DOCSLIB.ORG

From Artist Materials to High-Heat Applications Say Goodbye to the Moody Blues, and Hello to Shepherd's High Performance Blues

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Artist Materials to High-Heat Applications Say Goodbye to the Moody Blues, and Hello to Shepherd's High Performance Blues From Artist Materials to High-Heat Applications Say Goodbye to the Moody Blues, and Hello to Shepherd's High Performance Blues One of the primary colors, lying between violet and green, is The Shepherd Color Company's roots originate in the the beautiful Blue hue. From the sky to the deep blue sea, 1920s in the ceramic industry, where we supplied colors to a shiny sapphire, blue is the color of trust, excellence, for porcelain enamels. It's no surprise that Blue has been and performance in business. Blue can also be associated one of our first inorganic color pigments. From Blue 299, to sadness, as everyone has felt a little blue at times. This which is the standard “Cobalt Blue” used in artist materials, color can also be perceived as calm and cooling, a lot like to our newest Blue 10G513, better known as YInMn Blue, Shepherd Color’s Arctic® pigments. which expands the range of colors available for building manufacturers that keep products cooler when exposed to An important color in art and ancient times, Ultramarine the sun, Shepherd Color has a blue pigment to meet your Blue was created by lapis lazuli and was mainly mined in high-performance application. Afghanistan and extremely expensive. The invention of synthetic Ultramarine Blue pigments had interesting color, With a vast array of red-shade to green-shade blue pigments but inadequate exterior durability limits its use. available from Shepherd, all have high temperature stability, are resistant to acids, bases, and solvents, and have Cobalt Blue historically has been a excellent weathering, opacity, and reflectivity. coloring agent in ceramics, notably Chinese porcelain beginning in the late Depending on the pigment, many of our Blue pigments are eighth or early ninth century2. Cobalt FDA compliant and are ideal for: Aluminate Blue complex inorganic • Building and Construction color pigments (CICP), are considered • Architectural Applications to be the pinnacle of durable, intensely • High-Durability Applications chromatic blue pigments. Since • Automotive Coatings they are formed under extreme high • High-Heat Coatings temperatures, the resulting pigments have excellent heat • Engineering Plastics resistance, chemical resistance, and weatherability. • Transportation/ACE Applications • Artist Materials References: 1. Joann Eckstut and Arielle Eckstut. October 2013. The Secret Language of Color. Black Dog & Leventhal Publishers. 2. Colbalt Blue. (April 29, 2020). In Wikipedia. Retrieved from https://en.wikipedia.org/wiki/Cobalt_blue ABOUT THE SHEPHERD COLOR COMPANY Founded in 1981, The Shepherd Color Company produces a wide range of high-performance Complex Inorganic Color Pigments (CICPs) used in a variety of industries. These pigments are an extraordinary class of inorganic pigments that offer stable, long-lasting color for many applications. They have unbeatable weatherability, heat and chemical resistance, are non-warping and easy to disperse. More Expertise. Better Performance. Best Value. That’s Shepherd Color. Copyright 2020 | The Shepherd Color Company Email: [email protected] | Website: shepherdcolor.com Shepherd Color Red-Shade Blues Strong True-Blue Colors Cobalt blues can be broken down into two major groups: Depending on the pigment, many of our Blue pigments are red or green-shade. The red-shade cobalt blues are better FDA compliant and are ideal for: known because their bright chromatic tones are valued in • Building and Construction many eye catching colors including corporate and branding • Architectural Applications logos. Shepherd Color has a wide range of cobalt blues • High-Durability Applications for a number of applications from high-durability coatings, • Automotive Coatings glass enamels, to coloring concrete for handicap parking • High-Heat Coatings designation. In plastics, the cobalt blues don’t promote • Engineering Plastics warping in polyolefi ns like common phthalo blues. When it • Transportation/ACE Applications comes to critical applications, customers turn to the true- • Artist Materials blue options that Shepherd Color provides. ABOUT THE SHEPHERD COLOR COMPANY Founded in 1981, The Shepherd Color Company produces a wide range of high-performance Complex Inorganic Color Pigments (CICPs) used in a variety of industries. These pigments are an extraordinary class of inorganic pigments that off er stable, long-lasting color for many applications. They have unbeatable weatherability, heat and chemical resistance, are non-warping and easy to disperse. More Expertise. Better Performance. Best Value. That’s Shepherd Color. Copyright 2020 | The Shepherd Color Company Email: [email protected] | Website: shepherdcolor.com Shepherd Color Green-Shade Blues Unique Blue Colors Beyond the red-shade blues are the green-shade blues Depending on the pigment, many of our Blue pigments are that fi ll a wide range of purposes. From Blue 211 used FDA compliant and are ideal for: in ‘Interstate Blue' for road signs to 'plastic ware' blue of • Building and Construction Blue 424, green-shade blues may not be as fl ashy as their • Architectural Applications red-shade cousins, but they fi nd a wide range of uses: • High-Durability Applications for high durability coatings, to engineering plastics and • Automotive Coatings even in concrete. Shepherd Color’s technical expertise • High-Heat Coatings and analytical abilities allowed us to be granted a FCN • Engineering Plastics (Food Contact Notifi cation) for our Blue 10F545, the only • Transportation/ACE Applications approval of its kind. Whether it is coloring cold food storage • Concrete and Cement containers, the coatings for cookware, or coatings for whole buildings, these blues can take the heat and the cold. ABOUT THE SHEPHERD COLOR COMPANY Founded in 1981, The Shepherd Color Company produces a wide range of high-performance Complex Inorganic Color Pigments (CICPs) used in a variety of industries. These pigments are an extraordinary class of inorganic pigments that off er stable, long-lasting color for many applications. They have unbeatable weatherability, heat and chemical resistance, are non-warping and easy to disperse. More Expertise. Better Performance. Best Value. That’s Shepherd Color. Copyright 2020 | The Shepherd Color Company Email: [email protected] | Website: shepherdcolor.com YInMn Blue Revolutionary Blue for Industrial and Artist Color Materials In September 2017, The Shepherd Color Company The high temperature calcination production process makes announced the groundbreaking "YInMn Blue" technology for the Blue 10G513 highly inert. While it is highly IR refl ective, commercial sale for use in industrial coatings and plastics. it is extremely opaque in the visible and UV parts of the As of May 2020, YInMn has U.S. EPA TSCA approval. This solar spectrum. The inertness means that it can be used in means that YInMn blue is now fully approved for use in a wide range of coatings and plastics and have excellent industrial applications, including artist color materials. weathering properties. Commercially known as Blue 10G513, this pigment Blue 10G513 is ideal for: represents one example of Shepherd Color’s dedication • High-performance IR-refl ective building products to providing new and impactful pigment chemistries to the - Pre-painted metal coatings, plastics and other materials markets. YInMn Blue - Roofi ng granules 10G513 follows our one-of-a-kind NTP Yellow and RTZ - Polymeric roofi ng Orange, which together push the edge of the durable color - Roofi ng tiles envelope. • Anti-counterfeiting features • Glass enamels The new Blue is revolutionary because it is a new pigment - Spandrel and decorative chemistry that expands the range of colors available that • Artist color materials stay cooler when exposed to the sun, allowing building material manufacturers to meet regulatory requirements and building owners to potentially save energy. ABOUT THE SHEPHERD COLOR COMPANY Founded in 1981, The Shepherd Color Company produces a wide range of high-performance Complex Inorganic Color Pigments (CICPs) used in a variety of industries. These pigments are an extraordinary class of inorganic pigments that off er stable, long-lasting color for many applications. They have unbeatable weatherability, heat and chemical resistance, are non-warping and easy to disperse. More Expertise. Better Performance. Best Value. That’s Shepherd Color. Copyright 2020 | The Shepherd Color Company Email: [email protected] | Website: shepherdcolor.com.
Load more

Recommended publications
  • Yinmn Blue Revolutionary Blue for Industrial and Artist Color Materials
    YInMn Blue Revolutionary Blue for Industrial and Artist Color Materials In September 2017, The Shepherd Color Company The high temperature calcination production process makes announced the groundbreaking "YInMn Blue" technology for the Blue 10G513 highly inert. While it is highly IR refl ective, commercial sale for use in industrial coatings and plastics. it is extremely opaque in the visible and UV parts of the As of May 2020, YInMn has U.S. EPA TSCA approval. This solar spectrum. The inertness means that it can be used in means that YInMn blue is now fully approved for use in a wide range of coatings and plastics and have excellent industrial applications, including artist color materials. weathering properties. Commercially known as Blue 10G513, this pigment Blue 10G513 is ideal for: represents one example of Shepherd Color’s dedication • High-performance IR-refl ective building products to providing new and impactful pigment chemistries to the - Pre-painted metal coatings, plastics and other materials markets. YInMn Blue - Roofi ng granules 10G513 follows our one-of-a-kind NTP Yellow and RTZ - Polymeric roofi ng Orange, which together push the edge of the durable color - Roofi ng tiles envelope. • Anti-counterfeiting features • Glass enamels The new Blue is revolutionary because it is a new pigment - Spandrel and decorative chemistry that expands the range of colors available that • Artist color materials stay cooler when exposed to the sun, allowing building material manufacturers to meet regulatory requirements and building owners to potentially save energy. ABOUT THE SHEPHERD COLOR COMPANY Founded in 1981, The Shepherd Color Company produces a wide range of high-performance Complex Inorganic Color Pigments (CICPs) used in a variety of industries.
    [Show full text]
  • Watercolor Basics with Susan Donohoe
    Watercolor Basics with Susan Donohoe BASICS SUPPLY LIST FOR - TECHNIQUES - Day 1 The lists are long, beginners should bring what they have. They SHOULD NOT go out and buy supplies just to have them. I will bring supplies that they can use to fill in the blanks. Better for them to learn in the workshop what is best for them to buy instead of wasting their money. Personal Needs for each day: Please bring any of these items that you will require. A cushion for your chair, the day can get long for your backside. Your lunch each day. There is a microwave and a small refrigerator for your use. Keep it simple. Hydration-bring plenty of liquid to stay hydrated. A sweater or work shirt to stay comfortable as the room temperature may fluctuate throughout the day. Brushes: Preferred brands: Escoda, Holbein, Cheap Joe’s, Loew-Cornell, Da Vinci, Halcyon One of each if you have them: Round: #6, #10, #14, #18+ (the biggest round brush you own - no need to buy one.) Flat: 1/2”, 1”, 2”, Hake (if you have one) Scrubber brushes: assorted sizes. (These brushes can be purchased at Michael’s or JoAnn’s. They are stiff brushes similar to oil painting brushes. They are sometimes called fabric brushes.) Paper: Arches #140 - Cold Press - 1 full sheet. If you know how and wish to do so prior to class, you can tear the full sheet into 4 equal 1/4 sheet pieces. Paint: Artist Grade Paint only!!!! Preferred Brands: Holbein, Daniel Smith, Mission, Aquarelle Sennelier, M.
    [Show full text]
  • 45110 Ultramarine Violet, Reddish
    45110 Ultramarine Violet, reddish Product name: Ultramarine Violet, reddish Chemical name: Sodium-aluminium-sulfo-silicate Color index: C.I. Pigment violet 15 : 77007 C.A.S. No.: 12769-96-9 EINECS No.: 2-358-110 Specification: Color shade DE CIEL (max): 1.00 lightening 1:5,4 with TiO2 in impact-resistant polystyrene Coloring strength (compared to standard): ± 5 % Oversize (45 µm): max. 0.05 % Volatile moiety (105°C): max. 1.30 % Free sulfur: max. 0.05 % Water soluble parts: max. 1.00 % Typical Data: Color grade: 49 Density: 2.35 Bunk density (g/cm 3) 0.63 Oil adsorption: 34.5 Middle particle size (µm): 1.85 Fastness/Resistance Temperature resistance: > 260°C Light fastness (full color): excellent (7 - 8) Light fastness (lightening): excellent (7 - 8) Alkali resistance: excellent Acid resistance: weak Safety Information Acute oral toxicity (LD50, rat): > 10 g/kg Skin irritation: not irritant and not sensitizing Eye irritation: not irritant Exposition limit: 6 mg/m 3 (MAK Value) Ecology: not hazardous Regulations Ultramarine violet is a non toxic pigment. It is universally authorized as coloring agent for objects being in contact with food and for the manufacture of toys. Storage, Stability and Handling Transportation and storage: Do not store near acid substances. Non-compatible substances: Acids. Decomposition products: Hydrogen sulfide is released after contact with acids. Special protective measures: None, however, avoid contact with excessive dust. Special measures in case of release: Clean-up immediately. Avoid spilling of large amounts of dust. Dispose of spilled material in accordance with local and national regulations. Page 1 of 1 Kremer Pigmente GmbH & Co.
    [Show full text]
  • Tucson Art Academy Online Skip Whitcomb
    TUCSON ART ACADEMY ONLINE SKIP WHITCOMB PAINTS WHITE Any good to professional quality Titanium or Titanium/Zinc White in large tubes(150-200ML) size. Jack Richeson Co., Gamblin, Vasari, Utrecht, Winsor & Newton are all good brands, as are several other European manufacturers. I strongly recommend staying away from student grade paints, they do not mix or handle the same as higher/professional grade paints. YELLOWS Cadmium Yellow Lemon Cadmium Yellow Lt. (warm) Cad. Yellow Medium or Deep Indian Yellow ORANGES Cadmium Yellow Orange (optional) Cadmium Orange REDS Cadmium Red Light/ Pale/ Scarlet (warm) Cadmium Red Deep Permanent Alizarin Crimson Permanent Rose (Quinacridone) BLUES Ultramarine Blue Deep or Dark Cobalt Blue Prussian Blue or Phthalo Blue GREENS Viridian Viridian Hue (Phthalo Green) Chrome Oxide Green Olive Green Sap Green Yellow Green VIOLETS Mauve Blue Shade (Winsor&Newton) Dioxazine Violet or Purple EARTH COLORS Yellow Ochre Raw Sienna Raw Umber Burnt Sienna Terra Rosa Indian Red Venetian Red Burnt Umber Van Dyke Brown BLACKS Ivory Black Mars Black Chromatic Black Blue Black MARS COLORS Mars Yellow Mars Orange Mars Red Mars Violet IMPORTANT TO NOTE!! Please don’t be intimidated by this list! You will not be required to have all ​ ​ ​ ​​ ​ ​ these colors on hand for our class. This is intended to be a recommendation for the studio. Specific colors on this list will come in handy for mixing in certain color plans. I will be happy to make suggestions along the way A good working palette for the studio would be: Cad. Yellow Lemon, Cad. ​​ ​ Yellow Pale(warm), and/or Cad.
    [Show full text]
  • Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once.
    [Show full text]
  • Notes on Colours and Pigments in the Ancient World
    Journal of the International Colour Association (2012): 8, 61-67 Omarini Notes on colours and pigments in the ancient world Sergio Omarini National Institute of Optics – C.N.R. Florence, Italy Email: [email protected] There have been plenty of writings about ancient pigments, how to obtain them, what they contain, their physical and chemical properties, and how to identify them and, as they say, buckets of ink have been consumed in the process. What I feel needs emphasising here are some particular aspects that have been frequently overlooked. This paper is nothing other than a number of annotations about colours and pigments in the ancient world. The figurative expression of meaning is the first considered aspect. Blue ultramarine and purple are the two demonstrative considered examples where the “material meaning” is substituted by the “colour meaning”. The second considered aspect is the formulae uncertainty. This concerns the artificial pigments as the Ceruse or the Naples Yellow where the comprehension of the recipes is fundamental to understand the ancient composition. Prices, fashion and styles in the Roman world is the last considered aspect. This has strongly conditioned the diffusion of the pigments and, of course, of the colours. Published online: 29 June 2012 The figurative expression of meaning Ultramarine is an intense blue colour with some hints of violet; anyone going to a shop selling painting materials has no difficulty finding ultramarine, whether they are looking for chalk, pencils, paint in a tube or whatever. To tell the truth, the colour is not really codified and, for example, in the case of oil paint tubes, there are some differences between the various manufacturers.
    [Show full text]
  • Ultramarine Blue
    SAFETY DATA SHEET According to OSHA 29 CFR 1910.1200 – GHS Revision date: September 7, 2015 Supersedes: November 13, 2014 ULTRAMARINE BLUE 1. PRODUCT AND COMPANY IDENTIFICATION Product name: Ultramarine Blue, Nubix, Nubiperf, Nubiflow, Nubicoat HRD, Nubicoat HTS, Nubicoat HWR Victoria Ultramarine Blue Use: Coloring agents, Pigments Company identification: NUBIOLA USA 6369 Peachtree Street Norcross, GA 30071, USA Tel +1 (770) 277-8819 [email protected] Emergency telephone number: 800-424-9300 (CHEMTREC, 24 hours) International call: 703-527-3887 (collect calls accepted) 2. HAZARDS IDENTIFICATION Classification of the chemical in accordance with Standard 29 CFR 1910.1200 (US-GHS) Not classified. Label elements (Hazard Communication Standard 29 CFR 1910.1200 (US-GHS) No labelling applicable. 3. COMPOSITION / INFORMATION ON INGREDIENTS Chemical name CAS No Concentration (%) RTECS No Ultramarine Blue 57455-37-5 100 --- (Pigment Blue 29, CI 77007) Substance / Mixture: Substance Synonyms: Blue sodium polysulfide aluminosilicate sodalite-type 4. FIRST-AID MEASURES Description of first-aid measures In case of inhalation: If breathing is difficult, remove to fresh air and keep at rest in a position comfortable for breathing. If you feel unwell, seek medical attention. In case of skin contact: Rinse skin with water. If skin irritation occurs, get medical advice. In case of eye contact: Immediately flush eyes with plenty of water for at least 15 minutes. Remove contact lenses, if present and easy to do. Continue rising. If eye irritation occurs, get medical advice. In case of ingestion: Rinse mouth. Do not induce vomiting unless directed to do so by a physician. If you feel unwell, seek medical attention.
    [Show full text]
  • Manufacturer of the World's Finest Artists' Paints
    Manufacturer of the World’s Finest Artists’ Paints MADE IN THE USA SINCE 1976 Meet the Owner of DANIEL SMITH John Cogley John Cogley, the owner of DANIEL SMITH Artists’ Materials, joined the company in the Information Technology Department in 1988. With almost three decades of leading the company as President, CEO and Owner, John has been the driving force behind making DANIEL SMITH Watercolors and other products recognized as the world’s best. Because of John’s commitment to innovation and in manufacturing the highest quality paints and other products, artists worldwide can rely on the performance and continuity of DANIEL SMITH products year after year. DANIEL SMITH is the Innovative Sticks, artist-quality Water Soluble Oils Manufacturer of Beautiful Watercolors and inspiring Hand Poured Half Pan sets and Oils for Artists Worldwide. DANIEL SMITH has been the leader in From being the first manufacturer developing creative tools for Artists. to make the high-performance Making beautiful, innovative, and high Quinacridone pigments into artists’ quality artists paints, which perform paints, to the development of the exciting consistently from tube to tube, year after PrimaTek and Luminescent Watercolors year, makes DANIEL SMITH products the and Oils, Watercolor Grounds, Watercolor choice for artists worldwide. Stay connected with DANIEL SMITH online! INSTAGRAM FACEBOOK @danielsmithartistsmaterials @DanielSmithArtSupplies REGIONAL ACCOUNTS REGIONAL ACCOUNTS ASIA ASIA @danielsmithasia @Danielsmithartsupplies_asia EUROPE EUROPE @danielsmitheurope
    [Show full text]
  • A New Evaluation of the Colors of the Sky for Artists and Designers
    Sky Blue, But What Blue? A New Evaluation of the Colors of the Sky for Artists and Designers Ken Smith* Faculty of Art and Design, Monash University, Melbourne, Victoria, Australia Received 28 April 2006; accepted 21 June 2006 Abstract: This study describes a process of relating the solid that is capable of representing most of the colors of perceptual analysis of the colors of the terrestrial atmos- the sky using four of these pigments is proposed. phere to currently available pigments used in artists’ painting systems. This process sought to discover how the colors of the sky could be defined and simulated by these AN EMPIRICAL METHOD FOR ANALYZING pigments. The author also describes how confusion over SKY COLOR the bewildering choice of suitable pigments on offer in the market place can be clarified. Ó 2006 Wiley Periodicals, Science can explain why the earth’s atmosphere appears Inc. Col Res Appl, 32, 249 – 255, 2007; Published online in Wiley Inter- blue, the preferential scattering by air molecules of short 2 Science (www.interscience.wiley.com). DOI 10.1002/col.20291 wavelength light photons emitted from the sun. For artists the consequential questions are often more likely to Key words: art; design; sky color; perceived color; envi- be not why, but rather what; what are the blue colors that ronment; pigments; painting systems are perceived in the sky? These were the fundamental questions that lead to a reappraisal of how the colors of the sky can be represented by the pigments used in con- INTRODUCTION temporary painting systems. Before attempting to answer this question, a number of parameters had to be created.
    [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]
  • RAL COLOR CHART ***** This Chart Is to Be Used As a Guide Only. Colors May Appear Slightly Different ***** Green Beige Purple V
    RAL COLOR CHART ***** This Chart is to be used as a guide only. Colors May Appear Slightly Different ***** RAL 1000 Green Beige RAL 4007 Purple Violet RAL 7008 Khaki Grey RAL 4008 RAL 7009 RAL 1001 Beige Signal Violet Green Grey Tarpaulin RAL 1002 Sand Yellow RAL 4009 Pastel Violet RAL 7010 Grey RAL 1003 Signal Yellow RAL 5000 Violet Blue RAL 7011 Iron Grey RAL 1004 Golden Yellow RAL 5001 Green Blue RAL 7012 Basalt Grey Ultramarine RAL 1005 Honey Yellow RAL 5002 RAL 7013 Brown Grey Blue RAL 1006 Maize Yellow RAL 5003 Saphire Blue RAL 7015 Slate Grey Anthracite RAL 1007 Chrome Yellow RAL 5004 Black Blue RAL 7016 Grey RAL 1011 Brown Beige RAL 5005 Signal Blue RAL 7021 Black Grey RAL 1012 Lemon Yellow RAL 5007 Brillant Blue RAL 7022 Umbra Grey Concrete RAL 1013 Oyster White RAL 5008 Grey Blue RAL 7023 Grey Graphite RAL 1014 Ivory RAL 5009 Azure Blue RAL 7024 Grey Granite RAL 1015 Light Ivory RAL 5010 Gentian Blue RAL 7026 Grey RAL 1016 Sulfer Yellow RAL 5011 Steel Blue RAL 7030 Stone Grey RAL 1017 Saffron Yellow RAL 5012 Light Blue RAL 7031 Blue Grey RAL 1018 Zinc Yellow RAL 5013 Cobolt Blue RAL 7032 Pebble Grey Cement RAL 1019 Grey Beige RAL 5014 Pigieon Blue RAL 7033 Grey RAL 1020 Olive Yellow RAL 5015 Sky Blue RAL 7034 Yellow Grey RAL 1021 Rape Yellow RAL 5017 Traffic Blue RAL 7035 Light Grey Platinum RAL 1023 Traffic Yellow RAL 5018 Turquiose Blue RAL 7036 Grey RAL 1024 Ochre Yellow RAL 5019 Capri Blue RAL 7037 Dusty Grey RAL 1027 Curry RAL 5020 Ocean Blue RAL 7038 Agate Grey RAL 1028 Melon Yellow RAL 5021 Water Blue RAL 7039 Quartz Grey
    [Show full text]
  • The Blue Miracle by Kai Kupferschmidt
    The Blue Miracle By Kai Kupferschmidt Picture 1: Semi-precious stone lapis lazuli - one of the most important sources to make ultramarine pigments – its weight was judged by the value of gold. (Picture: Mauritius Images) The favorite color of most people, however hardly common among animals and plants. It is very difficult to produce artificially. Consequently, scientists are eagerly working on creating new blue pigments. Part 1: Can we really be sure where the color blue has its origin? Throughout history, it was a tedious and laborious process – or a stroke of luck. Pure Coincidence His most famous discovery came like out of a blue sky. Mas Subramanian, a solid-state chemist at the chemical company Dupont, published hundreds of papers and dozens of patents. He had already discovered a new superconductor and a more environ- mentally friendly way to produce the che- mical fluorobenzene. After joining Ore- gon State University in 2006, he worked on so-called multiferroics, a material with special electric and magnetic properties, which could lead to faster computers. Ba- sed on his idea, the PhD student, Andrew Smith, mixed indium oxide, manganese oxide and yttrium oxide and heated the mixture in an oven. The desired effect did not show, but its color was very blue. “There is something about blue that just fascinates people” First Subramanian thought that Smith Says Mas Subramanian, discoverer of YInMn blue. made a mistake. Then he remembered that someone at Dupont had once told him how difficult it was to make the co- The arthistorian Simon Schama, described lor blue.
    [Show full text]