There is a particular kind of frustration every acrylic painter knows. You are mid-painting, you need one specific green, and the tub you need is the one you do not own. This set is the answer to that. The Mont Marte Signature Acrylic Colour 100ml Tub Complete Set is the entire 64-colour range in one hit, which means the answer to "do I have that colour?" becomes yes, permanently.

Mont Marte Signature Acrylic Colour is the workhorse of a lot of Australian studios, classrooms and craft rooms, and for good reason. It is a smooth, richly pigmented, quick-drying acrylic that goes on beautifully with a brush or a palette knife, dries to a durable semi-matte finish, and behaves the same way every time you open a tub. The 100ml tub is the size that actually gets used: generous enough to work large, small enough that you are not committing a fortune to a colour you are still getting to know.

The Complete 64 Colour Range

Every colour below is included, one 100ml tub of each. The pigment codes are read straight off the tub labels, so you can see exactly what is in each colour before you buy. Swatches are an approximate on-screen reference and will vary with your monitor. Metallic and fluoro colours in particular do not render accurately on a screen, so treat those swatches as a rough guide to the family rather than the finish.

The metallics are mica-based rather than pigment-based, so the label lists mica instead of a pigment code. Mica is what gives them the shimmer, and it is why they photograph so badly and look so much better in the hand.

The fluoros use fluorescent pigments that do not carry standard colour index codes, so the labels do not list one. All six are transparent, so they sing over a white ground and go dull over a dark one. Prime or block in white underneath them.

What the Pigment Codes Tell You

A pigment code is the international colour index name for what is actually in the tub. PB29 is ultramarine. PG7 is phthalo green. PW6 is titanium white. Two tubs with the same code contain the same pigment regardless of brand or price, and reading the codes is the fastest way to understand how a paint will behave before you have ever squeezed it out.

Two useful things fall out of the list above. First, a colour with one code is a single-pigment paint, and single pigments mix cleanest. Titanium White (PW6), Chinese White (PW6), Lemon Yellow (PY3), Medium Yellow (PY1), Yellow Ochre (PY42), Orange (PO13), Brilliant Red (PR2), Crimson (PR57:1), Red Ochre (PR101), Magenta (PR122), Purple (PV23), Ultramarine Blue (PB29), Phthalo Blue (PB15:3), Phthalo Green (PG7), Lamp Black (PBk7) and Mars Black (PBk11) are all single-pigment. Build your mixing palette out of those and your greys stay clean instead of going to mud.

Second, several traditional names here are hues, meaning they are mixed to imitate a historical colour rather than made from it. Cobalt Blue is PB29, PB15:3 and PW6, not genuine cobalt PB28. Cerulean Blue is PB15:3, PG7 and PW6, not genuine cerulean PB35. Viridian is PG7 with white, not genuine viridian PG18. That is completely normal at this price, and the colours are still good, but it is worth knowing: a hue mixed from three pigments will grey off faster than the single-pigment original, so if a mix is going flat on you, that is usually why.

What You Are Getting

Why Buy the Whole Range

• You stop compromising. The right colour is always in the drawer, so you mix toward what you actually want instead of what you happen to own.
• You learn the range properly. Owning all 64 is how you find the three or four colours that end up on every painting you make.
• It is the cheapest way in. One order, one delivery, one line on the books, versus sixty-four separate decisions over two years.
• Classrooms and groups get covered in one go. A full range means a whole class can work at once without queueing for the only tub of red.
• Metallics and fluoros included. The 12 metallics and 6 fluoros are the colours people usually skip and then wish they had. They are all included.
• Consistent, intermixable formula. Every colour in the range mixes cleanly with every other one, and with Mont Marte mediums and gels.

Getting the Most Out of the Set

Straight from the tub, Signature Acrylic Colour has enough body to hold a soft brushmark and enough flow to lay a smooth flat area. For washes and glazes, thin with water; a little goes a long way, and around 25 to 30 percent water is a sensible ceiling before you start weakening the binder. Past that, reach for an acrylic medium instead of more water.

Acrylics dry fast, which is mostly a feature and occasionally a problem. If you are blending soft edges or working wet into wet, a stay-wet palette or a touch of retarder buys you real working time. Keep a spray bottle of water beside the palette and mist it every few minutes.

Surfaces are wide open: primed canvas and canvas board, wood and MDF panels, heavy paper and card, terracotta, papier mache, rocks, and most craft substrates. Anything glossy or non-porous wants a coat of gesso or an acrylic primer first.

Store the tubs upright with the lids properly seated. Wipe the rim before closing, because dried paint on the thread is how a lid stops sealing and a good tub turns into a brick. Wash brushes in water before the paint sets, not after.

Questions About the Mont Marte Signature Acrylic Colour 64 Set

The Rest of the Signature Acrylic Colour Range

The 100ml tub is the middle of the range. If you want a different format, or you go through white and black faster than everything else, the same paint comes in five other sizes:

• 75ml tubes for detail work and controlled dispensing
• 300ml pots for the colours you reach for most
• 1 litre bottles for large works and staple colours
• 2 litre bottles for classrooms, studios and murals
• Curated sets if you would rather start with a smaller selection