ONE QUARTZ Adhesive Cross Reference Chart

Total Page:16

File Type:pdf, Size:1020Kb

ONE QUARTZ Adhesive Cross Reference Chart ONE QUARTZ Adhesive Cross Reference Chart Color match may vary with manufacturers dye lot variations. Information is provided as a reference only; end user should verify suitability prior use. Sheet Name Code Match 1 Z/U Match 2 Z/U Almondine (Polished) NQ36 Pearl - 0150 Z Aqueous - 3097 * Z/U Alpine Shadow NQ20 Lunar Pearl - 2283 Z/U Beach - 2065 Z Alpine Winter OQ19 Tuscan White - 3169 Z White Chocolate - 0300 * Z Aluminiun Grey Geogris - 3130 * U Archer Grey Grullo - 3312 + Magic - 3091 * Z/U Arches OQ33 Aqueous - 3097 * Z/U Transparent White - 0271 * Z/U ASH GREY NQ69 Mistral Grey - 3203 Ash Grey (Polished) NQ69 Fieldstone - 3246 U Seashell - 3035 * Z/U Aspen Grey OQ20 Newgale Grey - 2340 Z White North - 2440 * Z AVENUE WHITE OQ01 Transparent White - 0271 Z/U Black Lead Absolute Grey - 2000 Z Black Suede NQ13 Satin Black - 3062 Z/U Broadway Black OQ03 Flint - 2220 Z/U Transparent Black - 0260 * Z Brown Angel Pumice - 3149 Z Brushed Flannel NQ60 Meteor Grey - 2320 Z/U CABRINI GREY NQ51 Seashell - 3035 Z/U CALACATTA CARINA OQ26 Tuscan White - 3169 Z Calacatta Independence OQ48 Glacier White - 3006 Z/U White Linen - 0310 Z/U Cancun Beach NQ11 Apricot - 3106 Cygnus Pearl - 2195 Z/U Caribou Trail NQ28 Vela Brown - 2407 * Z/U Bronze - 3199 * + CARRARA AURA OQ09 Bisque - 0030 Z CARRARA CAPEZIO - POLISHEDOQ28 Magic - 3091 Z/U Carrara Veil OQ12 Transparent White - 0271 Z/U Charcoal Sketch NQ07 Storm Grey - 2402 Z/U Chipped Ice NQ91 Glacier White - 3006 Z/U Collected Shells NQ02 Autumn Light - 2032 Z Columbus Brown (Velvet) NQ56 Tiffany Grey - 3022 Z Graphite - 3230 * Z Concrete Raton - 3132 * Z Concrete Grey Nacreto - 3131 * Z/U Crystal Springs NQ31 Meteor Grey - 2320 Z/U Desert Giallo - 3127 Z Dried Basil NQ04 Satin Black - 3062 Z/U Equinox (Polished) OQ23 White Chocolate - 0300 Z Arctic White - 3076 Z Evening Grey NQ43 Stellar Grey - 2403 Z Freedom Calacatta OQ42 Tuscan White - 3169 Z White Chocolate - 0300 * Z Fresh Linen Polished NQ66 Bright White - 3011 Z/U Snow White - 0230 * Z Fresh Linens NQ66 Glacier White - 3006 Z/U GEYSER-POLISHED OQ24 Luna - 3030 Golden Gate OQ37 Tuscan White - 3169 Z White Chocolate - 0300 * Z Graphite Satin Black - 3062 Z/U Grey Sand Quarry - 2375 Z Harvest Grains NQ03 Diana Pearl - 2200 * Z Integra Adhesives Inc. (888) 862-6665 or (604) 850-1321 Color match may vary with manufacturers dye lot variations. Information is provided as a reference only; end user should verify suitability prior use. Refer to MSDS for safety and handling information. * Indicates tight seam required // + indicates custom color (minimum orders may apply) Z Indicates color is available in Surface Bonder Zero, U Indicates color is available in Surface Bonder Ultra ONE QUARTZ Adhesive Cross Reference Chart Color match may vary with manufacturers dye lot variations. Information is provided as a reference only; end user should verify suitability prior use. Sheet Name Code Match 1 Z/U Match 2 Z/U Honeyed Mahogany NQ94 Espresso - 3104 Z Jade CUSTOM - CUST + JASMINE GOLD OQ27 Arctic White - 3076 Z Java Bean NQ27 Marone - 3116 Z Kodiak Pure White - 0190 Z/U White Linen - 0310 * Z/U Liberty Calacatta OQ44 Transparent White - 0271 Z/U Aqueous - 3097 * Z/U LIBERTY GOLD OQ45 Nougat - 3099 Z Light Brown Champagne - 3118 Z Lincoln White (Velvet) NQ59 White Linen - 0310 Z/U Glacier White - 3006 * Z/U Ludlow Tan (Velvet) NQ55 Mocha - 3121 Z Sage - 3054 * Luminesce NQ75 Pure White - 0190 Z/U Lunar Landing NQ19 Storm Grey - 2402 Z/U Mango Grove NQ29 Sinopia - 3278 + Marbelesque NQ74 Marfil - 3273 * U Marte Newport Grey - 2360 Z Glacier White - 3006 Z/U Mercer Grey (Velvet) NQ52 Warm Grey - 0290 Z Quarry - 2375 * Z Mesa Dune Coastal Path - 3267 Raton - 3132 Z Meteor Shower NQ25 Satin Black - 3062 Z/U Midnight Canyon NQ92 Nacreto - 3131 Z/U Mojave Gold NQ23 Giallo - 3127 Z Molten Grey NQ95 Medea - 3186 Z/U Moonlight Swim NQ65 Cobalt - 2167 * Z Morning Frost NQ30 White - 2420 Z Newport Sand Limestone - 2280 Z Niagara OQ32 Snow White - 0230 Z Bright White - 3011 Z/U Pacific Sand NQ22 Autumn Light - 2032 Z Pacific Sand (Honed) NQ22 Autumn Light - 2032 Z Pacific Sand (Leather) NQ22 Autumn Light - 2032 Z Pacific Sand (Sandblasted) NQ22 Autumn Light - 2032 Z Pacific Sand (Semi-polished)NQ22 Autumn Light - 2032 Z PATRIOTIC CALACATTA OQ47 Brie - 3105 Pebble Beach NQ14 Autumn Light - 2032 Z Pheasant Run NQ16 Brazilian Brown - 2100 Z Purple Mauve - 3162 + Raked Leaves NQ05 Vela Brown - 2407 Z/U Tiffany Grey - 3022 Z Riverbank NQ93 Cloud - 3063 Z Roasted Almonds NQ01 Toffee - 3188 Chameleon - 3008 * Z Rocky Mountain OQ34 White Chocolate - 0300 * Z Tuscan White - 3169 * Z Rose Red Fuchsia - 3205 * + Rum Raisin NQ18 Oxford Brown - 2365 Brazilian Brown - 2100 Z Rushmore OQ41 Transparent White - 0271 Z/U Tuscan White - 3169 * Z Sand Storm NQ26 Khaki - 0110 * Z/U Integra Adhesives Inc. (888) 862-6665 or (604) 850-1321 Color match may vary with manufacturers dye lot variations. Information is provided as a reference only; end user should verify suitability prior use. Refer to MSDS for safety and handling information. * Indicates tight seam required // + indicates custom color (minimum orders may apply) Z Indicates color is available in Surface Bonder Zero, U Indicates color is available in Surface Bonder Ultra ONE QUARTZ Adhesive Cross Reference Chart Color match may vary with manufacturers dye lot variations. Information is provided as a reference only; end user should verify suitability prior use. Sheet Name Code Match 1 Z/U Match 2 Z/U Sea Salts NQ53 Cygnus Pearl - 2195 Z/U Simply Beige OQ29 Neutral - 3029 Z Breccia - 3041 * Simply Grey OQ30 Silver - 3129 U Newgale Grey - 2340 * Z Simply White NQ76 Bright White - 3011 Z/U Snow White - 0230 Z Snow Leopard NQ96 Bright White - 3011 Z/U Alabaster - 0010 Spanish Moss NQ21 China Green - 3085 Star Black Satin Black - 3062 Z/U Star Gazer NQ10 Satin Black - 3062 Z/U STATUARY GLORY OQ52 Pure White - 0190 Z/U STATUARY STRATUS OQ10 Manila - 0133 STATUARY UNITY OQ53 Pure White - 0190 Z/U Stormy Sky NQ24 Oyster - 3065 Z/U Strawberry Patch NQ67 Indus Red - 2240 Z Summer Dawn NQ17 Limestone - 2280 Z Sunflower Bouquet NQ70 Golden Gea - 2230 * + Twilight Canyon NQ15 Mocha - 3121 Z Iron Grey - 3064 * Z Vanilla Cream Ecru - 3071 * Washington OQ43 Transparent White - 0271 Z/U Aqueous - 3097 * Z/U White Ice White Linen - 0310 Z/U Pure White - 0190 Z/U White Quartz Pure White - 0190 Z/U Perfect White - 3172 Z White Sand NQ97 Glacier White - 3006 Z/U White Sand (Polished) NQ97 White Chocolate - 0300 Z Bright White - 3011 * Z/U White Statuary NQ12 Transparent White - 0271 Z/U Woven Wool NQ09 Glacier White - 3006 Z/U Woven Wool (Honed) NQ09 Glacier White - 3006 Z/U Woven Wool (Leather) NQ09 Glacier White - 3006 Z/U Woven Wool (Sandblasted) NQ09 Glacier White - 3006 Z/U Woven Wool (Semi-polished)NQ09 Glacier White - 3006 Z/U Integra Adhesives Inc. (888) 862-6665 or (604) 850-1321 Color match may vary with manufacturers dye lot variations. Information is provided as a reference only; end user should verify suitability prior use. Refer to MSDS for safety and handling information. * Indicates tight seam required // + indicates custom color (minimum orders may apply) Z Indicates color is available in Surface Bonder Zero, U Indicates color is available in Surface Bonder Ultra.
Recommended publications
  • Study of Fragments of Mural Paintings from the Roman Province Of
    Study of fragments of mural paintings from the Roman province of Germania Superior Thesis submitted in partial fulfilment of the requirements of the degree Doctor rer. nat. of the Faculty of Environment and Natural Resources, Albert-Ludwigs-Universität Freiburg im Breisgau, Germany by Rafaela Debastiani Freiburg im Breisgau, Germany 2016 Name of Dean: Prof. Dr. Tim Freytag Name of Supervisor: Prof. Dr. Michael Fiederle Name of 2nd Reviewer: PD Dr. Andreas Danilewsky Date of thesis' defense: 03.02.2017 “The mind is not a vessel to be filled, but a fire to be kindled” Plutarch Contents Nomenclature ........................................................................................................................ 1 Acknowledgment ................................................................................................................... 3 Abstract ................................................................................................................................. 5 Zusammenfassung ................................................................................................................ 7 1. Introduction .................................................................................................................... 9 2. Analytical techniques in the non-destructive analyses of fragments of mural paintings ..13 2.1 X-ray Fluorescence Spectroscopy ..........................................................................13 2.1.1 Synchrotron-based scanning macro X-ray fluorescence (MA-XRF) .................17
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • MSDS for #02807 - PIGMENT SET Page 1 of 5
    MSDS for #02807 - PIGMENT SET Page 1 of 5 02807-1159 SAFETY DATA SHEET Section 1: Product and Company Indentification Sinopia INC PO BOX 4884354 San Francisco, CA 94188 Tel. (415) 824-3180 Fax (415) 800-6987 Chemical Emergency Hotline 1 800 424 9300 Product Name: Sinopia Complete Pigments Set Revision Date: 04/18 Section 2: Hazards Identification Section 3: Composition/Information on Ingredients Ingredients CAS# Hansa Yellow 6448-95-9 Yellow Ochre, golden 1343-81-3 Yellow Ochre, MEXICO 1343-81-3 Raw Sienna, deep orange 1317-63-1 Napthol Red 6448-95-9 English Red 1309-37-1 Burnt Sienna 1317-63-1 Turkish Red 1309-37-1 Roman Brown 1309-37-1 Burnt Umber, 12713-03-0 Raw Umber 12713-03-0 Chrome Oxide Green 1308-38-9 PB15, Phtalo Blue 147-14-8 Titanium White, Rutile 13463-67-7 Item Numbers: 02807-1159 Page 1 of 5 MSDS for #02807 - PIGMENT SET Page 2 of 5 Section 4: First Aid Measures Acute Toxicity LD50/oral /rat: >5000 mg/kg body weightLD50/DERMAL IRRITATION-RABBIT: Non-irritating EYE IRRITATION-RABBIT: Non-irritating EXEPCTED ROUTE OF ENTRY: Skin contact – Skin absorption – Eye contact -Inhalation - Ingestion EFFECTS OF EXPOSURE: No toxicological test data is available and no information was found in the available literature for any effects of exposure: No health evaluation is thus possible, handle with care and avoid unnecessary exposures. Section 5: Fire-Fighting Measures Suitable Extinguishing Media: This product will not burn. Use suitable extinguishing media for fighting surrounding fire. Unsuitable Extinguishing Media: None Applicable Emitted when burned: None Applicable Special protective equipment: This product will not burn.
    [Show full text]
  • Air Force Blue (Raf) {\Color{Airforceblueraf}\#5D8aa8
    Air Force Blue (Raf) {\color{airforceblueraf}\#5d8aa8} #5d8aa8 Air Force Blue (Usaf) {\color{airforceblueusaf}\#00308f} #00308f Air Superiority Blue {\color{airsuperiorityblue}\#72a0c1} #72a0c1 Alabama Crimson {\color{alabamacrimson}\#a32638} #a32638 Alice Blue {\color{aliceblue}\#f0f8ff} #f0f8ff Alizarin Crimson {\color{alizarincrimson}\#e32636} #e32636 Alloy Orange {\color{alloyorange}\#c46210} #c46210 Almond {\color{almond}\#efdecd} #efdecd Amaranth {\color{amaranth}\#e52b50} #e52b50 Amber {\color{amber}\#ffbf00} #ffbf00 Amber (Sae/Ece) {\color{ambersaeece}\#ff7e00} #ff7e00 American Rose {\color{americanrose}\#ff033e} #ff033e Amethyst {\color{amethyst}\#9966cc} #9966cc Android Green {\color{androidgreen}\#a4c639} #a4c639 Anti-Flash White {\color{antiflashwhite}\#f2f3f4} #f2f3f4 Antique Brass {\color{antiquebrass}\#cd9575} #cd9575 Antique Fuchsia {\color{antiquefuchsia}\#915c83} #915c83 Antique Ruby {\color{antiqueruby}\#841b2d} #841b2d Antique White {\color{antiquewhite}\#faebd7} #faebd7 Ao (English) {\color{aoenglish}\#008000} #008000 Apple Green {\color{applegreen}\#8db600} #8db600 Apricot {\color{apricot}\#fbceb1} #fbceb1 Aqua {\color{aqua}\#00ffff} #00ffff Aquamarine {\color{aquamarine}\#7fffd4} #7fffd4 Army Green {\color{armygreen}\#4b5320} #4b5320 Arsenic {\color{arsenic}\#3b444b} #3b444b Arylide Yellow {\color{arylideyellow}\#e9d66b} #e9d66b Ash Grey {\color{ashgrey}\#b2beb5} #b2beb5 Asparagus {\color{asparagus}\#87a96b} #87a96b Atomic Tangerine {\color{atomictangerine}\#ff9966} #ff9966 Auburn {\color{auburn}\#a52a2a} #a52a2a Aureolin
    [Show full text]
  • 2Bbb2c8a13987b0491d70b96f7
    An Atlas of Rare & Familiar Colour THE HARVARD ART MUSEUMS’ FORBES PIGMENT COLLECTION Yoko Ono “If people want to make war they should make a colour war, and paint each others’ cities up in the night in pinks and greens.” Foreword p.6 Introduction p.12 Red p.28 Orange p.54 Yellow p.70 Green p.86 Blue p.108 Purple p.132 Brown p.150 Black p.162 White p.178 Metallic p.190 Appendix p.204 8 AN ATLAS OF RARE & FAMILIAR COLOUR FOREWORD 9 You can see Harvard University’s Forbes Pigment Collection from far below. It shimmers like an art display in its own right, facing in towards Foreword the glass central courtyard in Renzo Piano’s wonderful 2014 extension to the Harvard Art Museums. The collection seems, somehow, suspended within the sky. From the public galleries it is tantalising, almost intoxicating, to see the glass-fronted cases full of their bright bottles up there in the administra- tive area of the museum. The shelves are arranged mostly by hue; the blues are graded in ombre effect from deepest midnight to the fading in- digo of favourite jeans, with startling, pleasing juxtapositions of turquoise (flasks of lightest green malachite; summer sky-coloured copper carbon- ate and swimming pool verdigris) next to navy, next to something that was once blue and is now simply, chalk. A few feet along, the bright alizarin crimsons slake to brownish brazil wood upon one side, and blush to madder pink the other. This curious chromatic ordering makes the whole collection look like an installation exploring the very nature of painting.
    [Show full text]
  • STONE FAB CATALOG 2020-V1 Your Stone, Tile and Concrete Tool Supply Experts Since 1971
    STONE FAB CATALOG 2020-V1 Your stone, tile and concrete tool supply experts since 1971 C • Less risk of damaging tools • Increase tools life • Quicker set up • Better accuracy • Increase productivity • Increase parameters • Overall better quality © Grabo Nemo Portable Aardwolf Thin Material ® Electric Vacuum Cup Diarex VB Core Drills Slab Gripper Alpha AIR-830/850 see page 166 see page 78 & 81 see page 156 see page 231 STONE FAB CATALOG, 2020-V1 WWW.GRANQUARTZ.CA Dear valued customers, It’s just now been a year since we’ve implemented our new Enterprise Resource Planning (ERP) System. Despite the amount of preparation involved in this transition, it was a rough period to adapt to our new system and still offer the same level of service. Even after the change of system, we faced many unpredictable issues necessitating quick and efficient decisions altering the processes that were previously agreed on. Throughout all these challenges, our team worked together to ensure that we continued to offer the best possible service to you. We thank you for your patience and understanding as we sorted out those issues. Now that we have a solid foundation, we plan to work on numerous other projects that will connect with our ERP database to offer better and quicker solutions to you. During the previous year we have begun offering what we call the “Zoller service” for calibrating CNC tools so that you can save hours when you set up new tools or redressed tools on your CNC machine. If you haven’t heard of this service please ask your local sales and service representative or our customer service agents for more information.
    [Show full text]
  • Swatch Name HLS RGB HEX Absolute Zero 217° 36% 100% 0 72
    Swatch Name HLS RGB HEX Absolute Zero 217° 36% 100% 0 72 186 #0048BA Acid green 65° 43% 76% 176 191 26 #B0BF1A Aero 206° 70% 70% 124 185 232 #7CB9E8 Aero blue 151° 89% 100% 201 255 229 #C9FFE5 African violet 288° 63% 31% 178 132 190 #B284BE Air superiority blue 205° 60% 39% 114 160 193 #72A0C1 Alabaster 46° 90% 27% 237 234 224 #EDEAE0 Alice blue 208° 97% 100% 240 248 255 #F0F8FF Alloy orange 27° 42% 85% 196 98 16 #C46210 Almond 30° 87% 52% 239 222 205 #EFDECD Amaranth 348° 53% 78% 229 43 80 #E52B50 Amaranth (M&P) 328° 40% 57% 159 43 104 #9F2B68 Amaranth pink 338° 78% 75% 241 156 187 #F19CBB Amaranth purple 342° 41% 63% 171 39 79 #AB274F Amaranth red 356° 48% 73% 211 33 45 #D3212D Amazon 147° 35% 35% 59 122 87 #3B7A57 Amber 45° 50% 100% 255 191 0 #FFBF00 Amber (SAE/ECE) 30° 50% 100% 255 126 0 #FF7E00 Amethyst 270° 60% 50% 153 102 204 #9966CC Android green 74° 50% 55% 164 198 57 #A4C639 Antique brass 22° 63% 47% 205 149 117 #CD9575 Antique bronze 52° 26% 55% 102 93 30 #665D1E Antique fuchsia 316° 46% 22% 145 92 131 #915C83 Antique ruby 350° 31% 66% 132 27 45 #841B2D Antique white 34° 91% 78% 250 235 215 #FAEBD7 Ao (English) 120° 25% 100% 0 128 0 #008000 Apple green 74° 36% 100% 141 182 0 #8DB600 Apricot 24° 84% 90% 251 206 177 #FBCEB1 Aqua 180° 50% 100% 0 255 255 #00FFFF Aquamarine 160° 75% 100% 127 255 212 #7FFFD4 Swatch Name HLS RGB HEX Arctic lime 72° 54% 100% 208 255 20 #D0FF14 Army green 69° 23% 44% 75 83 32 #4B5320 Artichoke 76° 53% 13% 143 151 121 #8F9779 Arylide yellow 51° 67% 74% 233 214 107 #E9D66B Ash gray 135° 72% 8% 178 190
    [Show full text]
  • D002: Roman Commerce in Pigments
    D002: Roman commerce in pigments Introduction 1. Did the Romans use the same materials as the Greeks in their painting? 2. Where did the pigments come from? For the most part the Roman artist inherited the palette of the Egyptian and Greek artist, but what is perhaps different is the ease with which the range of pigments became available across the Empire. This reflects the extent of trading between centres of pigment extraction and making and the main centres of art production. Again, the Romans did not recognise art as a separate thing but very much part of the daily life and culture; they had no word for art. They did however recognise crafts and skills and made much use of the crafts peoples’ expertise to style their homes in local and cultural fashion. For art historians and archaeologists Pompeii and Herculaneum have become the main historical sources for identification of pigments and styles since they are rich in evidence, but that doesn't mean that other sites around the Roman world don't have something to add. It is from the collection of all this evidence that we have the best picture of the Roman styles and palette. Other sources of evidence have to be from contemporary writers such as Pliny the Elder (23-79 CE) and his Naturalis Historia of the origins and history of art. Pliny, however, collected his evidence from other writers such as Theophrastus’ (c371- c287 BCE) De Lapidibus and from the work of the architect Vitruvius (c75 – c15 BCE) in his multi-volume book De Architectura.
    [Show full text]
  • 36020 Lac Dye
    36020 Lac Dye Made from coccus lacta secretion, C.I. Natural Red 25 synonyms: gum lac, Indian lake Lac dye is a yellowish red powder. Dissolved in water it turns bluish, dark red. Lac dye is soluble in ethyl alcohol and methyl alcohol, also in acetone and acetic acid. Lac dye is partially soluble in water and ether. Lac dye is very lightfast and resistant to temperature, it melts at 180°C and decomposes at approx. 230°C. Lac dye may be used for dying of textiles, such as silk, cotton, wool. It may also be used for oil painting, in shellac varnishes and possibly in watercolors. Excerpts from Artist's Pigments c. 1600-1835 (R.D. Harley): Lac dye is obtained from the females and eggs of the insects known as Coccus lacca , which infest various trees, especially fig trees, indigenous to Asia and India. They, and kermes and cochineal insects, are of a type commonly called "shield-louse", as they are small and round with a shield on the back. Female lac insects have vestigial wings and legs and spend their whole life gathered in large clusters on host plants. When lac dye is harvested, its animal origin is virtually unrecognisable, because it is a solid substance made up of bodies of female insects which are dead, each with some 200 to 500 unhatched eggs, all surrounded by a brown-red, hardened exudation. Individual insects are not visible, and the whole substance looks like some form of growth on the host plant. It is collected by breaking off lac-bearing branches before the larvae hatch.
    [Show full text]
  • Pigments for a Period Palette Originally Presented on 9/28/01 by Martin Fitzjames
    Pigments for a Period Palette Originally presented on 9/28/01 by Martin FitzJames I. Introduction: It is my purpose her to give everyone here a brief overview of various pigments used in our time period. I have been interested in painting for years, since joining the society I have found a wonderful outlet for that interest. I am assuming that most taking this class are illuminators, but since I really enjoy larger work I will be addressing that as well. II. Safety If I can stress one subject more than others that would be SAFETY SAFETY SAFETY!!! Most if not all period pigments are extremely poisonous, even to the touch. With a few routine safety precautions, you can greatly minimize any danger from these substance and therefore live much longer than your period counterparts. A. Open Cuts: If you have any open cuts on your hands or arms PLEASE make sure they are covered. B. Hands: Hands should be covered at all times when using period pigments. This can be done with something as simple as latex surgical gloves, which are cheap and don’t mess up your feel with the brush noticeably. C. Mouth and Nose: The mouth and nose should be covered with an NIOSH N95 dust mask, either a disposable one or a re-useable one with disposable filters. This is important because the N95 is rated for lead. D. Eyes: Eyes should also be covered with safety goggles. This is most important when mixing the pigments. E. A Word on Period Sources: Perhaps the best period source for the painter is Il Libro dell’Arte by Cennino D'Andrea Cennini it is available both from Dover translated by Daniel Thompson, and online at http://www.noteaccess.com/Texts/index.htm.
    [Show full text]
  • Catalog Sheet
    LUTRON EXPERIENCE CENTERS Lutron experience centers are designed to put you in the center of the Your home in a whole new light very best in light control. Visitors can feel how changes in light transform Shading solutions that put you in control a space from functional to romantic or from vibrant to relaxing. Residential Commercial Coopersburg, PA: New York, New York: 7200 Suter Road 1 Penn Plaza Coopersburg, PA 18036 Suite 1714 610.282.6280 New York, NY 10119 212.989.1300 Irvine, California: 2458 Dupont Drive Washington DC: Irvine, CA 92612 455 Massachusetts Avenue NW 949.474.4140 Suite 770 Washington, DC 20001 Plantation, Florida: 202.624.5700 101 NW 100th Avenue Plantation, FL 33324 Toronto, Canada: 954.577.6294 600 Cochrane Drive Suite 105 New York, New York: Markham, Ontario L3R 5K3 (Design Center) Canada 979 Third Avenue Suite 138 New York, NY 10022 212.752.1214 (shown) www.lutron.com/shadingsolutions Lutron Electronics Co., Inc. 7200 Suter Road Coopersburg, PA 18036-1299 World Headquarters +1.610.282.3800 Technical Support Center 1.800.523.9466 Customer Service/Quotes 1.800.446.1503 BUSINESS CARD SLITS Email: [email protected] © 10/2015 Lutron Electronics Co., Inc. P/N 367-1319 REV E Let light complement your mood and transform the way you feel. Think about how your mood changes when a drab, cloudy morning turns into a sun-kissed day, and then that bright afternoon sun softens into an evening dusk. You go from feeling lackluster to energized and then relaxed. The reason is light. Light not only changes the look of the day, but also affects the way you feel.
    [Show full text]
  • Art History Volume 2 5Th Edition Stokstad Test Bank Full Download
    Art History Volume 2 5th Edition Stokstad Test Bank Full Download: https://alibabadownload.com/product/art-history-volume-2-5th-edition-stokstad-test-bank/ TEST ITEM FILE Amy Millicent Morris University of Nebraska at Omaha ART HISTORY 5th EDITION Volume 2 Marilyn Stokstad Judith Harris Murphy Distinguished Professor of Art History Emerita The University of Kansas Michael Cothren Scheuer Family Professor of Humanities Department of Art, Swarthmore College Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo This sample only, Download all chapters at: AlibabaDownload.com Chapter Eighteen Fourtheenth-Century Art in Europe Chapter Nineteen Fifteenth-Century Art in Northern Europe Chapter Twenty Renaissance Art in Fifteenth-Century Italy Chapter Twenty-One Sixteenth-Century Art in Italy Chapter Twenty-Two Sixteenth-Century Art in Northern Europe and the Iberian Peninsula Chapter Twenty- Three Seventeenth-Century Art in Europe Chapter Twenty- Four Art of South and Southeast Asia after 1200 Chapter Twenty- Five Chinese and Korean Art after 1279 Chapter Twenty-Six Japanese Art after 1333 Chapter Twenty-Seven Art of the Americas after 1300 Chapter Twenty-Eight Art of Pacific Cultures Chapter Twenty-Nine Art of Africa in the Modern Era Chapter Thirty Eighteenth- and Early Nineteenth-Century Art in Europe and North America Chapter Thirty-One Mid- to Late Nineteenth-Century Art in Europe and the United States Chapter Thirty-Two Modern Art in Europe and the Americas, 1900-1950 Chapter Thirty-Three The International Scene since 1950 Fourteenth-century art in Europe 18 Multiple Choice 1.
    [Show full text]