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.

Nickel Titanate Yellow (colour number 274) uses PY184/PW6. It is rated transparent 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.

Nickel Titanate Yellow is transparent. That determines how you should use it. An opaque colour covers what is beneath it in one or two coats and is what you want for blocking in and correcting. A semi-transparent or transparent colour lets the layer underneath influence the result, which makes it ideal for glazing and shadow work but frustrating if you are trying to cover something. Check the swatch on the jar against a black bar to see it for yourself.

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.

Not as freely, because acrylic sets fast, but you can get close with the right approach. Work wet into wet quickly and in small areas, keep a mister handy, and use an acrylic retarder or an open medium to extend the working time. The alternative approach, which often looks better, is to build the blend in thin glazes once each layer is dry, letting the transitions happen optically rather than physically.

Yes, and it holds well because terracotta is porous. Clean the pot, let it dry completely, then paint directly or over a coat of gesso if you want a brighter base. For pots that will live outside or be watered, seal the finished paint with an exterior-grade clear varnish and ideally seal the inside of the pot separately, because water wicking through unsealed terracotta from behind is what lifts the paint.

Neither, if you can avoid it. Freezing can break the acrylic emulsion so the paint separates into a grainy, curdled mess that will not stir back together. Sustained heat thickens it, can partially cure it in the jar, and shortens its life considerably. An Australian car in summer gets well past the point where this matters within an hour. If a delivery has been sitting in heat, open it, check the consistency and tell us if it has been affected.

Amsterdam Standard Series is water based, odourless and cleans up with soap and water, which is why it is widely used in Australian schools and community workshops. It is still an artists' material rather than a toy paint, so normal classroom practice applies: check the label and safety data sheet for the specific colour, supervise young children, keep it away from mouths, and ventilate as you would for any art activity. We can supply safety data sheets for any product on request.