Pigments List Old Holland Classic Colours
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
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. -
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. -
Watercolours: What´S Different in the New Assortment?
Product information Watercolours HORADAM® watercolours: What´s different in the new assortment? The following colours have got a new name: Art.-No. Old Name New Name 14 208 Aureolin modern Aureolin hue 14 209 Translucent yellow Transparent Yellow 14 211 Chrome yellow lemon Chromium yellow hue lemon 14 212 Chrome yellow light Chromium yellow hue light 14 213 Chrome yellow deep Chromium yellow hue deep 14 214 Chrome orange Chromium orange hue 14 218 Translucent orange Transparent orange 14 366 Deep red Perylene maroon 14 476 Mauve Schmincke violet 14 498 Dark blue indigo Dark blue 14 648 Sepia brown tone Sepia brown reddish 14 786 Charcoal grey Anthracite The following colours are completely omitted due to raw materials which aren’t available anymore: Art.-No. Old Name 14 652 Walnut brown This tone cannot be mixed out of other colours. 14 666 Pozzuoli earth This tone can be mixed using 14 649 English Venetian red and the slightly reddish 14 670 Madder brown. These colours are now produced using other pigments. Therefore they have got a new name and a new number: Old Art.-No. Old Name New Art.-No. New Name 14 345 Dark red 14 344 Perylene dark red 14 210 Gamboge gum modern 14 217 Quinacridone gold hue 14 478 Helio blue reddish 14 477 Phthalo sapphire blue 14 536 Green yellow 14 537 Transparent green gold - Discontinued colours The described product attributes and application examples have been tes- a warranty for product attributes and/or assume liability for damages that ted in the Schmincke laboratory. -
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. -
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. -
MODERN WATERCOLOR III Fair FR Fair G Granulating J Semi-Opaque NA Not Yet Tested H Opaque
ASTM LF GOLDEN LF STAIN OPACITY I Excellent EX Excellent Semi-Staining k Semi-Transparent II Very Good GD Good Staining i Transparent MODERN WATERCOLOR III Fair FR Fair G Granulating j Semi-Opaque NA Not Yet Tested h Opaque Item # Series Color Color Index Name Pigment Name ASTM Opacity Granulating Staining 1-4 Light-fastness 7000525 1 Ardoise Gray PBk19 Hydrated Aluminum Silicate I i G 7000135 1 Aureolin Modern PW6, PY150 Titanium Dioxide Rutile, Nickel Complex Azo I j 7000126 4 Benzimidazolone Yellow PY154 Benzimidazolone Yellow H3G I k 7000115 3 Bismuth Vanadate Yellow PY184 Bismuth Vanadate EX k 7000415 2 Bohemian Green Earth PBk7, PG7, PR101, PY42 Nearly Pure Amorphous Carbon, Chlorinated Copper I k G Phthalocyanine, Synthetic Iron Oxide, Synthetic Iron Oxide 7000470 1 Burnt Sienna (Natural) Pbr7 Calcined Natural Iron Oxide I j G 7000480 1 Burnt Umber (Natural) Pbr7 Calcined Natural Iron Oxide containing Manganese I j G 7000180 4 Cadmium Orange PO20 Cadmium (Sulfo-Selenide) - (CC) I j 7000220 4 Cadmium Red Deep PR108 Cadmium (Sulfo-Selenide) - (CC) I j G 7000195 4 Cadmium Red Light PR108 Cadmium (Sulfo-Selenide) - (CC) I j G 7000215 4 Cadmium Red Medium PR108 Cadmium (Sulfo-Selenide) - (CC) I j 7000170 4 Cadmium Yellow Deep PY35 Cadmium Zinc Sulfide - (CC) I k 7000120 4 Cadmium Yellow Light PY35 Cadmium Zinc Sulfide - (CC) I k 7000130 4 Cadmium Yellow Medium PY35 Cadmium Zinc Sulfide - (CC) I k 7000105 4 Cadmium Yellow Primrose PY35 Cadmium Zinc Sulfide - (CC) I k 7000500 1 Carbon Black PBk7 Nearly Pure Amorphous Carbon I h 7000330 -
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. -
“Among the Most Unusual Substances on Earth, Amber Combines Alluring Physical Properties with an Unparalleled Archive of Ancient Life on Our Planet
(a.) (b.) Figure 1. a) Termites in Colombian copal showing gas bubbles; b) Close view, showing termites in Colombian copal showing gas bubbles. “Among the most unusual substances on Earth, amber combines alluring physical properties with an unparalleled archive of ancient life on our planet. No other substance brings together such richness in art and science.” David A. Grimaldi, American Museum of Natural History (Ross, 2010) 16 FUNGI Volume 11:5 2019 Figure 2. A rough piece of blue Dominican amber. y quest for mushrooms in Mushroom lovers were treated to a and so versatile. As a gemologist, amber amber and copal lasted about small, extremely rare piece of light- was an organic, semi-precious gemstone a decade, from the mid-1990s colored amber, inside which a tiny gilled for me, soft for a gemstone (only 2-2.5 Mto the early part of the 2000s. During mushroom was barely visible. Through on the Mohs scale), and with multiple this period of time, I found mushrooms a strategically placed magnifying glass, places of origin around the world. It in Mexican red amber from Chiapas, excited visitors could get a glimpse of came in multiple colors, and lended itself and in Colombian copal from the what the ancestor of today’s Mycena to carving and the creation of beautiful Santander region; these pieces make up looked like, down to its cap, delicate works of art. As a mycologist seeking the bulk of my collection. The unique gills, and stipe. Though an extinct mushrooms inside the amber, amber fossils of mushrooms, amber, and copal species and millions of years old, the was the fully polymerized tree resin that in this collection are still waiting to be fossilized mushroom looked fresh and formed millions of years ago in what studied. -
Imitation Amber Beads of Phenolic Resin from the African Trade
IMITATION AMBER BEADS OF PHENOLIC RESIN FROM THE AFRICAN TRADE Rosanna Falabella Examination of contemporary beads with African provenance reveals large quantities of imitation amber beads made of phenol- formaldehyde thermosetting resins (PFs). This article delves into the early industrial history of PFs and their use in the production of imitation amber and bead materials. Attempts to discover actual sources that manufactured imitation amber beads for export to Africa and the time frame have not been very fruitful. While evidence exists that PFs were widely used as amber substitutes within Europe, only a few post-WWII references explicitly report the export of imitation amber PF beads to Africa. However they arrived in Africa, the durability of PF beads gave African beadworkers aesthetic freedom not only to rework the original beads into a variety of shapes and sizes, and impart decorative elements, but also to apply heat treatment to modify colors. Some relatively simple tests to distinguish PFs from other bead materials are presented. Figure 1. Beads of phenol-formaldehyde thermosetting resins INTRODUCTION (PFs) from the African trade. The large bead at bottom center is 52.9 mm in diameter (metric scale) (all images by the author unless otherwise noted). Strands of machined and polished amber-yellow beads, from small to very large (Figure 1), are found today in the He reports that other shapes, such as barrel and spherical stalls of many African bead sellers as well as in on-line (Figure 2), were imported as well, but the short oblates stores and auction sites. They are usually called “African are the most common. -
Matisse Structure & Flow Formula
MATISSE STRUCTURE & FLOW FORMULA STRUCTURE FORMULA: ALL COLOURS AVAILABLE IN 75ML & 150ML TUBES and 250ML & 500ML JARS C dolour Car WHERE APPEARS, COLOUR ALSO AVAILABLE IN 1LTR OR 4LT TUBS. FLOW FORMULA: ALL COLOURS AVAILABLE IN 75ML & 500ML JARS WHERE APPEARS, COLOUR ALSO AVAILABLE IN 1LTR TUBS. Titanium White ● Iridescent White ● Antique White ● ASTM 1 S1 NT S4 ASTM 1 S1 Pure Brilliance.Pure Quality Australian Ghost Gum ● Unbleached Titanium ● Naples Yellow Light ● ASTM 1 S1 ASTM 1 S1 ASTM 1 S1 Nickel Titanate ● Yellow Light Hansa Bismuth Yellow ● Cadmium Yellow Light ● Primary Yellow ● Yellow Mid Azo ● Cadmium Yellow Medium ● ASTM 1 S4 ASTM 2 S2 ASTM 1 S5 ASTM 1 S4 ASTM 2 S2 ASTM 1 S2 ASTM 1 S4 Aureolin Yellow Yellow Deep ● Iso Yellow ● Australian Salmon Gum ● Cadmium Orange ● Matisse Orange DPP ● Permanent Orange ● BWS 8 S7 ASTM 1 S2 ASTM 1 S6 ASTM 1 S2 ASTM 1 S4 BWS 8 S7 ASTM 1 S3 Vermillion (Azo) ● Cadmium Orange Deep ● Naphthol Scarlet ● Matisse Red Light ● Matisse Scarlet DPP ● Primary Red ● Cadmium Red Medium ● ASTM 1 S3 ASTM 1 S4 ASTM 2 S3 ASTM 1 S4 ASTM 1 S7 ASTM 1 S4 ASTM 1 S4 Quinacridone Red Naphthol Crimson ● Brilliant Alizarin (Crimson) ● Australian Red Violet ● Matisse Rose Madder ● Magenta Quin Violet Magenta Light ● ASTM 1 S4 ASTM 2 S3 ASTM 2 S3 ASTM 1 S6 ASTM 1 S7 ASTM 1 S3 BWS 8 S2 Ash Pink ● Venetian Red ● Transparent Venetian Red Permanent Maroon ● Deep Rose Madder (Perm) Burgundy ● Dioxazine Purple ASTM 1 S2 ASTM 1 S2 ASTM 1 S3 ASTM 1 S6 ASTM 1 S4 ASTM 2 S2 ASTM 2 S3 Permanent Light Violet ● Australian Sky Blue -
Basics About the Red Cross
BASICS aboutBASICS the REDabout CROSS the RED CROSS I n d ian Red Cross Society Indian Red Cross Society First Edition 2008, Indian Red Cross Society Second Edition 2014, Indian Red Cross Society National Headquarters 1, Red Cross Road New Delhi 110001 India 2008, 2nd Edition © 2014, Indian Red Cross Society National Headquarters 1, Red Cross Road New Delhi 110001 India Project leader:Prof.(Dr.) S.P. Agarwal, Secretary General, IRCS Manuscript and editing: Dr. Veer Bhushan, Mr. Neel Kamal Singh, Mr. Manish Chaudhry, Ms. RinaTripathi, Mr. Bhavesh Sodagar, Dr. Rajeev Sadana, Ms. Neeti Sharma, Ms. Homai N. Modi Published by : Indian Red Cross Society, National Headquarters Supported by:International Committee of the Red Cross (ICRC) Basics about the Red Cross Contents Idea of the Red Cross Movement .......................................................................................... 3 Foundation of the Red Cross Movement ............................................................................... 5 A Global Movement ............................................................................................................... 7 The Emblems ........................................................................................................................ 9 The Seven Fundamental Principles ...................................................................................... 13 International Humanitarian Law ........................................................................................... 21 Re-establishing Family Links