Primary Cyan is a single-pigment blue, PB15, which Holbein lists as Copper Phthalocyanine. Munsell notation of 4PB 4/13 places it in the purple-blue range with a deep value of 4 and a very high chroma of 13, so expect a strong, clean, slightly green-leaning blue of the kind printing uses as its cyan. Phthalocyanine blues are among the most powerful pigments available, and this one behaves accordingly. Three stars for lightfastness.

Cyan is the leg of the primary set that does the most mixing work. With Primary Yellow it gives greens from spring foliage right through to deep viridian tones, with Primary Magenta it produces violets that stay clean, and with a touch of Primary Black it drops into deep sea and storm colours. On its own it suits graphic and flat-design work, technical illustration, water, sky, swimming pools and anything with a printed look about it. Add it sparingly to other colours, because phthalo blue is strong enough to take over a mix in one brushload.

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 sits between two familiar categories. It has the flat, matte, chalk-free surface associated with gouache, and the set-and-stay behaviour of acrylic. 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. That is useful for a strong mixer like Primary Cyan, because a dried area will not bleed into the next flat you paint beside it. See how it compares with the rest of our gouache range.

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 Primary Cyan