Georgian Traditional Oil Paint

Georgian Traditional Oil Paint

Georgian Oil paints are traditionally crafted using high-quality triple-milled pigments, resulting in a smooth, buttery consistency and rich colour intensity. These low-odour oils can be applied directly from the tube with a brush or palette knife, or thinned to create delicate glazes. They offer reliable and even drying times, becoming surface dry within 4 to 5 days depending on the colour.

The range includes 58 colours, featuring genuine Cobalt and Cadmium hues, all boasting excellent lightfastness ratings of 3 to 4 stars. Colours mix seamlessly, maintaining consistency from wet to dry. These oils are perfect for professional artists and art students alike, proudly made in the UK.

  • Triple-milled, high-quality pigmented oil colours for smooth, buttery consistency
  • Exceptional lightfastness (3 to 4 stars) ensures strong fade resistance
  • Colours mix easily with consistent results from wet to dry
  • Quick drying time; surface dry in 4–5 days allows faster layering
  • Available in 38ml and 225ml
  • Made in the UK
MORE INFORMATION DOWNLOADS Resources Related products

Lightfastness

Permanent

Moderately Permanent

Normally Permanent

Fugitive

Transparency

Opaque

Semi - opaque

Transparent

Close all

Naples Yellow

Product Code

D111014635

Code

635

Pigment

PY83 / PW6 / PO62

Opacity

Lightfastness

Lemon Yellow

Product Code

D111014651

Code

651

Pigment

PY3

Opacity

Lightfastness

Cadmium Yellow Pale Hue

Product Code

D111014617

Code

617

Pigment

PY73 / PY3

Opacity

Lightfastness

Primary Yellow

Product Code

D111014627

Code

627

Pigment

PY73

Opacity

Lightfastness

Cadmium Yellow

Product Code

D111014620

Code

620

Pigment

PY35 / PY74

Opacity

Lightfastness

Cadmium Yellow Hue

Product Code

D111014616

Code

616

Pigment

PY73

Opacity

Lightfastness

Cadmium Yellow Deep Hue

Product Code

D111014618

Code

618

Pigment

PY73 / PO34

Opacity

Lightfastness

Cadmium Orange Hue

Product Code

D111014619

Code

619

Pigment

PO34 / PY73

Opacity

Lightfastness

Pyrrole Orange

Product Code

D111014628

Code

628

Pigment

PO73

Opacity

Lightfastness

Vermilion Hue

Product Code

D111014588

Code

588

Pigment

PY73 / PO34 / PR210

Opacity

Lightfastness

Cadmium Red Light Hue

Product Code

D111014505

Code

505

Pigment

PO34 / PR9

Opacity

Lightfastness

Cadmium Red

Product Code

D111014503

Code

503

Pigment

PR108 / PR254

Opacity

Lightfastness

Cadmium Red Hue

Product Code

D111014502

Code

502

Pigment

PY73 / PR112 / PO34

Opacity

Lightfastness

Cadmium Red Deep Hue

Product Code

D111014504

Code

504

Pigment

PR5 / PY73 / PR101

Opacity

Lightfastness

Scarlet Lake

Product Code

D111014571

Code

571

Pigment

PR5 / PR112

Opacity

Lightfastness

Alizarin Crimson

Product Code

D111014515

Code

515

Pigment

PR177

Opacity

Lightfastness

Pyrrole Red

Product Code

D111014512

Code

512

Pigment

PR254

Opacity

Lightfastness

Rose Madder

Product Code

D111014561

Code

561

Pigment

PV19

Opacity

Lightfastness

Brilliant Rose

Product Code

D111014531

Code

531

Pigment

PR5 / PR112 / PW6

Opacity

Lightfastness

Primary Magenta

Product Code

D111014409

Code

409

Pigment

PR122

Opacity

Lightfastness

Cobalt Violet Hue

Product Code

D111014406

Code

406

Pigment

PV23 / PR122

Opacity

Lightfastness

Permanent Mauve

Product Code

D111014413

Code

413

Pigment

PV23

Opacity

Lightfastness

French Ultramarine

Product Code

D111014123

Code

123

Pigment

PB29

Opacity

Lightfastness

Cobalt Blue

Product Code

D111014110

Code

110

Pigment

PB28 / PB29

Opacity

Lightfastness

Cobalt Blue Hue

Product Code

D111014111

Code

111

Pigment

PB29 / PG7

Opacity

Lightfastness

Permanent Blue

Product Code

D111014137

Code

137

Pigment

PB29 / PG7

Opacity

Lightfastness

Primary Cyan

Product Code

D111014142

Code

142

Pigment

PB15:3

Opacity

Lightfastness

Prussian Blue

Product Code

D111014135

Code

135

Pigment

PB27

Opacity

Lightfastness

Coeruleum

Product Code

D111014112

Code

112

Pigment

PB29 / PB15:3 / PW6 / PG7

Opacity

Lightfastness

Coeruleum Hue

Product Code

D111014113

Code

113

Pigment

PW6 / PY184 / PB15:3

Opacity

Lightfastness

Violet Grey

Product Code

D111014442

Code

442

Pigment

PB29 / PW6 / PV23

Opacity

Lightfastness

Light Blue

Product Code

D111014128

Code

128

Pigment

PB29 / PB15:3 / PW6

Opacity

Lightfastness

Blue Grey

Product Code

D111014133

Code

133

Pigment

PB29 / PW6 / PBk9

Opacity

Lightfastness

Phthalo Green

Product Code

D111014361

Code

361

Pigment

PG7

Opacity

Lightfastness

Hooker's Green

Product Code

D111014352

Code

352

Pigment

PG7 / PR101 Trans

Opacity

Lightfastness

Viridian Hue

Product Code

D111014382

Code

382

Pigment

PG7 / PB36

Opacity

Lightfastness

Emerald Green Hue

Product Code

D111014338

Code

338

Pigment

PY3 / PG7 / PW6

Opacity

Lightfastness

Sap Green

Product Code

D111014375

Code

375

Pigment

PG7 / PY73 / PR101 Trans

Opacity

Lightfastness

Terre Verte Hue

Product Code

D111014379

Code

379

Pigment

PG7 / PY42 / PBr7

Opacity

Lightfastness

Yellow Green

Product Code

D111014388

Code

388

Pigment

PY74 / PG17 / PW6

Opacity

Lightfastness

Permanent Green Light

Product Code

D111014347

Code

347

Pigment

PY3 / PG7 / PY42

Opacity

Lightfastness

Yellow Ochre

Product Code

D111014663

Code

663

Pigment

PY42

Opacity

Lightfastness

Raw Sienna

Product Code

D111014667

Code

667

Pigment

PY42 / PR101 / PBk9

Opacity

Lightfastness

Buff Titanium

Product Code

D111014024

Code

024

Pigment

PW6 / PY42 / PBk11

Opacity

Lightfastness

Peach Pink

Product Code

D111014577

Code

577

Pigment

PR101 / PY42 / PW6

Opacity

Lightfastness

Venetian Red

Product Code

D111014583

Code

583

Pigment

PR101

Opacity

Lightfastness

Indian Red

Product Code

D111014523

Code

523

Pigment

PR101

Opacity

Lightfastness

Burnt Sienna

Product Code

D111014221

Code

221

Pigment

PR101 Trans

Opacity

Lightfastness

Raw Umber

Product Code

D111014247

Code

247

Pigment

PBr7

Opacity

Lightfastness

Burnt Umber

Product Code

D111014223

Code

223

Pigment

PBr7

Opacity

Lightfastness

Vandyke Brown Hue

Product Code

D111014264

Code

264

Pigment

PBr7 / PBk9 / PR170

Opacity

Lightfastness

Payne's Grey

Product Code

D111014065

Code

065

Pigment

PBk6 / PB29

Opacity

Lightfastness

Ivory Black

Product Code

D111014034

Code

034

Pigment

PBk9

Opacity

Lightfastness

Lamp Black

Product Code

D111014035

Code

035

Pigment

PBk7 / PBk6

Opacity

Lightfastness

Titanium White

Product Code

D111014009

Code

009

Pigment

PW6 / PW4

Opacity

Lightfastness

Zinc White

Product Code

D111014001

Code

001

Pigment

PW4

Opacity

Lightfastness

Mixing White

Product Code

D111014007

Code

007

Pigment

PW6 / PW4

Opacity

Lightfastness

Underpainting White

Product Code

D111014003

Code

003

Pigment

PW6 / PW4

Opacity

Lightfastness

About Georgian Traditional Oil Paint

Answering same standards as a Professional Artists' Oil Colour

Daler-Rowney Georgian Oil colours are traditionally crafted, triple-milled colours made from a generous loading of high quality pigments. Georgian Oil Colours are produced to the same exacting standards as Artists’ Oil Colours. They are carefully blended and tested to produce the most brilliant colour, and match tint and texture from batch to batch. These rich, low-odour colours can be used directly from the tube with brush or knife, or thinned to create the finest of glazes.

Dries in 4 to 7 days

Daler-Rowney Georgian oils offer a reliable, quick and even drying time across the range, and are surface dry in 4 to 7 days depending on the colour. The Georgian Oil range includes 4 genuine cadmium and cobalt colours within the single price point, as well as hues for these colours for those who would rather use alternatives. Suitable for professional and amateur artists alike.  Georgian Oil, along with Georgian Water Mixable Oil, mediums, brushes, pads, and artboards offer artists of all levels of expertise a complete oil suite of perfectly compatible products.

Made in England

Daler-Rowney is particularly proud to continue the long heritage of manufacturing Georgian Oil Colours in the United Kingdom, based in the South of England, in Bracknell.

FAQs

How do you dispose of the tubes and paint?

The tubes when cleaned are recyclable. The most environmentally friendly way of cleaning would be to put the washings into a sand bin. This prevents any washings from going to the sewer.

Can the Watercolour Varnish be thinned and how should I do it?

Yes, the varnish can be thinned if required using Industrial Methylated Spirits. Add a small amount and mix thoroughly before use to achieve an even consistency. Thinning may be helpful if the varnish feels too thick or difficult to apply smoothly. It is important to ensure the mixture is fully blended, as poor mixing can lead to an uneven finish and may affect overall performance.

What type of brush should I use should I use to apply varnish?

We recommend using an old or disposable brush. The varnish can be very difficult to remove once it begins to cure, and cleaning the brush thoroughly afterwards may be challenging.

Why is the Watercolour Varnish difficult to apply?

The Watercolour Varnish has a relatively high viscosity (thickness), which can make it heavier to brush out compared to standard coatings. This is normal and helps provide a durable finish.

What is the difference between alla prima vs layered in oil painting?

These are two different approaches to oil painting:

1. Alla prima involves completing a painting in one session while the paint is still wet. It encourages speed, direct application, and expressive brushwork.

2. Layered painting is a slower process, built over multiple drying stages. It allows for depth, glazing, and refinement over time.

How do you mix oil paint colours cleanly?

Clean colour mixing is essential for maintaining vibrancy and control in oil painting.

Start with a limited palette to avoid unnecessary complexity. Mix colours gradually rather than combining large amounts at once.

Use a palette knife for mixing to maintain purity and avoid contaminating brushes.

Avoid overmixing, as this can reduce colour brightness and lead to dull results.

How do you choose the right watercolour paper?

Paper choice has a direct impact on how watercolour behaves.

Hot press paper is smooth and ideal for detail work. Cold press has a balanced texture suitable for most techniques. Rough paper creates strong texture and expressive washes.

Heavier papers absorb water better and reduce buckling, especially for wet techniques.

How do you create soft and hard edges in watercolour?

Edge control is one of the most important aspects of watercolour painting.

Soft edges are created when wet paint meets a damp or wet surface, allowing colours to diffuse into each other naturally. This is useful for atmospheric effects and transitions.

Hard edges are achieved when paint is applied to a dry surface, resulting in sharp, defined shapes.

Most paintings use a combination of both to create depth and focus.

How do you lift watercolour paint safely?

Lifting allows you to correct mistakes or create highlights by removing pigment from the surface.

Use a clean, damp brush, tissue, or sponge, depending on the level of control needed. Work gently to avoid damaging the paper surface.

Lifting works best while the paint is still slightly damp, though some pigments can be lifted after drying, depending on staining strength.

Avoid excessive scrubbing, as this can permanently affect the paper texture.

How do you use heavy body vs fluid acrylic?

Different acrylic consistencies are designed for different effects and techniques.

Heavy body acrylic has a thicker texture, making it ideal for brush marks, impasto, and structured painting. It holds shape well and is often used for expressive or textured work.

Fluid/soft body acrylic has a lower viscosity, making it better for smooth coverage, glazing, fine detail, and pouring techniques.

Many artists use both within the same piece for contrast and control.

How do you blend acrylics before they dry?

Blending acrylic successfully depends on timing and control, as the paint dries quickly compared to other mediums.

Work in small sections to maintain a wet edge. Apply colours next to each other while the paint is still open, then gently merge them using a soft brush.

Adding a small amount of blending medium can extend working time and make transitions smoother. Avoid overworking the surface, as this can cause muddiness or lifting.

Oil paint drying times: what to expect and why it varies

Oil paint drying is influenced by thickness, pigment type, and environment.

Some colours dry faster due to their composition, while thicker applications take significantly longer.

Airflow and temperature also affect drying speed, but oil paint never dries instantly.

Understanding drying time helps you plan layers correctly and avoid premature overworking.

What does “fat over lean” mean when oil painting?

Oil paint layers must be built with increasing oil content.

“Lean” layers contain less oil and dry faster. “Fat” layers contain more oil and dry more slowly.

This structure prevents cracking by ensuring flexibility in upper layers.

A simple rule: each new layer should be slightly richer in oil than the one beneath it.

How do you glaze with oil paint?

Oil glazing creates depth and luminosity.

A glaze is a thin, transparent layer applied over a dry surface. It should enhance underlying tones rather than obscure them.

Use glazing mediums to control flow and maintain transparency. Apply thin layers and avoid overworking.

Allow each glaze to dry fully before adding another layer.

How do you build layers when painting with oils?

Layering oils is about structure and drying time.

Begin with a lean underpainting using diluted paint. This establishes composition and tonal values.

Each subsequent layer should contain slightly more oil than the last, following the fat-over-lean principle.

Allow sufficient drying time between layers to prevent cracking or instability.

Wet-on-wet vs wet-on-dry: when do you use each technique?

These two techniques produce very different results and are essential for watercolour control.

Wet-on-wet allows pigment to spread freely, creating soft edges and organic blends. It is ideal for skies, backgrounds, and atmospheric effects.

Wet-on-dry produces sharper edges and more controlled shapes. It is better for detail, structure, and defined forms.

Most watercolour work uses a combination of both techniques, depending on the stage of the painting.

How do you layer watercolour without lifting previous paint?

Layering watercolour requires time and full drying between stages.

Each layer must be completely dry before applying the next, otherwise pigment will reactivate and lift.

Use a light touch when applying new layers. Avoid overworking the surface, especially on softer papers.

Build colour gradually rather than trying to achieve depth in one application.

How do you paint a clean watercolour wash (flat and graded)?

Washes are essential for backgrounds, skies, and tonal foundations.

For a flat wash, mix enough paint to complete the area in one go. Apply evenly from top to bottom, keeping a consistent bead of paint at the edge of your brush stroke.

For a graded wash, gradually add water to your mix as you move down the surface. Keep strokes smooth and uninterrupted.

Avoid going back into drying areas, as this causes patchiness and texture disruption.

How do you control water for better watercolour results?

Water control is the foundation of watercolour painting.

The balance between pigment and water determines everything from softness to edge quality. Too much water leads to uncontrolled flow, while too little results in dry, uneven marks.

Start by loading your brush consistently and testing dilution on scrap paper. Maintain a similar water level across your palette when working on washes.

Control improves when you work in stages – wet areas for soft blends, drier areas for sharper edges.

How do you glaze with acrylic for depth?

Glazing adds depth, richness, and complexity to acrylic work.

A glaze is a thin, transparent layer of colour applied over a dry surface. It should enhance underlying layers rather than cover them.

Use acrylic glazing medium rather than water to maintain colour strength and adhesion. Apply thin, even layers and allow each glaze to dry fully before adding another.

Build depth gradually rather than trying to achieve the final tone in one pass.

Glazing works best when underlying layers are well planned and dry.

How do you layer acrylic paint cleanly?

Layering is where acrylic becomes powerful, but also where issues can appear.

Each layer must be fully dry before applying the next. This prevents lifting and keeps colours sharp. Thin, even layers tend to behave more predictably than heavy applications.

Start with diluted or thin paint for base layers, then gradually build opacity. If you want soft transitions, work quickly while the paint is still open or use a blending medium.

Avoid scrubbing into semi-dry layers, as this causes texture disruption and dulling of colour.

How do you build texture with acrylics?

Acrylic allows for controlled texture through both paint and tools.

Texture can be created using heavy body paint, palette knives, dry brushing, or structured mediums. Each approach gives a different surface quality.

For subtle texture, build layers gradually and vary brush direction. For stronger effects, apply thicker paint or mix with texture gels.

The surface matters – heavier or primed surfaces hold texture better and reduce cracking risk.

The most effective textures come from controlled layering rather than applying everything in one step.

What paper should I use for watercolour?

Use watercolour paper with good weight and absorbency. Heavier papers handle more water and reduce buckling.

Do I need solvents for oil painting?

Solvents are useful for thinning paint and cleaning brushes, but you can also work with solvent-free mediums if preferred.

Why is my oil painting cracking?

Cracking can happen when paint layers are applied out of balance. In oil painting, it’s important to follow the “fat over lean” principle – meaning each new layer should contain a little more oil than the one underneath. This helps the painting dry evenly and stay flexible over time.

What’s the difference between pans and tubes?

Pans are convenient and portable; tubes offer stronger, more immediate colour and are ideal for larger washes.

Can I layer watercolour?

Yes, once the previous layer is fully dry. Use a light touch to avoid disturbing the layer underneath.

How do I stop blooms and backruns?

Blooms happen when excess water flows into a drying area. Work evenly and avoid adding water to areas that have started to dry.

Why do my watercolours dry lighter than expected?

Watercolour naturally dries lighter as the water evaporates. Mix slightly stronger than your target tone to compensate.

How do I stop streaks in acrylic paint?

Use a softer brush, apply slightly thicker paint, and work in even strokes. A small amount of medium can also improve flow.

Why do my acrylic colours look dull?

Over-mixing, too much water, or absorbent surfaces can reduce vibrancy. Use clean mixes, less dilution, and a suitable surface or primer.

Can I use acrylic paint on any surface?

Acrylic works on canvas, paper, wood, and more. For best results, use a primed or sealed surface to ensure proper adhesion.

Why is my acrylic paint cracking?

Cracking usually happens when paint is applied too thickly or dries unevenly. Build up layers gradually and avoid applying heavy paint over a fast-drying base.

How can I slow down acrylic drying time?

Work in smaller areas, mist your palette lightly with water, and use a slow-drying medium. Avoid painting in direct heat or airflow.

Why does my watercolour appear blotchy or uneven on paper?

Uneven water distribution is the main cause. Load your brush consistently and keep the surface evenly wet when working on washes.

Why not try adding an Ox Gall Solution Medium? Ox Gall Solution enhances wetting and flow, helping watercolour paint spread uniformly across the paper and preventing blotting or dotting effects.

Recommended medium: Ox Gall Solution (D114007005)

How do I improve the water miscibility of the watermixable oils?

Adding this medium improves the water miscibility of water-mixable oil colours, making them easier to dilute and control with water.

Recommended medium: Georgian Water Mixable Medium (D119707029)

Why aren’t my water-mixable oil colours drying quickly enough?

If you would like to speed up the drying time, this medium mixes with water-mixable oil colours to significantly accelerate drying time.

Recommended medium: Georgian Water Mixable Fast Drying Medium (D119707015)

Why is my watercolour paint too thick and hard to brush out?

If you find your watercolour paint too thick, try an Ox Gall Solution Medium, which improves wetting and flow, helping watercolour paint spread more smoothly and evenly.

Recommended medium: Ox Gall Solution (D114007005)

Why are my oil colours drying too slowly?

Oil paint dries through oxidation, which takes time. Thicker layers and certain colours dry more slowly.

To speed things up:

  • Work in thinner layers.
  • Use an Alkyd-based medium to accelerate drying while maintaining good flow and paint handling
  • Ensure good airflow.
  • Avoid excessive use of slow-drying oils.

Recommended medium: Alkyd Flow Medium (D114007022)

Why are my oil colours too thick or difficult to brush out?

To reduce the thickness of your oil colours, mix with Linseed Oil.

Linseed oil can be blended with oil colours to achieve the desired consistency, improving texture, flow, and brushability.

Recommended medium: Georgian Linseed Oil (D114007014)

Why does my acrylic feel heavy or drag on the brush when painting?

To improve brushability, use either a Liquid Retarder or a Flow Enhancer.

Liquid Retarder extends open time, while Flow Enhancer improves paint movement, reducing drag and heaviness during brush-out.

Recommended mediums: System3 Liquid Retarder (D127250033) & Acrylic Flow Enhancer (D128075008)

Why is my acrylic paint drying too quickly?

Acrylic dries quickly by design, especially in warm or dry conditions. To extend working time, use more paint, avoid over-thinning with water, and consider a retarder or stay-wet palette.

The amount of retarder added determines the degree of drying time modification, giving you more working time.

Recommended medium: System3 Liquid Retarder (D127250033)

Why does my acrylic paint dry too glossy?

If you would like your acrylic paint to be less glossy, we recommend using a matt glazing medium.

Glazing Medium Matt can be mixed with acrylic colours to reduce gloss and produce a more matt finish upon drying.

Recommended medium: System3 Glazing Medium Matt (D12825101400)

How do I reduce the viscosity of the System3 Screen Printing Medium?

Acrylic Flow Enhancer can be added to a screen printing medium to reduce viscosity. This allows users to tailor the consistency to their preferred working properties without compromising performance.

Recommended medium: Acrylic Flow Enhancer (D128075008)

Why does my acrylic paint dry with a finish that is too matt?

If you are looking to increase the gloss of your acrylic paint, a Glazing Medium Gloss can be mixed into acrylic colours to increase the gloss level once the paint has dried, resulting in a richer, more reflective finish.

Recommended medium: System3 Glazing Medium Gloss (D12825101900)

Why is my acrylic or gesso too thick, gelatinous, or gloopy?

Acrylic Flow Enhancer is designed to improve the flow of acrylic colours. When used sparingly, it can transform slightly gelatinous acrylics into a softer, freer-flowing paint. While no acrylic should become extremely thick or jelly-like, normal viscosity drift can occur, and in almost all cases flow enhancer will resolve the issue.

Recommended medium: Acrylic Flow Enhancer (D128075008)

Do the Georgian Water Mixable Oils contain preservative Methylisothiazolinone and similar synthetic preservatives?

These paints are oil based, so they do not contain MIT or other preservatives.

Am I able to order samples?

You are able to request samples on the mountboards, Murano, and Canford paper in the UK only.

Unfortunately, we do not send paint samples out, however, please do head to your nearest art store to take a look at the colours and products that we manufacture.

Please use the contact us form to request your mountboard, Murano, and Canford paper samples.

Do you test on animals or use animal-derived ingredients?

At Daler-Rowney, we do not test our products on animals.

Daler-Rowney does not use animal-derived ingredients in most colours and mediums it produces. The only exceptions to this are the pigment Bone Black (PBk9), Ox-Gall solution and Kandahar ink (Shellac).

Daler-Rowney does not use animal-derived ingredients in the manufacture of its paper and board ranges, with the exception of The Langton Prestige and Murano papers, which use gelatine.

Daler-Rowney does not use animal-derived ingredients in the manufacture of its synthetic hair brushes, and the only animal-derived ingredient in its natural hair brushes is the natural hair itself.

Daler-Rowney does not use animal-derived ingredients in the manufacture of its Simply Drawing and Sketching products except for the graphite leads in the Drawing Pencil Tube 22pcs Set and the Simply Sketching 40pcs Set which contain 5% of animal oil.

I have scanned the QR code on the back of the Screen Printing kit product packaging but it does not lead anywhere?

Unfortunately due to the expiration of QR codes, the links do not now work, however, we have several videos by different artists on screen printing available to you:

Dave Fortune – https://www.daler-rowney.com/discover/techniques/screen-printing-step-by-step-guide-with-dave-fortune and https://www.daler-rowney.com/discover/techniques/screen-printing-tips-kit-and-guide-with-dave-fortune

Kerry Lemon – https://www.daler-rowney.com/discover/techniques/how-to-make-hand-made-screen-prints

VIN+OMI – https://www.daler-rowney.com/discover/techniques/how-to-make-professional-screen-prints

I have scanned the QR code on the back of the product packaging but it does not lead anywhere?

We previously had several QR codes on our packaging for our products, however, these links have now expired and we apologise for the inconvenience this may cause. Please take a look at our Discover section, YouTube channel, product or brand page to view more information on the purchased brands.

For Simply products, please visit our How-To’s to find the SimplyCreate how-to guides.

How do I find out more information about old products?

Please fill out the contact us form with as much information as possible to help us try to date the product. Attaching images via the URL field will also help greatly.

Please note: Old paintings with a Daler stamp on the back only indicate that they have used a Rowney mountboard, we will not be able to help with the artist or their subject.

How long do you need to leave an oil painting before varnishing?

Most artists wait around 4-6 months before applying varnish, however, start testing the surface of the painting with caution with a fingernail/thumb test after 7 days.

How do you revive paint?

Paints can be revived with water or, in the case of oil, turpentine. If you are having trouble reviving one of our paints, please contact us.

How do you open the Fluid Acrylics tubes?

To open the 250ml and 500ml Fluid Acrylic or many of our larger size paint tubes, cut along the top line as indicated in the image.

What do the terms pigments and solvents mean?

Pigments are the actual colouring substance of paint usually of mineral or organic origin. It is completely or nearly insoluble in water, when mixed with binders it becomes paint, ink or crayons etc.

A solvent is used to thin or dilute paint. For example, turpentine is a solvent used in oil painting for diluting paint & to create thin underpainting & washes.

What does hue mean?

A hue is the actual colour of something. A term often used to refer to the dominant pure colour within a colour.

Why is my paper buckling & how do you minimise it?

Too much water or lightweight paper can cause warping.

To minimise paper bulking:

  • Use heavier paper or stretch it before painting.
  • Avoid overworking the surface with excessive layers of paint or heavy applications of media.
  • Allow each layer to dry completely before applying additional media to prevent buildup and maintain paper integrity.

Consider using papers specifically designed to resist buckling and warping, such as heavyweight or watercolour papers.

Do your products contain per-and polyfluoroalkyl substances?

No, our products do not contain per-and polyfluoroalkyl substances.

What do the surface symbols mean on your paints?

The symbols represent where the paint can be used, for example, Canvas, Murals, Glass, Textiles, and Interior/Exterior. Please visit the colour charts on the individual product pages to view the full list.

You will need to use the correct primers and finishes for a selection of surfaces, i.e., murals will need a varnish to make them waterproof and a primer on most wall surfaces to get the full colour. We do always recommend trialling on a small area and testing first.

Are your products non-hazardous?

The vast majority of artist paints are non-hazardous mixtures. Hazardous materials tend to be used more in mediums (due to the solvents used) and the hazards are clearly identified on the product labels and safety datasheets.

The datasheets can be found on our website, by clicking the product and then the downloads tab.

What type of palette should you use with which type of paint?

Traditionally, porcelain is used for watercolours/gouache, whilst wood is used mostly for oils, and plastics mostly used for acrylics mostly. Metal palettes are similar to plastic ones.

What is the difference between artists and student colours?

All our colours are proudly made in the United Kingdom, including colours especially crafted for hobbyists and art enthusiasts.

The main differences between our artist and student colours are:

  • Shades available …. more than the basic colour range.
  • Pigment Load …. higher pigment ratio to binder meaning stronger colour & better coverage.
  • Milling Technique …. more finely ground particles of pigment deliver stronger colour that also mixes quickly & evenly.
  • Cadmium Pigment …. the main cadmium pigments are the family of yellow orange & red, they have a resistance to fading and are generally more expensive pigments.

What is the difference between all our inks?

Our product ranges include a variety of different types of products based on their formulas and use. For example, we have a variety of inks, including acrylic, watercolour, and others, based on specific techniques.

In our acrylic ink range, we have two main products, and their main difference is that System3 inks are opaque inks, whilst FW uses more natural pigments.

The Aquafine ink is thinner, so ideal for use in spray guns. It can also be used for traditional watercolour effects such as flocculation, blooming, scumbling, lifting & salting.

Kandahar, Calli, Luma and Pro are more specialised inks.

What is the difference between the different whites in our ranges?

Some products have a range of whites that include mixing white and underpainting white. These whites are different to the other whites due to their specific use:

  • Mixing whites are used to mix colours and retain their brightness and maintain their saturation
  • Underpainting whites are a faster drying white which allows other layers to adhere to it easily.

What is the advantage of using the products in the same collections for artists?

Using products from the same collection ensures colour consistency across your work, as the paints, papers, brushes and mediums are designed to work in harmony. Each product is developed to complement and enhance the performance of others in the range, enabling artists to achieve reliable and cohesive results.

How many times is the colour milled to create Georgian oils?

Georgian Oils are milled three times to create their outstanding quality.

What medium would you recommend to a beginner watercolour artist to try out alongside Aquafine watercolour paints for some great effects?

We would recommend using Art Masking Fluid.

What medium could you thin your oil paint down with and at the same time slow down the drying time?

Purified linseed oil can be used to think oil paint and at the same time slow down the drying time.

What oils do you use in your oil paints?

We use Sunflower oil in whites and Linseed oil in all other colours as it slows down the drying time of your paint, which can be very useful when painting in layers.

What is drying oil?

Drying oil is an oil that thickens or hardens on exposure to air.

Do your watercolour paints have granulation and staining properties?

We do not try and control the granulation and staining properties of these products, instead we allow the pigment to dictate if the colours are granulating/staining or not.

Would your products affect any allergies that I may have?

We recommend taking a look at our safety data sheets for your chosen paint as these include safety precautions and any reactions which could happen.

The datasheets can be found on our website, by clicking the product and then the downloads tab.

What does the hazardous symbol on the label mean?

The hazardous symbols are attributed to substances that are hazardous to the environment – these are standard symbols on artist paints.

The most standard symbol on art products is a dead tree and a dead fish symbol. This symbol means the product is toxic to marine life with long-lasting effects. Our recommendation when cleaning your products is to put the washings into a sand bin rather than down the sink.

Are your products EN71 compliant?

Daler-Rowney products are not EN71 compliant as they are aimed at adults.

For enquiries on products from other brands in the FILA Group, please contact the brand directly with the product in question.

What are the shelf lives of your paints?

Our products, when stored correctly have very long shelf lives – on average around 5-15 years. If you have any concerns about a product, please do contact us.

What’s the difference between water-based v solvent – based paints and why preservatives are used?

The environmental benefits of water-based paints compared to solvent-based alternatives are well known and understood. The absence of Volatile Organic Carbons (VOCs), toxic and/or flammable solvents are the clear benefits of water-based paints. These advantages of water-based paints are well known to the end consumer; however, the disadvantages are not so transparent.

The fundamental weakness of water-based paint is that it provides a hospitable environment for microbiological growth, and without proper formulation, water-based paints would suffer from fouling within a relatively short period of time. Such fouling, if allowed to occur, would reduce the product life expectancy, allow exposure of potentially harmful microbiological organisms to our consumers and lead to higher waste and ultimately negative environmental costs. Enhancing product lifecycle is an important contributor to the overall sustainability of a product, with any form of in-built or natural obsolescence increasing waste and lowering the sustainability scoring of a product.

To maximise the benefits of water-based paints and to improve product lifecycle, Daler-Rowney, like all manufacturers of fine art and craft paints, makes use of preservative agents in its formulations. These preservative agents are designed as in-can protectors against microbiological harm, used in extremely small quantities (50-100 parts per million). The preservative agents used by Daler-Rowney are all approved for such use by the relevant competent authorities.

Preservative agents have always been used within artist & craft paint formulations; however, in recent years EU legislation has changed, and it is now a requirement for manufacturers to list the presence of certain preservative agents on product labels when the additive is used above a certain concentration in the final product. This new legislation is primarily driven by the fact that these preservative agents can lead to allergic reactions in a very small number of people, and it is only fair and reasonable to identify this small risk to all consumers at the point of purchase.

All risks associated with all products placed on the market by Daler-Rowney are clearly identified on the product label and the Safety Data Sheet (SDS), which are available on our company website. We are always more than happy to provide any further clarifications on such matters when and if they are required.

Do you sell a colour wheel?

Yes, we do sell colour wheels, for more information visit the product page.

To find your nearest store or online retailer, please visit our store locator.

Where can I download a product’s colour chart?

Colour charts are featured on the Download tab on the product pages.

What levels are your products?

We have different ranges for different artistic expertise:

The Simply collection is for beginner artists and hobbyists

The Graduate collection is aimed at students.

The Aquafine, Georgia, System3 and FW collections are aimed at professional artists.

The Artists’ and Designer collections are our top-of-the-line artist ranges.

Where can I find your latest Safety Datasheets (SDS) or Technical Data sheets (TDS)

Our latest Safety Datasheets are on the product pages in the Download tab. These are the most up-to-date data sheets.

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