DOCSLIB.ORG

The Ever-Changing Artist's Palette Pastes Offer Many Pigment Is the Very Essence of Permanence

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Ever-Changing Artist's Palette Pastes Offer Many Pigment Is the Very Essence of Permanence HISTORICALJUST MATERIALS ISSUE PAINT Published by GOLDEN Artist Colors, Inc. / Issue 6 Historical Pigments GOLDEN Molding The Ever-changing Artist's Palette Pastes Offer Many Pigment is the very essence of permanence. If a painting’s charac- paint. Regardless of the vehicle that teristics are to remain consistent Textural Options! is used to adhere it to the substrate, for generations to come, we can- pigment selection is based on one not remain indifferent to the fact simple criterion. The colorant must that certain pigments are going to be the right hue. Once that factor fade. Such pigments should not is met, the artist can compare it to be incorporated into a palette other available pigments of a like based on decisions made by artists hue, and determine the one that is centuries ago. Old choices should best suited for the project at hand. be continuously compared to new The final selection may be based on alternatives, with selections based opacity, cleanliness, vibrancy, and on current information. Similar of course, permanence. reasoning can be applied with Ever since the first prehistoric regard to the characteristic of artist picked up a smoldering chunk pigment toxicity. of charcoal from the fireplace to There are pigments that have draw on the cave wall, survived for centuries as reliable mankind has striven to produce and safe colorants. Some of the better art. Each artist from inorganic pigments used that point on has faced since prehistoric times, Artists are often asking why our the same question: such as the Ochres and product is called “Molding Paste” “What materials will Bone Black, are still while everyone else’s is called work the best for what in use today. Along “Modeling Paste”, and is there any I am trying to do?” with these, we long difference? First, I have no idea why In the case of early ago made room the product was called Molding man, the answer on the palette Paste. It can be placed in a mold, was found in plants, for their refined but it wasn’t particularly developed dirt and other avail- counterparts, for that purpose. Molding Paste is able materials of synthetics such as what Sam Golden called a similar the right color that Mars colors (Iron product at Bocour and he simply could be crushed, Oxides) and Carbon carried the name forward to his ground or squeezed, Black. We also have new company. GOLDEN Molding and applied to the replaced many pigments Paste is made similarly to other painting. In today’s on the palette, brands of acrylic modeling pastes. world we have at Modern technology affects materials both naturally Basically, they are all a medium of our disposal an and tools alike. This muller was occurring and acrylic polymer that is filled with incredible number used by Sam Golden for hand synthetic, with grinding pigments. hard solids. of materials in a newer inventions. Molding Pastes are probably vast array of hues. These additions and changes have one of the more commonly used From these, for use in artwork collectively yielded improvements in products when working with intended to last, we can choose color consistency, durability, safety, acrylics or providing a base for colorants with an emphasis on and range. other media. They can easily be Continued page 8... Continued page 4... Just Paint / Issue 6 2 Historical Pigments Some Historical Pigments and their Replacements called Gamboge, which was an records indicate that the sale of In- Asian yellow gum used until the dian Yellow was prohibited as an 19th century. Aureolin was first act of preventing cruelty to ani- introduced in 1851. Aureolin mals, as mango leaves do not have (chemically known as Potassium the proper nutrients for cattle. Baltintrite) was popular until the Malachite late 19th century, when less Also known as Mineral Green expensive, cleaner and more light- or Verdeazzuro, Malachite is a fast pigments like the Cadmiums pigment that was used by many were introduced. Although true early civilizations. Derived from Alizarin Crimson Cobalt Yellow can be found, it is native carbonate of copper, it is (PR 83:1) generally not in use. perhaps the oldest known bright Alizarin Crimson was created green pigment. Azurite is its blue in 1868 by the German chemists, Cobalt Violet counterpart. The synthetic variety is Grabe and Lieberman, as a more (PV 14) called Bremen Green. Malachite fell lightfast substitute to Genuine Rose In 1860, Cobalt Violet was out of use in the 18th century. The Madder. This was accomplished by introduced and gradually devel- pigment is not permanent, and has isolating part of the madder root oped, refined, and later created a gritty texture. colorant,1,2 dihydroxyanthraquino- synthetically. Two costly versions, ne (Alizarin), from the more fugi- anhydrous cobalt phosphate or Manganese Blue cobalt ammonium phosphate, tive 1,2,4 trihydrozyanthraquinone (PB 33) (Purpurin). This is historically (sometimes combined) were used. Manganese Blue, or Barium significant as it represents the first Cobalt Violet is toxic and costly to Manganate, has been produced synthetic duplication of a pigment. produce, and the weak pigment since the 19th century. The Madder dates back to before the quickly was replaced by the cleaner, synthetic variation was patented time of the ancient Greeks. Pliny stronger Manganese Violet. in 1935, but neither variety is the Elder termed it “Rubia”, and it Hooker’s Green commonly produced anymore, as has been found in Egyptian tombs. (PY 24/PB 27) the coarse, weak pigment was Madder came to Europe during the The earliest Hooker’s Greens were a replaced by more intense blues. time of the Crusades. The use of blend of Gamboge and Prussian Manganese Violet Genuine Madder practically ceased Blue. More lightfast varieties were after the introduction of Alizarin. (PV 16) later created with Aureolin. Modern Also known as Permanent Violet, Lightfastness III, Alizarin Crimson Hooker’s Green is usually a blend Nuremberg Violet or Mineral was replaced 90 years later by the of Phthalo Blue and Cadmium Violet, Manganese Violet replaced Lightfastness I Quinacridones, de- Yellow. There is a pigment, (PG 8) Cobalt Violet in 1890. It is veloped by Struve in 1958. that is sometimes called Hooker’s understood to have been first Green, but this pigment does not offer made by E. Leykauf in 1868. It Asphaltum any significant improvement over Also known as Bitumen, was a cleaner alternative to the blends, as it is (ASTM III) fugitive. Asphaltum is a solution of asphalt Cobalt Violet and was less toxic. in oil or turpentine, used since Indian Yellow It also had better opacity. prehistoric times as a protective Also known as Puree, Peoli, or Naples Yellow coating. Although Rembrandt used Gaugoli, True Indian Yellow (eux- (PY 41) Asphaltum with good success, there anthic acid) was produced by heat- Also known as Antimony is much evidence that other paint- ing the urine of cattle fed mango Yellow and Juane Brilliant, Naples ers’ work did not fare as well, and leaves. The process was introduced Yellow is a lead-based pigment severe darkening was the result. to India by the Persians as early as made from Lead Antimoniate. the 15th century. Bengal, India was It was produced as early as the Aureolin the chief exporter to Europe from the (PY 40) 15th century, although it is said Also known as Cobalt Yellow, Aure- early 19th century until 1908. Local to have been found on tiles of olin replaced an earlier pigment ancient Babylonia. The first Historical Materials Issue Just Paint / Issue 6 3 formulae date from 1758. Sepia Cobaltite and Smaltite were Replacing Bistre (a brown made produced from these mines. Smalt Naphthamide Maroon from boiled wood soot) in the 18th was abandoned as Cobalt Blue and (PR 171) century, true Sepia Ink is made Ultramarine became available in Also known as Benzimadazolone from the ink sacs of animals such the 19th century. Maroon, Naphthamide Maroon as the cuttlefish. It is said that the was first produced in 1960, secretions of just one cuttlefish Terre Verte along with other Benzimadazolone can turn a thousand gallons of (PG 23) pigments. Recently discontinued water opaque in seconds. Like most Green Earth is known by an assort- from the GOLDEN ment of names such as Stone Green, palette because Verdetta, and the pigment Celadonite. Other manufacturer halted names refer to production as the source of the cheaper alternatives native iron / mag- became more nesium colored common place. clay, such as Promising new Bohemian, a high alternatives should quality grade of be available in the pure green hue. It near future. has been popular for centuries with Prussian Blue many cultures. (PB 27) Native Americans Prussian Blue is also were fond of of significant using Green Earth importance in the as a colorant. Since art world as it is Medieval times it known to be the has been used as first man-made an underpainting pigment. It was color for flesh invented accidental- tones in portraits. ly by the Berliner Diesbach in 1704, when he was naturally derived organic colorants, Van Dyke Brown trying to create a Florentine Lake. it is not lightfast. Modern oil paints (NBr 8) Also known as Chinese Blue, Berlin under this name are typically hues Also known as Cassel Earth, Blue, Paris Blue, Steel Blue, Iron made from Burnt Umber, Van Rubins Brown, and Cologne Blue, Bronze Blue, Paste Blue, Dyke Brown and Carbon Black. Brown, this pigment dates from and Milori Blue. The Milori Blue around the 17th century and is a variety is typically what makes Smalt blend of clay, iron oxide, humus The earliest of the Cobalt pigments, up today’s Prussian Blues.
Load more

Recommended publications
  • Ice Cream Flavor Sorbet Flavor
    Ice Cream Flavor Sorbet Flavor Banana Milk Tea Acai Sorbet Butter Pecan Mocha Chip Bloody Orange Sorbet Cherry Vanilla Orange Creamy Limon Cello Sorbet Chocolate Pistachio Mango Sorbet Chocolate Chip Cookie Dough Pumpkin (Seasonal) Pink Grapefruit Sorbet Chocolate Fudge Swirl Red Bean Watermelon Sorbet Chocolate Peanut Butter Rocky Road Coconut Sesame Cookie –N- Cream Strawberry Dulce de Leche Strawberry Cheesecake Cotton Candy Taro Green Tea Vanilla Chocolate Nutella Wild Berry Mint Chip Dry Topping Wet Topping Fresh Fruit Topping Almond Slice Marshmallow Black Cherry Banana Coconut Flake M & M Caramel Sauce Blueberry Chocolate Chip Mochi Chocolate Sauce Mango Chocolate Crunch Mini Peanut Butter Cup Peanut Butter Sauce Pineapple Chocolate Sprinkle Oreo Cookie Hot Fudge Strawberry Cookie Dough Peanut Marshmallow Sauce Dry Walnut Pecan Nutella Sauce Fruity Pebbles Rainbow Sprinkle Strawberry Sauce Graham Cracker Reese’s pieces Vanilla Syrup Gummy Bear Toasted Coconut Wet Walnut Gronala Whipping Cream Homemade Chocolate Mousse Macaron Tiramisu Cup Strawberry Shortcake Apricot Vanilla Matcha Lemon Tart Mango Cup Rose Cotton Candy Oreo Taro Coconut Pistachio Pecan Tart 4” Cheesecake Oreo Tiramisu Nutella Red Velvet Cake Wild Berry Raspberry Passion Fruit Strawberry Cheesecake Milk Tea Fruit Tea Oolong Tea Original - Black Tea with Milk / Green Tea with Milk *Apple Lychee Oolong Tea *Almond Nutella *Blueberry *Mango Oolong Milk Tea Banana Papaya Grape *Passion Fruit Brown Sugar Oolong Milk Tea *Coconut Red Bean Grape Fruit *Peach Honey Oolong
    [Show full text]
  • French Guiana, and Stamps International, Krakow
    1 provisional overprints as old stocks were used up for different purposes from the FRENCH FRENCH ones originally intended. GUIANA GUIANA In 1946 Guyane and Inini were combined together as an Overseas Department of The French first established their presence FISCAL France. Some revenues of France continued in 1763. A Penal Colony was set up in 1854 to be overprinted GUYANE for use there, at St Laurent in the Province of Maroni. (GENERAL and several unoverprinted values of French Another penal camp on Devils Island off sets were only released in Guyane. the coast (which became nororious during DUTY) the Dreyfus Affair) gave the colony a bad Recently a satellite launching base was reputation. established in Guyane and economic activity has increased. The administrative centre was at Cayenne, and settlements for logging and for farming Thanks to the following collectors for tropical produce such as coffee, sugar, information and scans : cocoa, manioc and (most important of all) Andrew McClellan, sugar cane spread along the coast. Initially, Before 1934, regular "Fiscal" issues of Tony Hall, revenues of France were used when required France were used in French Guiana, and Stamps International, Krakow. on documents, and may be recognised only can only be distinguished by the cancel. _______________________________________ by the cancellation. 1934. Timbre Fiscal stamps of France of 1925, Type Daussy, ovpt GUYANE. Typo. No wmk. Perf 13½. 1. 1c red-brown, brown & blue ........... 2.50 A cancel "GF" in a roller of dots was used 2. 2c red-brown, brown & blue ........... 2.50 in Guiana. 3. 3c red-brown, brown & blue ..........
    [Show full text]
  • Derivan Matisse Flow to Americana Acrylics Color Conversion Chart
    Derivan Matisse Flow to Americana Acrylics Color Conversion Chart Derivan Americana Derivan Americana Matisse Flow Acrylics Matisse Flow Acrylics Alpine Green 2 - DAO82 Evergreen Brilliant Alizarine 2 - DA179 Alizarin Crimson 1 - DA144 Yellow Light 1 - DA159 Cherry Red Antique Blue 1 - DAO38 Wedgewood Blue Burgundy 1 - DA140 Red Violet 1 - DA166 Deep Midnight Blue 1 - DA165 Napa Red 1 - DA172 Black Plum Antique Gold 1 - DA146 Antique Gold Deep Burnt Sienna DA223 Traditional Burnt Sienna ato - DAO67 Lamp (Ebony) Black Antique Green 2 - DA105 Blue Grey Mist Burnt Umber 2 - DA221 Traditional Burnt Umber 1 - DAO84 Midnite Green 1 - DA160 Antique Maroon Antique White 2 - DA239 Warm White Cadmium Orange 8 - DA228 Bright Orange 1 - DAO3 Buttermilk 1 - DAO10 Cadmium Yellow Aqua Green Light 2 - DAO1 Snow (Titanium) White Cadmium Red Medium DAO15 Cadmium Red 1 - DAO47 Bluegrass Green Ash Pink 4 - DA164 Light Buttermilk Cadmium Yellow Light DA144 Yellow Light 3 - DA189 Summer Lilac 2 - DA186 French Mauve Aureolin Yellow 4 - DA144 Yellow Light Cadmium Yellow Medium DA227 Bright Yellow 1 - DA146 Antique Gold Deep 1 - DAO10 Cadmium Yellow Australian Olive Green 10 - DA113 Plantation Pine Carbon Black DAO67 Lamp (Ebony) Black 1 - DAO67 Lamp (Ebony) Black Australian Red Violet DA140 Red Violet Cerulean Blue DAO36 True Blue Australian Sap Green 2 - DA113 Plantation Pine Chromium Green Oxide 2 - DAO51 Leaf Green 1 - DA144 Yellow Light 1 - DAO53 Mistletoe Australian Sienna 1 - DA223 Traditional Burnt Sienna Cobalt Blue 2 - DA141 Blue Violet 1 - DA194 Marigold
    [Show full text]
  • 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]
  • Fungal Systematics and Evolution PAGES 97–170
    VOLUME 4 DECEMBER 2019 Fungal Systematics and Evolution PAGES 97–170 doi.org/10.3114/fuse.2019.04.08 A revision of the genus Psathyrella, with a focus on subsection Spadiceogriseae P. Voto1, F. Dovana2, M. Garbelotto3 1Via Garibaldi 173 45010 Villadose, Italy 2Department of Life Sciences and Systems Biology, University of Torino, Viale P.A. Mattioli 25, I-10125, Torino, Italy 3Department of Environmental Science, Policy, and Management; University of California, Berkeley, CA 94720 *Corresponding author: [email protected] Key words: Abstract: Specimens belonging to taxa traditionally assigned to the subsection Spadiceogriseae of the Genus key Psathyrella were analyzed both morphologically and molecularly. Samples included mainly European collections, molecular phylogenetics selected GenBank accessions, and specimens of various North American taxa described by Smith (1972) and new taxa deposited at the Herbarium of the University of Michigan (MICH). Three additional taxa from Africa and Central systematics America were also included. Bayesian and Maximum Likelihood analyses of two loci (ITS and Tef-1α) independently taxonomy and together supported the monophyletic nature of the subsectionSpadiceogriseae , and identified nine statistically supported clades within the subsection. North American and European species often fell within the same clade, suggesting a relatively recent origin of the subsection or human induced intercontinental movement. While this study determines for the first time that the presence of a white veil is diagnostic for the entire subsection, very few morphological traits were associated with individual clades, but clades were often distinctively different in terms of habitat association, suggesting that trophic interactions may have driven the evolution of this group of fungi.
    [Show full text]
  • PIGMENTS Pigments Can Be Used for Colouring and Tinting Paints, Glazes, Clays and Plasters
    PIGMENTS Pigments can be used for colouring and tinting paints, glazes, clays and plasters. About Pigments About Earthborn Pigments Get creative with Earthborn Pigments. These natural earth and mineral powders provide a source of concentrated colour for paint blending and special effects. With 48 pigments to choose from, they can be blended into any Earthborn interior or exterior paint to create your own unique shade of eco friendly paint. Mixed with Earthborn Wall Glaze, the pigments are perfect for decorative effects such as colour washes, dragging, sponging and stencilling. Some even contain naturally occurring metallic flakes to add extra dazzle to your design. Earthborn Pigments are fade resistant and can be mixed with Earthborn Claypaint and Casein Paint. Many can also be mixed with lime washes, mortars and our Ecopro Silicate Masonry Paint. We have created this booklet to show pigments in their true form. Colour may vary dependant on the medium it is mixed with. Standard sizes 75g, 500g Special sizes 50g and 400g (Mica Gold, Mangan Purple, Salmon Red and Rhine Gold only) Ingredients Earth pigments, mineral pigments, metal pigments, trisodium citrate. How to use Earthborn Pigments The pigments must be made into a paste before use as follows: For Silicate paint soak pigment in a small amount of Silicate primer and use straightaway. For Earthborn Wall Glaze, Casein or Claypaint soak pigment in enough water to cover the powder, preferably overnight, and stir to create a free-flowing liquid paste. When mixing pigments into any medium, always make a note of the amounts used. Avoid contact with clothing as pigments may permanently stain fabrics.
    [Show full text]
  • Gamblin Provides Is the Desire to Help Painters Choose the Materials That Best Support Their Own Artistic Intentions
    AUGUST 2008 Mineral and Modern Pigments: Painters' Access to Color At the heart of all of the technical information that Gamblin provides is the desire to help painters choose the materials that best support their own artistic intentions. After all, when a painting is complete, all of the intention, thought, and feeling that went into creating the work exist solely in the materials. This issue of Studio Notes looks at Gamblin's organization of their color palette and the division of mineral and modern colors. This visual division of mineral and modern colors is unique in the art material industry, and it gives painters an insight into the makeup of pigments from which these colors are derived, as well as some practical information to help painters create their own personal color palettes. So, without further ado, let's take a look at the Gamblin Artists Grade Color Chart: The Mineral side of the color chart includes those colors made from inorganic pigments from earth and metals. These include earth colors such as Burnt Sienna and Yellow Ochre, as well as those metal-based colors such as Cadmium Yellows and Reds and Cobalt Blue, Green, and Violet. The Modern side of the color chart is comprised of colors made from modern "organic" pigments, which have a molecular structure based on carbon. These include the "tongue- twisting" color names like Quinacridone, Phthalocyanine, and Dioxazine. These two groups of colors have unique mixing characteristics, so this organization helps painters choose an appropriate palette for their artistic intentions. Eras of Pigment History This organization of the Gamblin chart can be broken down a bit further by giving it some historical perspective based on the three main eras of pigment history – Classical, Impressionist, and Modern.
    [Show full text]
  • Mango Information Kit (1999) Reprint
    Mango information kit Reprint – information current in 1999 REPRINT INFORMATION – PLEASE READ! For updated information please call 13 25 23 or visit the website www.dpi.qld.gov.au This publication has been reprinted as a digital book without any changes to the content published in 1999. We advise readers to take particular note of the areas most likely to be out-of-date and so requiring further research: • Chemical recommendations—check with an agronomist or Infopest www.infopest.qld.gov.au • Financial information—costs and returns listed in this publication are out of date. Please contact an adviser or industry body to assist with identifying more current figures. • Varieties—new varieties are likely to be available and some older varieties may no longer be recommended. Check with an agronomist, call the Business Information Centre on 13 25 23, visit our website www.dpi.qld. gov.au or contact the industry body. • Contacts—many of the contact details may have changed and there could be several new contacts available. The industry organisation may be able to assist you to find the information or services you require. • Organisation names—most government agencies referred to in this publication have had name changes. Contact the Business Information Centre on 13 25 23 or the industry organisation to find out the current name and contact details for these agencies. • Additional information—many other sources of information are now available for each crop. Contact an agronomist, Business Information Centre on 13 25 23 or the industry organisation for other suggested reading. Even with these limitations we believe this information kit provides important and valuable information for intending and existing growers.
    [Show full text]
  • Edgewater Public Elementary School Edgewater, FL
    Chapter 3.3 Edgewater Public Elementary School Edgewater, FL Volusia County MPO November 2008 Volusia County MPO School Bicycle and Pedestrian Review Study, Phase 3B School Summary Edgewater Public Elementary School is located in a residential area bordered by a cemetery, railroad tracks and Hawks Park in the City of Edgewater. Few roadways within the walk zone include sidewalks. Of the 662 students attending this school, 316 live within the walk zone area. During the 2007/2008 school year approximately 90 of these students walked or rode bicycles to school. At afternoon dismissal, most of these students walk to the YMCA located adjacent to the school. At the time of this Study, there were two crossing guards located at U.S. Hwy. 1 and Ocean Avenue. For the 2008/2009 school year, one guard will be assigned to this location. The City of Edgewater provides a volunteer traffic control officer at the intersection of Ocean Avenue and Old County Road. During the period 2005 to 2007, one bicycle crash occurred on Park Avenue at the intersection with Flagler Avenue when a student was riding along the sidewalk and rode into a vehicle turning onto Flagler Avenue. Increased bicycle and pedestrian safety education is recommended for this school. The City of Edgewater has submitted funding requests for sidewalks along both sides of U.S. Hwy. 1 from Orange Avenue to Cory Drive on the east side, and from Ocean Avenue to Louisa Drive and from Turgot Avenue to Roberts Road on the west side. Students living south of Indian River Boulevard who attend Edgewater Public Elementary School are currently provided bus transportation due to designated courtesy conditions.
    [Show full text]
  • RAL Colour Chart
    RAL COLOURS RAL 1000 Green beige RAL 1001 Beige RAL 1002 Sand yellow RAL 1003 Signal yellow RAL 1004 Golden yellow RAL 1005 Honey yellow RAL 1006 Maize yellow RAL 1007 Daffodil yellow RAL 1011 Brown beige RAL 1012 Lemon yellow RAL 1013 Oyster white RAL 1014 Dark Ivory RAL 1015 Light Ivory RAL 1016 Sulfur yellow RAL 1017 Saffron yellow RAL 1018 Zinc yellow RAL 1019 Grey beige RAL 1020 Olive yellow RAL 1021 Rape yellow RAL 1023 Traffic yellow RAL 1024 Ochre yellow RAL 1027 Curry RAL 1028 Melon yellow RAL 1032 Broom yellow RAL 1033 Dahlia yellow RAL 1034 Pastel yellow RAL 2000 Yellow orange RAL 2001 Red orange RAL 2002 Vermilion RAL 2003 Pastel orange RAL 2004 Pure orange RAL 2008 Bright red orange RAL 2009 Traffic orange RAL 2010 Signal orange RAL 2011 Deep orange RAL 2012 Salmon orange RAL 3000 Flame red RAL 3001 Signal red RAL 3002 Carmine red RAL 3003 Ruby red RAL 3004 Purple red RAL 3005 Wine red RAL 3007 Black red RAL 3009 Oxide red RAL 3011 Brown red RAL 3012 Beige red RAL 3013 Tomato red RAL 3014 Antique pink RAL 3015 Light pink RAL 3016 Coral red RAL 3017 Rose RAL 3018 Strawberry red RAL 3020 Traffic red RAL 3022 Salmon pink RAL 3027 Rasberry red RAL 3031 Orient red RAL 4001 Red lilac RAL 4002 Red violet RAL 4003 Heather violet RAL 4004 Claret violet RAL 4005 Blue lilac RAL 4006 Traffic purple RAL 4007 Purple violet RAL 4008 Signal violet RAL 4009 Pastel violet RAL 4010 Tele magenta RAL 5000 Violet blue RAL 5001 Green blue RAL 5002 Ultramarine RAL 5003 Sapphire blue RAL 5004 Black blue RAL 5005 Signal blue RAL 5007 Brilliant blue
    [Show full text]
  • Color Chart Includes Those Colors Made from Inorganic Pigments, That Is, Metal Ores Dug from the Earth
    GAMBLIN ARTISTS COLORS GAMBLIN ARTISTS OIL COLORS Artists Oil mineral inorganic colors modern organic colors Colors • All colors made from metals (Cadmium, Cobalt, Iron, etc.) are “inorganic” • Carbon based pigments are “organic” • 19th century colors of the Impressionists and the colors of Classical and Renaissance era painters • 20th century colors • High pigment load, low oil absorption • Most pigments available in a warm and cool version (ex. Phthalo Green, Phthalo Emerald) • Colors easily grey-down in mixtures, excellent for painting natural colors and light • Best choice for high key painting, bright tints • Mostly opaque with a few semi-transparent and transparent colors • Mostly transparent, with some semi-transparent colors Impressionist 20th Century CADMIUM CHARTREUSE CADMIUM LEMON CADMIUM YELLOW LIGHT CADMIUM YELLOW MEDIUM CADMIUM YELLOW DEEP HANSA YELLOW LIGHT HANSA YELLOW MEDIUM HANSA YELLOW DEEP INDIAN YELLOW CADMIUM ORANGE CADMIUM ORANGE DEEP CADMIUM RED LIGHT CADMIUM RED MEDIUM CADMIUM RED DEEP PERMANENT ORANGE TrANSPARENT OrANGE NAPTHOL RED NAPTHOL SCARLET PERYLENE RED white · grey · black ALIZARIN CrIMSON MANGANESE VIOLET COBALT VIOLET ULTRAMARINE VIOLET ALIZARIN PERMANENT QUINACRIDONE RED QUINACRIDONE MAGENTA QUINACRIDONE VIOLET DIOXAZINE PURPLE TITANIUM WHITE RADIANT WHITE TITANIUM ZINC WHITE QUICK DRY WHITE FLAKE WHITE REPLACEMENT ULTRAMARINE BLUE COBALT BLUE PrUSSIAN BLUE CERULEAN BLUE COBALT TEAL INDANTHRONE BLUE PHTHALO BLUE CERULEAN BLUE HUE MANGANESE BLUE HUE PHTHALO TURQUOISE FASTMATTE TITANIUM WHITE ZINC WHITE
    [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]