We currently offer:

• Round 2
• Round 4
• Round 6
• Round 8
• Flat 1/2in
• Or a set of all five
  

Exact dimensions for each brush head and handle combination can be found on the relevant product pages – just open the DETAILS dropdown.

We’re already working on expanding the range with more brush head styles that will be compatible with existing handles. If there’s a shape you’d love to see next, let us know.

Modern synthetic fibres are excellent performers. They offer reliable flow, good spring, and consistent results across watercolour, gouache and mixed media – matching the performance of many traditional natural hair brushes, without the fragility.

If you’re curious about the differences between fibre types, and how they behave on paper, our Studio Synthetics guide goes into more detail.

Yes. Our Synthetic Sable brush heads are made entirely from synthetic fibres, with no animal hair used. The glues and finishing agents are also vegan.

They’re designed to give you the feel and performance of traditional sable, without the use of animal-derived materials.

Rinse thoroughly in clean water, gently reshape with your fingers, and allow to dry horizontally or bristles-down.

Avoid leaving brushes standing in water, as this can bend the fibres. Our synthetic heads are durable, but like all good tools, they appreciate a bit of care.

Yes – all of our brushes use replaceable heads.

When a brush head reaches the end of its usable life, you can simply replace the head rather than buying an entirely new brush. Less waste, more longevity, and a brush you can stick with.

Those little symbols are there to make life easier. Each symbol (usually tucked just under the ferrule) tells you which brush head sizes are compatible with that handle – so you can replace with confidence.

Here’s the current key:

• Diamond – Round 2
• Heart – Round 4
• Star – Round 6
• Crescent moon – Round 8
• Fir tree – Flat 1/2in
  

As we add more brush head styles, this system will make it easy to see what works with the handles you already own.

Our watercolours are made using artist-grade pigments – including earth, mineral, and modern synthetic pigments – bound with gum arabic and honey for smooth rewetting and rich colour.

Each half pan is hand-filled in layers for depth, strength and beautiful reactivation. The pans themselves are moulded from recycled ghost nets recovered from the Cornish coast.

If you’re curious about where different pigments come from and how they behave, our Deep Dive on Paint Pigments is a great place to explore further.

No – they contain honey as part of the binding system.

Yes – every colour in the range is rated Excellent across thinned, medium and concentrated mixes.

You’ll find lightfastness information on each individual colour’s product page under the DETAILS dropdown.

If you’d like a more in-depth explanation of what those ratings mean, our Watercolour Terms Explained guide breaks it all down.

Opacity describes how much of the paper shows through the paint.

Our colours range from Transparent through to Opaque, with Semi-transparent and Semi-opaque in between. There’s no “best” option – just the right look for the moment.

You’ll find a simple explanation of these terms in our Watercolour Terms Explained guide, and each colour’s opacity is listed on its product page.

Some do, some don’t – and that variety is very much intentional. Pigments like Ultramarine Light Blue, Cerulean Blue and Raw Sienna naturally granulate, creating texture on the page. Others, such as Phthalo and Quinacridone pigments, tend to stay smooth.

If a colour granulates, we’ve made sure to note this clearly on its product page. Our Pigment Deep Dive also explores why some pigments behave this way.

They’re pocket-sized tins containing six hand-filled half pans, curated to give you a balanced, mixable palette wherever you paint.

Each tin holds up to twelve half pans in total and includes a built-in mixing area.

The collections are:

• Signature – everyday, harmonious essentials
• Seascape – moody coastlines, shifting blues, ocean neutrals
• Landscape – grounded earths, realistic greens, soft natural tones
• Naturescape – expressive brights inspired by plants and minerals

Absolutely. Each tin comes with 6 pre-curated colours and space for 6 more. The tins accept any of our half pans, so you can add to the colour selection, top up favourites when they run out, and gradually build a personalised twelve-colour palette over time.

Yes. Half pans are a universal size, so tins will comfortably fit half pans from other brands as well as ours.

Very much so. Each tin holds up to 12 half pans, includes space for mixing in the lid, and has a small thumb rest for stability. They’re compact, robust, and designed to be slipped into a bag and taken wherever you like to paint.

Yes – it’s designed to be stain resistant and easy to clean.

We’ve tested the palette with watercolour and ink, and most marks wipe away easily with warm water, a cloth, and a little washing-up liquid. That said, stain resistant isn’t the same as stain proof. Highly pigmented colours left to sit for long periods may leave a trace over time.

Personally, we think a bit of colour history adds character – but the palette will stay perfectly usable regardless.

The aluminium palette isn’t designed to be hand-held – it’s a studio palette, made to sit comfortably on a desk or table.

It’s built around calm, practical studio use rather than portability. The two modular halves stack neatly when not in use, then open out into a generous mixing surface when you’re painting. Each half can also be flipped over, with the softly scalloped back doubling as a natural brush rest – a small refinement that makes longer sessions feel more considered and less cluttered.

Made from anodised aluminium, it’s designed to last for years of painting and colour-mixing. If you’re looking for something lighter and more portable, the Write Off palette is a better fit for travel or on-the-go work.

For reference: the 6-well section weighs 102g, and the 15-well section weighs 110g.

Yes. The aluminium palette works well with oils and acrylics, as well as watercolour.

It’s durable, easy to clean, and can move between mediums depending on how you like to work.

A closer look at the synthetic fibres we use, how they behave on paper, and why we chose them over traditional natural hair. If you’ve ever wondered what gives a brush its spring, point, and water-holding power, this guide lifts the lid. Read here.

An easy-to-follow wander through what pigments actually are, where they come from, and why they behave so differently on the page. From earth pigments to modern synthetics, it explains what makes our colours mix, granulate, glow or stay smooth. Read more here.

A clear guide to the terms you’ll see on our watercolour pages – like lightfastness, opacity and granulation – and what they really mean in practice. No jargon, no judgement, just the bits that help you paint with confidence. Read more here.