Naphthol Red Light 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.

Naphthol Red Light (colour number 398) uses PR112/PY74. It is rated semi-opaque with a lightfastness of ++. Knowing the pigment code matters more than the colour name, because names vary between brands while pigment index codes do not. If you are matching a colour across brands or checking permanence, the code is the thing to compare.

Yes. The question that matters for selling work is permanence, and Amsterdam Standard Series is rated ++ or +++ for lightfastness with a 100% acrylic resin binder that cures water resistant. Where professionals tend to reach for a higher grade is when they need maximum pigment strength in a small area, or very specific single-pigment mixing behaviour. For large canvases, underpainting, murals and blocking in, Standard Series is a sensible professional choice.

Tell us within 7 business days of receiving it. Email customerservice@artshedonline.com.au with your order number and photos of the damage and the packaging, and our team will sort it out. Paint jars are packed to survive the trip, but couriers are couriers. Reporting it quickly with photos is what lets us make a claim and get a replacement moving.

Soap and water, before it dries. Rinse the brush out as soon as you put it down, work lukewarm water and a brush soap into the ferrule where paint hides, and reshape the head before you leave it to dry lying flat or bristles down. Once acrylic cures in a brush, it is a polymer film and no solvent will remove it without wrecking the bristles. The brush you ruin is always the one you left standing in the water jar.

Yes. Clean and lightly sand the piece, prime bare or previously varnished timber with an acrylic primer or gesso, then build two or three thin coats rather than one heavy one. The important step is the finish: seal it with a hard-wearing clear polyurethane or an acrylic varnish rated for furniture, because raw acrylic on a tabletop will mark and scuff. Allow proper curing time before you put anything on it.

It cures water resistant and permanent, which is enough for an indoor painting and enough to survive being wiped. It is not the same as a waterproof coating, so for anything living outdoors, getting scrubbed, or holding water, seal it with an exterior or hard-wearing clear varnish. Note also that it needs to be fully cured, not just touch dry, before it reaches that water resistance, which means days rather than minutes.

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.