Super Opaque Black is Holbein's Series C black, and it is made from the same single pigment as Jet Black: PBk1, listed as a Condensed Aniline Pigment. The published Munsell value is 1.2, against 1.5 for Jet Black, so by Holbein's own notation it is the marginally deeper of the two. Lightfastness is rated two stars, the same as Jet Black. No hue or chroma is quoted, which is what you expect from a neutral.

Where this tube makes sense is large flat blacks and anything being photographed or scanned: backdrops for product shots, animation blackout areas, negative-space panels in graphic work, deep shadow on models. At a value of 1.2 it is the lowest value in this batch, so it also serves as the anchor at the bottom of a value scale. It thins with water for line work like any other black in the range, and it pulls a mix down quickly, so add it a brush tip at a time.

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

Acrylic gouache splits the difference between two paints that usually force a choice. You get the chalk-flat, light-absorbing surface of gouache with the permanence of an acrylic film. Holbein Acrylic Gouache dries to a matte opaque finish and is water resistant once dry, so it does not reactivate with water like traditional gouache. For a deep black over a large area, matte matters: the surface will not throw glare back at a camera or a gallery light. The complete colour chart, Series C included, lives on the Holbein Acrylic Gouache 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 Super Opaque Black