Pure Red is PR170 on its own, described by Holbein as a Monoazo Pigment, and the name is fair. Munsell notation of 6.0R 4.0/13.0 places it near the middle of the reds, neither leaning towards rose nor towards orange, with a strong chroma of 13.0 and a value of 4.0 that keeps it solid rather than light. If you picture what a child means by red, this is very close to it. Two stars for lightfastness.

A neutral, single-pigment red is the most useful red you can own, because everything else can be mixed from it. Pure Red plus Yellow gives clean oranges, Pure Red plus Ultramarine Blue gives a deep violet-red, and Pure Red plus Titanium White gives an unbiased pink rather than one that pulls warm or cool. That makes it a strong choice for flat-design work, spot illustration, storyboards, and any project where colour has to be specified and then repeated later. Designers and animators lean on it as the anchor red of a limited palette.

What Makes This Colour Special

Pigment, lightfastness and series as published by Holbein. Holbein does not publish an opacity rating for individual colours; the range as a whole is described by Holbein as opaque.

Acrylic Gouache, Not Traditional Gouache

Holbein has been making artists' colours in Japan for well over a century, and Acrylic Gouache is one of the lines it is best known for. Pigment in an acrylic emulsion, water thinnable, designed for even flat coverage rather than texture. Holbein Acrylic Gouache dries to a matte opaque finish and is water resistant once dry, so it does not reactivate with water in the way traditional gouache does. For an anchor colour like Pure Red, that reliability is the point. Browse the wider collection on our Holbein page.

Why Holbein Acrylic Gouache Is in Serious Studios

• Genuinely opaque. Holbein describes the range simply as an opaque acrylic paint. It covers, including over darker colour, which is the whole point of reaching for gouache rather than watercolour.
• Velvety matte, no sheen. Holbein describes the colour as opaque, intense, smooth and velvety. It dries flat, which is why it photographs and scans without glare.
• Water resistant once dry, so you can layer. Holbein’s own wording, and the reason the range exists. A dry layer will take another one over the top without lifting.
• The colour you mix is the colour you get. Holbein states it does not shift in colour tone from wet to dried colour. Anyone who has watched a perfect grey dry into a different grey will appreciate that.
• Built to use straight from the tube. Holbein says it is specifically designed to be used directly from the tube and will dry to even, uniform paint layers.
• Works on more than paper. Holbein lists paper, canvas, cloth, stone, wood, leather, plexiglass and concrete, with excellent adhesion, and full compatibility with all acrylic mediums.

Getting the Most Out of This Tube

Straight from the tube is the default. This is what Holbein designed it for, and it is where you get those even, flat, uniform layers. Add a little water to loosen it, but go easy: very diluted washes can dry streaky across a large flat area, so build coverage in thin even coats rather than flooding it on.

Watch the palette, not the clock. Holbein gives an open time of roughly 10 to 30 minutes and notes the drying time is much like ordinary watercolour. The practical consequence is that paint left sitting on the palette will go off and will not come back, so squeeze out small amounts as you need them.

It plays well with acrylic mediums. Holbein states the range is compatible with all acrylic mediums, so you can change the body or extend the working time if you want to. Soft synthetic brushes suit it, since they hold enough paint to lay a flat area without dragging.

Questions About Holbein Pure Red