture ingress.
Re‑key stretchers as humidity changes; store upright and off damp floors.

Paper

Paper is defined by fibre content, sizing, surface, and weight. Archival options ensure stability for generations.

FIBRE & WEIGHT

100% cotton rag: Strong, dimensionally stable, ideal for water‑based media.
Cellulose blends offer value for practice and studies.
Weights from 185 gsm to 640 gsm affect buckle and absorbency.

SURFACE & SIZING

Hot‑pressed (HP) smooth; Cold‑pressed (CP/NOT) moderate tooth; Rough highly textured.
Internal and external sizing control flow, lift, and edge definition.

QUALITY FACTORS

Acid‑free, buffered papers resist discolouration.
Mould‑made sheets offer durable, attractive surfaces with deckled edges.

QUICK TIPS

Stretch or tape lighter weights to minimise cockling in wet techniques.
Choose the surface that suits your mark‑making and glaze needs.

Boards

From primed panels to paper‑mounted boards, rigid supports provide stability and a distinct painting feel.

TYPES

Gesso panels: Rigid wood/MDF with acrylic ground; excellent for detail.
Aluminium composite: Dimensionally stable, lightweight, corrosion‑resistant.
Paper‑mounted boards: Watercolour or pastel papers bonded to card for convenience.

QUALITY FACTORS

Sealed backs/edges resist moisture ingress and warping.
Archival adhesives prevent delamination and staining.

QUICK TIPS

Lightly sand between gesso coats for a glass‑smooth surface.
Store flat; avoid extreme humidity and temperature swings.

Brushes

A brush’s character comes from fibre type, shape, ferrule, and handle balance. Select for medium and technique.

FIBRES

Kolinsky sable/sable blends: Exceptional spring and point for watercolour detail.
Hog bristle: Stiff, flagged tips for oils and heavy‑body acrylic.
Synthetics (PBT, tapered blends): Durable, consistent, and versatile across media.

SHAPES

Round, pointed round, flat, bright, filbert, fan, dagger—each mark is distinct.
Mops and quills hold large washes for watercolour and inks.

QUALITY FACTORS

Nickel‑plated brass ferrules resist corrosion; double crimping secures hair.
Well‑balanced handles reduce fatigue; finish resists swelling in water.

CARE

Clean promptly; reshape and dry horizontally or hair‑down.
Reserve separate sets for solvents vs. water‑based media.

Palette Knife

Flexible steel blades for mixing, scraping, and impasto mark‑making.

CHOOSING

Stainless steel resists rust; a springy blade gives control in application.
Offset handles protect knuckles; varied shapes produce distinct textures.

QUALITY & CARE

Secure rivets and smooth edges prevent catching on canvas fibres.
Wipe clean between colours to avoid muddy mixtures.

Sponges

Sponges create organic textures and soft transitions, especially in water‑based media.

TYPES

Natural sea sponges with varied pores for expressive patterns.
Synthetic sponges for uniform textures and easy cleaning.

TIPS

Dampen before use; blot excess to avoid drips.
Use dabbing and rolling rather than wiping to preserve surface sizing.

Mixing Palette

The palette surface influences colour perception and cleanliness of mixes.

SURFACES

Porcelain/glass: Non‑staining, easy to clean, ideal for watercolour and gouache.
Wooden/oil palettes: Comfortable for oils; season with oil for a satin seal.
Enamelled metal & HDPE: Durable options for acrylics and oils.

QUALITY & USE

Neutral grey grounds aid value judgement.
Smooth, non‑porous wells prevent paint loss and premature drying.

Easel

Choose stability and ergonomics to match your space and medium.

TYPES

Studio H‑frame: Maximum stability for large canvases.
A‑frame/lyre: Compact footprint for smaller spaces.
Tabletop & pochade: Portable solutions for desk or plein air.
Aluminium field easels: Lightweight and quick to set up outdoors.

QUALITY FACTORS

Rigid masts, reliable clamps, and smooth height/angle adjustments.
Hardwood (beech/elm) or robust aluminium components for longevity.

QUICK TIPS

Weigh lightweight easels in wind; protect hardware from solvents and salt air.
Keep a comfortable eye‑level and posture to reduce fatigue.

All Brands

Manufacturers — all brands list.

Featured

Manufacturers — featured selection.

New

Manufacturers — new additions.

Our Story

BY-MUNK — our story and philosophy.

Team

Meet the BY-MUNK team.

Contact

Contact BY-MUNK — hello@by-munk.com