All Amsterdam acrylics are intermixable, and Azo Yellow Lemon behaves predictably in mixes given it is semi-opaque. Start by mixing it with titanium white for tints and with a small amount of its complementary colour to knock back the intensity rather than reaching for black, which tends to deaden a mix. Keep a swatch card of your mixes with the ratios written on it, because you will want to repeat one later.

Azo Yellow Lemon is rated +++ on Royal Talens' scale. Three pluses means the colour is rated to last at least 100 years under museum conditions, two pluses at least 25 years. Museum conditions means indoors and out of direct sunlight. That rating is why work painted in Amsterdam Standard Series is safe to sell, provided the buyer is not hanging it in a north-facing window.

The Amsterdam Standard Series runs in 20ml, 120ml, 250ml, 500ml and 1 litre, though not every colour is made in every size. We carry the sizes that move, and the 500ml jar is the one to choose when you are painting large, teaching, mixing in volume or working on murals and props. If you want a size you cannot see on the site, ask us and we will check what Royal Talens produces in that colour.

Yes. Amsterdam is made by Royal Talens in the Netherlands, a company that has been making artists' colours since 1899. The Standard Series is a general purpose acrylic built for people who paint a lot, with a 100% acrylic resin binder, a satin finish and lightfastness ratings of ++ or +++ across the range. It is not a heavily pigmented professional colour like Golden Heavy Body, and it is not trying to be. What it is, is a dependable, permanent acrylic you can use freely rather than ration.

Yes, we ship Australia wide including WA, the Northern Territory, regional and remote areas. Allow about 2 to 3 business days with Express Post and 6 to 8 business days with Standard Post to those destinations after dispatch. Larger and heavier orders go by Startrack courier rather than Australia Post, which takes about 6 to 8 business days to WA, the NT, Tasmania and remote areas. Tracking is provided on everything.

Three things. Thin the paint slightly with a flow improver rather than water, so it levels instead of holding the mark. Use a soft synthetic brush or a foam roller rather than a stiff hog bristle. And build the colour in two or three thin coats rather than one thick one, letting each dry. Amsterdam's medium viscosity levels reasonably well on its own, which is why it suits flat graphic work better than a stiff heavy body paint does.

Virtually any slightly porous surface: stretched canvas, canvas board, acrylic and watercolour paper, cardboard, MDF, plywood, raw and primed timber, stone, terracotta, plaster, concrete and rendered walls. It is alkali resistant, which is why it holds on masonry and render where many acrylics fail. Non-porous surfaces such as bare metal, glass and glossy plastic need an appropriate primer or adhesion promoter first, or the paint will lift.

It can, though it takes mistreatment. Signs are a sour smell, visible mould on the surface, lumps that will not redisperse, or paint that has separated with a watery layer on top that will not stir back in. Contamination from dirty brushes and palette scrapings is the usual cause, along with a lid that never sealed properly. A skin on the surface is normal, just lift it off rather than stirring it in.

No. Standard Series runs around 90 colours at one consistent grade, medium viscosity, satin finish. Expert Series uses higher pigment concentrations, more single-pigment colours and traditional artist pigments including cadmiums and cobalts, organised into series bands by pigment. Choose Standard for scale, teaching and mixing in volume. Choose Expert when you want maximum tinting strength and the cleanest possible mixes.