Shuttle Art 72 Pack Acrylic Paint Set, Shuttle Art 60 Colors Acrylic Paint Including Extra White Black & 12 Brushes, 2oz/60ml, Rich Pigmented, Water Proof, Ideal for Artists, Beginners on Canvas Rock Wood Ceramic

Why I picked up this set

I needed a large, reliable palette for a mix of projects—canvas studies, a few rock and wood crafts with my kids, and some detail work on miniatures. I reached for the Shuttle Art acrylic set because it promised breadth: 58 unique colors plus extra bottles of white and black, each a generous 2 oz, and a starter pack of 12 brushes. After several weeks of steady use across different surfaces, I have a clear sense of where this set shines and where it needs a little care.

What’s in the box

• 60 bottles of acrylic paint (2 oz/60 ml each), comprising 58 distinct colors plus extra white and black
• 12 synthetic brushes in assorted rounds and flats

The “72-pack” labeling refers to 60 paints plus 12 brushes. The count can be confusing at first glance, but the contents are consistent: 60 paint bottles, not 72.

Paint quality and consistency

These are water-based acrylics with a creamy, medium-body feel. Straight from the bottle, most colors spread smoothly without running, and they’re easy to control for both block coverage and detail work. On canvases and primed panels, I found the coverage solid and uniform; mid-tones and darks typically covered in one coat, while whites, yellows, and some fluorescents benefited from a second pass—pretty standard for acrylics at this price point. Notably, the opaque white and lemon yellow were better than I expected on darker grounds.

Pigment load sits comfortably in the “quality craft/entry-level studio” zone: bold enough to look vibrant without needing heavy layering, but not so saturated that they become finicky to blend. For glazing and smoother transitions, a touch of acrylic medium brought them closer to an artist-grade feel without issue.

A small caveat: a handful of colors behaved differently than the rest. I had two bottles (one pastel, one warm neutral) that went on slightly choppy and needed more thinning and brushing to even out. A vigorous shake—and, for stubborn bottles, a quick stir with a clean stick—helped. I also recommend swatching the lighter “skin” tones before committing to portraits; one labeled flesh skewed warmer and more yellow than the cap suggested.

Color range, metallics, and fluorescents

The palette is the real draw. Alongside the expected primaries and earths, you get an unusually generous spread of teals, violets, pinks, desaturated vintage tones, and a cluster of metallics and fluorescent brights. The metallics have a fine shimmer with decent body; they look their best over a dark undercoat or layered over a matching flat color. Fluorescents are punchy but more transparent—treat them like tints or glaze them over white for maximum pop.

The inclusion of an extra white and black is smart. I go through white quickly for mixing and underpainting, and having a backup in the box saves a re-order.

Dry time and layering

These dry quickly—touch-dry in about 10–20 minutes for thin coats on canvas, and a little longer on non-porous surfaces. That’s great for fast layering and craft sessions where you don’t want long pauses. If you work heavy and push wet-into-wet blending, you’ll want to mist your palette or add a retarder/slow-dry medium to extend open time. I used a simple wet palette and could keep mixes workable overnight; sealed, they were still usable the next day.

Once cured (give it 24 hours), the paint film is water-resistant and holds up well to light handling. A gentle scratch test on wood and canvas showed good adhesion. On glass and glazed ceramic, adhesion was acceptable but benefits from surface prep (cleaning with alcohol) and a clear sealer afterward. For anything that will be washed or handled extensively—mugs, planters—apply an appropriate topcoat, and don’t expect true dishwasher resistance without specialty finishes.

Coverage across surfaces

• Canvas and panels: Smooth, even coverage; easy to layer. Two coats for bright opaques over darker grounds.
• Wood and MDF: Excellent coverage; grain seals nicely after a light prime.
• Rocks and terracotta: Strong grip and color payoff; outdoors use still calls for a UV-protective varnish.
• Glass and ceramic: Adheres better than typical budget acrylics but still needs a sealer for durability.
• Miniatures and plastic: Works fine on primed surfaces; detail holds well with a bit of thinning.

Brushes in the box

The included brushes are better than throw-ins usually are. They’re medium-soft synthetics with a usable spread of sizes. Ferrules were tight, shedding was minimal, and they cleaned up easily. They won’t replace a favorite detail brush or a crisp flat for edges, but they’re genuinely handy for getting started and for general craft work.

Safety, odor, and cleanup

These are labeled non-toxic (ASTM D-4236 and EN71-3), low-odor, and easy to clean with soap and water while wet. No surprises here: kid-friendly with supervision, and studio-friendly for small indoor spaces.

Limitations and things to know

• Lightfastness: While the set claims fade resistance, there are no individual lightfast ratings printed on the bottles. I’m comfortable using these for studies, decor, and craft pieces, but for gallery-bound work or sunlit installations, I’d switch to paints with published ASTM lightfast grades.
• Color accuracy: A few labels don’t perfectly match the dried paint, particularly among pale neutrals. Swatching saves headaches.
• Viscosity variations: A small subset of colors ran thicker or choppier. Shake well; a bit of medium or water (sparingly) smooths them out.
• Specialty colors: Fluorescents are inherently less opaque and less lightfast. Use them intentionally as glazes or accents.

Tips for best results

• Shake before use; if separated, stir briefly to re-homogenize.
• Prime slick surfaces (and clean glass/ceramic with alcohol) for better adhesion.
• Use a wet palette or add a touch of retarder if you want more blend time.
• For fluorescents and bright pastels, lay down a white base to maximize vibrancy.
• Seal outdoor pieces or high-touch items with a compatible acrylic varnish.
• When thinning for detail work, prefer an acrylic medium over too much water to maintain film strength.

Value and who it’s for

Each bottle is 2 oz—larger than many hobby sets—so you end up with a lot of paint on the shelf. Per-ounce value is excellent, especially given the breadth of the palette and the inclusion of metallics and neons. For classrooms, community workshops, family craft nights, and hobbyists building skills, this set offers a reliable backbone of color at a sensible price. If you’re accustomed to artist-grade heavy body acrylics, this won’t replace your top-tier paints for impasto or archival work, but it’s a strong utility player for studies, mixed-media layers, and craft pieces where consistency and convenience matter.

The bottom line

The Shuttle Art acrylic set earns its place on my bench for breadth, ease of use, and straightforward performance on common surfaces. It delivers a wide palette, fast dry times, and respectable coverage without the watery feel that plagues some budget options. A couple of colors need extra mixing or a drop of medium, and I wish the lightfast ratings were printed per color, but those are manageable trade-offs for the price and volume you get.

Recommendation: I recommend this set to beginners, casual creators, teachers, and hobbyists who want a large, versatile selection that behaves predictably and doesn’t break the bank. It’s also a practical secondary palette for more experienced painters who want reliable, mixable acrylics for studies, craft projects, and mixed-media work. If your priority is museum-level lightfastness, ultra-consistent viscosity across every tube, or heavy-body texture for knife work, look to artist-grade lines instead. For almost everything else, this set is a dependable, good-value choice.