Pebeo Paints and Markers

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Water based colours dedicated to the decoration of most dark, thin or thick fabrics. Covering, concentrated, intense and vivid colours. The colours can be mixed together. Excellent lightfastness. Rich color palette with moire, pearlescent and suede effect colours. Setacolor Opaque colours can be used on all prewashed fabrics: cotton, wool, mesh, jersey, velvet, jacquard knit, polyester, mixed fibers. They can be used pure or diluted with water to obtain a watercolor effect. To fix the Setacolor colours, iron the reverse side of the decorated fabric for 5 minutes on cotton position with no steam. It is also possible to put the fabrics...
Water based colours dedicated to the decoration of most dark, thin or thick fabrics. Covering, concentrated, intense and vivid colours. The colours can be mixed together. Excellent lightfastness. Rich color palette with moire, pearlescent and suede effect colours. Setacolor Opaque colours can be used on all prewashed fabrics: cotton, wool, mesh, jersey, velvet, jacquard knit, polyester, mixed fibers. They can be used pure or diluted with water to obtain a watercolor effect. To fix the Setacolor colours, iron the reverse side of the decorated fabric for 5 minutes on cotton position with no steam. It is also possible to put the fabrics...
Water based colours dedicated to the decoration of most dark, thin or thick fabrics. Covering, concentrated, intense and vivid colours. The colours can be mixed together. Excellent lightfastness. Rich color palette with moire, pearlescent and suede effect colours. Setacolor Opaque colours can be used on all prewashed fabrics: cotton, wool, mesh, jersey, velvet, jacquard knit, polyester, mixed fibers. They can be used pure or diluted with water to obtain a watercolor effect. To fix the Setacolor colours, iron the reverse side of the decorated fabric for 5 minutes on cotton position with no steam. It is also possible to put the fabrics...
Water based colours dedicated to the decoration of most dark, thin or thick fabrics. Covering, concentrated, intense and vivid colours. The colours can be mixed together. Excellent lightfastness. Rich color palette with moire, pearlescent and suede effect colours. Setacolor Opaque colours can be used on all prewashed fabrics: cotton, wool, mesh, jersey, velvet, jacquard knit, polyester, mixed fibers. They can be used pure or diluted with water to obtain a watercolor effect. To fix the Setacolor colours, iron the reverse side of the decorated fabric for 5 minutes on cotton position with no steam. It is also possible to put the fabrics...
Water based colours dedicated to the decoration of most dark, thin or thick fabrics. Covering, concentrated, intense and vivid colours. The colours can be mixed together. Excellent lightfastness. Rich color palette with moire, pearlescent and suede effect colours. Setacolor Opaque colours can be used on all prewashed fabrics: cotton, wool, mesh, jersey, velvet, jacquard knit, polyester, mixed fibers. They can be used pure or diluted with water to obtain a watercolor effect. To fix the Setacolor colours, iron the reverse side of the decorated fabric for 5 minutes on cotton position with no steam. It is also possible to put the fabrics...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Setasilk is used as a traditional colour and works on all types of silk: twill, ponge, crepe de Chine, crepe georgette, damask silk. Very easy to use, it can be fixed simply by ironing, Setasilk colours suit all silk painting techniques: outlines, salt sprinkling technique, watercolour, sun technique, wax batik, mahaju technique. The colours are ready to use and mixed together. They preserve all the silk's flexibility and offer a palette of rich, refined and bright colours. Do not hesitate to go over the wet colour for good unison. Before being worked, silk must be either stretched on a frame or placed on a fleece and fixed with an...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...
Vitrea 160 water-based colours combine professional quality. On glass or crystal, the transparency and effects of Vitrea 160 colours take best advantage of the light. Vitrea 160 can, nevertheless, be applied to other media that can be heated at a temperature of 160° C. Whether they be liquids in bottles, pastes in tubes or markers, the Vitrea 160 colours present the same characteristics and properties. Used together, they allow you to freely vary the effects and techniques. Their transparent glossy, frosted and iridescent finishes invite you to create multiple plays on light and contrasts. TRANSPARENT COLOURS, LOOKS LIKE BODY-TINTED...