Group Sets
Our Group Sets provide ideal colour combinations for painters. Perfect for beginners, intermediate and professional painters alike, including those studying and teaching colour theory.
5 Colour Group Set
This set contains a cool red blue and yellow; the process primaries, plus black and white. Selected to create the broadest range of hues using only limited pigments and their blends.
10 Colour Group Set
Selected to create the broadest range of colours using only ten pigments and their blends.
This set contains a warm and a cool of each of the primaries; one which is semi-transparent, one which is opaque, plus two earth tones, for desaturating the colours, and black and white, for creating tints and shades.
15 Colour Group Set
Selected to create the broadest range of colours using fifteen pigments and their blends.
This set contains the same colours as the ten colour set, plus dioxazine violet, phthalo green, arylide yellow, a red and a green earth tone. These additions allow you to achieve a fuller range of colours with less mixing, and makes it easier to create clean hues in the secondary colour areas of purple, orange, and green.
15 Colour PLUS Group Set
Contains all of the colours in the fifteen colour set with the addition of Gesso and Clear Gel and larger sizes of the colours you need most!
All Colour Group Set
Contains all of the KROMA artist acrylics colours in one set covering the complete spectrum.
Full Spectrum Group
The colours in this set have been selected to create a full, highly saturated spectrum.
To even out the tonal shifts that naturally occur from colour to colour (violet being darker than yellow, for example), the darker pigments have been adjusted with precise additions of zinc white to create a smooth tonal gradation across the colour spectrum. This allows the student of colour theory to identify and explore the shifts between colours clearly, without being confused by tonal shifts.
Also included in this group are zinc white and bone black, for use in exercises involving tone, saturation and shade. As Zinc (sometimes known as mixing white) is a more transparent white than the more familiar Titanium white, its addition lightens colours while allowing them to remain saturated, whereas titanium white, being more opaque, hides more of the colour that it is added to, making more subdued “pastel” tints.
Bone black has been selected, rather than Mars or Carbon black, because of its matte sheen and relatively low tinting strength, which makes precise tonal adjustments in small increments easier to achieve, than when using high tint strength blacks.
Gouache has traditionally been used for exercises in colour theory because the addition of white fillers to the pigments makes the colours easily visible and creates uniform opacity. By adding white to artist’s acrylic colours in a systematic way that is unique to the needs of those studying and teaching colour theory, we have designed a palette that combines many of the qualities of gouache with the advantages and affordability of acrylics. We have worked with the instructors at the faculty of Fine Arts at Langara College, in Vancouver, B.C., to create a paint system for teaching colour theory that would improve on the performance of gouache in a classroom setting. Unlike gouache, which is resoluble once dry, acrylic paints dry to a flexible waterproof film, a finish that is more robust and less vulnerable to marring, and which makes over-painting to correct mistakes easier. As designer’s gouache is used in work intended for reproduction, permanence may not be a requirement. All the pigments used to make KROMA artist’s acrylics have excellent light-fastness, and are suitable for use in all kinds of fine art or craft applications.The colours in this wheel have been blended without the addition of black or white.
