Chalk from Champagne
from France, natural calcium carbonate
Chemical description Natural calcium carbonate (CaCO3)
ColorIndex PW 18.77220
Suitability Acrylics, Lime / Fresco, Oil, Tempera, Watercolor / Gouache
Color White
Form powder
Solubility in water 0.014 g/l (20°C); 0.018 g/l (75°C)
Lithopone
Order number: 46100
silver-seal, 60 % zinc sulfide
Chemical description Artificial mineral pigment, co-precipitate of zinc sulphide and barium sulphate, Pigment White 5, C.I. 77115
ColorIndex PW 5.77115
Opacity semi-opaque
Suitability Acrylics, Oil, Tempera, Watercolor / Gouache
Color White
Form powder
Lightfastness medium 8 (1 is poor, 8 is best)
Lightfastness thinned 8 (1 is poor, 8 is best)
Lightfastness concentrated 8 (1 is poor, 8 is best)
Solubility in water insoluble
Chemical Formula BaSO4 + ZnS
Ivory Black JU
bone black, improved quality
Based on bone black but with very high tinting strength. Usually the best qualities of bone blacks are called Ivory Black.
Chemical description C.I. Pigment Black 9; CAS No. 8021-99-6, EINECS No. 232-421-2
ColorIndex PBk 9.77267
Suitability Acrylics, Lime / Fresco, Oil, Tempera, Watercolor / Gouache
Color Black
Form powder
Lightfastness medium 8 (1 is poor, 8 is best)
Lightfastness thinned 8 (1 is poor, 8 is best)
Lightfastness concentrated 8 (1 is poor, 8 is best)
Solubility in water insoluble
Marble Dust, extra white
Order number: 58500
Italian, 0 - 32 µ, calcium carbonate
Recommended as filler or for gesso.
Chemical description Natural calcium carbonate (CaCO3, CAS No. 1317-65-3, EINECS 215-279-3): 85 - 100 %
ColorIndex PW 18.77220
Suitability Acrylics, Lime / Fresco, Oil, Tempera, Watercolor / Gouache
Color White
Form powder
Solubility in water < 0.03 % (20°C)
Zinkweiß
bleifrei
Im Gegensatz zum Kremserweiß stellt Zinkweiß ein reines weißes Pulver dar. Chemisch handelt es sich um Zinkoxid (ZnO), bleifrei.
Chemische Beschreibung: Reines Zinkoxid
ColorIndex PW 4.77947
Deckeigenschaft halbopak
Eignung Acryl, Kalk / Fresko, Keramik, Öl, Tempera, Wasserfarben / Gouache, Zement / Tadelakt
Farben Weiß
Formen Pulver
Lichtechtheit: Mittel: 8 (1 ist schlecht, 8 am besten)
Lichtechtheit: Verdünnt: 8 (1 ist schlecht, 8 am besten)
Lichtechtheit: Vollton: 8 (1 ist schlecht, 8 am besten)
Loeslichkeit 0,0016 g/l
Chemische Formel: ZnO
Verarbeitungs- und Warnhinweise
Nur für den berufsmäßigen Verwender!
Sicherheitsinformationen
GHS09-1: Umwelt
Signalwort: Achtung
Gefahrenhinweis(e)
H410: Sehr giftig für Wasserorganismen mit langfristiger Wirkung.
Sicherheitshinweis(e)
P273: Freisetzung in die Umwelt vermeiden.
P391: Verschüttete Mengen aufnehmen.
P501: Entsorgung des Inhalts/Behälters gemäß den örtlichen, regionalen, nationalen u. internat. Vorschriften.
37 recipes with pictures, Aichstetten 2018, ISBN 978-3-00-060902-2Create your personal colour experience! With our recipes, we give you a guide to make your own paint according to your individual needs. Dive into the world of watercolour, egg tempera, wall paint, oil paint, acrylic paint and other pigment applications.
Chrome Oxide Green
Order number: 44200
cool green, opaque
Chemical description Chromium(III)-oxide, C.I. Pigment Green 17.77288
ColorIndex PG 17.77288
Opacity opaque
Suitability Acrylics, Lime / Fresco, Ceramic, Oil, Tempera, Watercolor / Gouache, Silicate binder, Waterglas, Cement / Tadelakt
Color Green
Form powder
Lightfastness medium 8 (1 is poor, 8 is best)
Lightfastness thinned 8 (1 is poor, 8 is best)
Lightfastness concentrated 8 (1 is poor, 8 is best)
Solubility in water insoluble
Boiling point 4000°C (1013 hPa)
Ultramarineblue
Until the beginning of the 19th century, Ultramarine Blue was a prized luxury product due to its extensive production process from the semi-precious stone lapis lazuli and obtained according to old recipes. Even today, the natural pigment ultramarine (azzurum ultramarinum = blue from across the seas) is as precious as gold. Ultramarine is famous for its characteristic bright, deep blue color. From a physical point of view, ultramarine blue is positioned at the far short-wave end of the color spectrum, leaning towards the violet side of blue. The closer the color gets to the end of the visible spectrum, the darker it seems. Reproductions in books and photographs usually fail to convey the appearance and quality of ultramarine blue.
Information:
synthetic mineral pigment
Chemical description Sodium-aluminium-sulfo-silicate. Pigment Blue 29, C.I. 77007. CAS: 57455-37-5 (101357-30-6), EINECS (EU): 309-928-3, TSCA (USA): uses CAS 57455-37-5; REACH Reg. No. 01-2119488928-13-0002
ColorIndex PB 29.77007
Suitability Acrylics, Lime / Fresco, Oil, Tempera, Watercolor / Gouache
Color Blue
Form powder
Lightfastness medium 8 (1 is poor, 8 is best)
Lightfastness thinned 8 (1 is poor, 8 is best)
Lightfastness concentrated 8 (1 is poor, 8 is best)
Solubility in water insoluble
Handling and Warnings
Keep away from acids.
For more informations please visit the Kremer Website. Also, if you're missing a Kremer-pigment that you want, we can order it for you. Just use our contact-formular!
Product information "Kremer Pigments COBALT" Cobalt Pigments Cobalt pigments are an indispensable part of painting. The blue and green tones are the most well-known, but there are also violet and even yellow variants. Real cobalt blue is a translucent universal pigment with proverbial lightfastness and is ideal for all techniques. Cobalt blue is one of the few artist pigments that is also used in ceramic techniques, just think of blue porcelain or blue wall tiles! Variants: Cobalt yellow (43500) Cobalt green (44101) Cobalt green-blue oxide (44110) Cobalt bottle green (44130) Cobalt green, bluish A (44151) Cobalt blue, dark (45700) Cobalt blue, dark, greenish (45701) Cobalt blue Sapporo (45702) Cobalt blue, medium (45710) Cobalt blue, matt blue (457141) Cobalt blue, light (45720) Cobalt cerulean blue (45730) Cobalt blue, greenish (45740) Cobalt blue, light turquoise (45750) Cobalt blue, dark turquoise (45760) Cobalt violet, dark (45800) Cobalt violet brilliant, dark (45810)Further information on mixing: Due to its nature, it is extremely laborious to grind cobalt blue into oil. First of all, you should definitely choose an oil with the lowest possible viscosity, such as poppy seed oil or sunflower oil, rather than the more viscous linseed oil. The longer drying time inherent in these oils is compensated for by the catalytic properties of the cobalt, and these oils hardly yellow at all, which would be very beneficial for a shade of blue like this. First of all, you should mix the pigment thoroughly with the oil using a spatula. Experience shows that you add too much oil at the beginning, so that further pigment additions are essential. After intensive kneading, you finally get a putty-like, deep blue substance. You work small (!) portions of this through bit by bit with the glass runner, which is quite hard work. If you are unlucky, you get a thin, honey-like substance and you have to work in more pigment. It is very helpful to add a little beeswax paste to turpentine oil 1:1 to stabilize the consistency! If that is too laborious for you, we recommend the very similar shade of cobalt medium opaque. Glazes are not possible with this, however, and are not quite as beautiful as with real cobalt aluminate. In water-based techniques, on the other hand, producing cobalt blue paint is quite simple: all you need is a spatula. For safety data sheets and specific information on individual pigments, please visit the Kremer website. There you will also find important details such as safety instructions, suitability, lightfastness and solubility.
Steel Powder
Order number: 54650
fine, rusting, gray
Chemical description Iron, CAS 7439-89-6, EINECS 231-096-6: > 97 %. REACH Reg. No. 01-2119462838-24-xxxx
Suitability Acrylics, Ceramic
Color Gray
Form powder
Lightfastness medium 8 (1 is poor, 8 is best)
Lightfastness thinned 8 (1 is poor, 8 is best)
Lightfastness concentrated 8 (1 is poor, 8 is best)
Solubility in water insoluble
Boiling point 2861°C (1013 hPa)
Chalk from Bologna
Order number: 58100
from Italy, Gilder´s Gesso, 30 - 40 µ
Natural mixture of calcium sulphate and calcium carbonate.
Suitability Acrylics, Oil, Tempera, Watercolor / Gouache
Color White
Product information "Kremer Day-Luminous Colors Pigments"Kremer Day-Luminous Colors PigmentsIn the late sixties of this century, a group of extremely bright dyes came onto the market that were previously completely unimaginable. These pigments, or rather the colors made from them, seem to glow from within. At the time, they were popularly called "shock colors," but today the nonsensical term "neon colors" is often used. The term "phosphor colors" is also simply wrong because they do not contain any phosphor at all! The correct term, however, is "fluorescent colors." Available variants: Daylight fluorescent color white (56000) Daylight fluorescent color blue (56050) Daylight fluorescent color green (56100) Daylight fluorescent color lemon yellow (56150) Daylight fluorescent color golden orange (56200) Daylight fluorescent color orange (56250) Daylight fluorescent color brick red (56300) Daylight fluorescent color flame red (56350) Daylight fluorescent color cyclam red (56400) Daylight fluorescent color violet (56450) As already mentioned above, these dyes can be stimulated by visible light and invisible UV. This means that short-wave radiation (UV and blue light components) is converted into longer-wave, visible, or more conspicuous light by a group of atoms responsible for the fluorescence within the complex organic dye molecule. This is why these pigments appear to glow particularly intensely at dusk, when the light component is strongly shifted towards blue. An even stronger effect is achieved when exposed to blue light or very short-wave blue light with soft UV, as is found in so-called "black light lamps". This property is often used in discos and party rooms. The short-wave, just barely perceptible light makes all fluorescent materials glow in their own color, while other colors that are brilliant in normal light are only reproduced in corresponding gray tones.The organic dyes are relatively inexpensive and fairly economical, and completely non-toxic. However, they have one serious drawback: they are not very lightfast! However, if these pigments are exposed to less daylight, their durability is certainly acceptable. These luminous paints are not included in ranges of artist paints, but are often found with the additional designation "fluorescent" or "fluorescent" in paint ranges for children, for graphic purposes, in colored pencils and felt-tip pens, especially as so-called highlighters, but also as spray paints for decorating vehicles or for model making. The pigments can be processed into artist paints of the desired quality without any major problems. As with other organic pigments, wetting with alcohol beforehand is recommended for water-based techniques, but this is not necessary when using dispersions. When making oil paint, it is also sufficient to use a spatula, but for reasons of homogeneity and the lowest possible binding agent content, you should rub the paint with a glass runner when making tube paints. The production of varnishes or synthetic resin varnishes is also unproblematic. What is interesting, however, is the fact that daylight fluorescent paints in oil or varnish shift their color tone towards the warmer side, which means that, for example, the cold, bluish cyclamen red shifts a little towards orange, etc. This is because the oil or synthetic resin filters out a large part of the short-wave light components, which also has the advantage that the light resistance can be improved a little. Safety data sheets and further information can be found on the Kremer website.
Miloriblau LUX
Ersatzprodukt für 45200 Miloriblau
Um 1704 entdeckte ein Mann namens Diesbach in Berlin, wie man aus Eisensalzen und Rinderblutabfällen eine schöne blaue Farbe herstellen kann. Seither kam dieses Pigment unter verschiedensten Namen in den Handel, wie etwa Pariserblau, Miloriblau, Preußischblau oder Berliner Blau. Das Pigment PB 27 eignet sich für alle Anwendungen in pH-neutralen Bindemitteln. In Säuren oder Alkalien oder bei höheren Temperaturen wird es zerstört. Wie organische Pigmente ist auch das Berliner Blau schwer zu benetzen.
Chemische Beschreibung: Anorganisches Pigment
Chemische Formel: C18Fe7N18
Lichtechtheit: Mittel: 8
Lichtechtheit: Verdünnt: 8
Lichtechtheit: Vollton: 8
Zündtemp. > 600°C
ColorIndex PB 27.77510
Eignung Acryl, Öl, Tempera, Wasserfarben / Gouache
Farben Blau
Formen Pulver
Loeslichkeit benetzbar
Kremer White
Order number: 46360
pure white, 5 µ, zirconium oxide
Kremer White in watery mediums an alternative to Cremnitz or Lead White. It is not quite as bright as Titanium White, stable at temperatures up to 1400° C, suitable for watercolors, in acrylic dispersions, in lime and cement and in oil.
ColorIndex PW 12.77990
Suitability Acrylics, Lime / Fresco, Ceramic, Oil, Tempera, Watercolor / Gouache, Silicate binder, Waterglas, Cement / Tadelakt
Color White
Form powder
Solubility in water insoluble
Graphite Powder Black
Order number: 47710
fine
Chemical description Natural graphite, CAS No. 999999-99-4 (natural occuring substance)
ColorIndex PBk 10.77265
Suitability Acrylics, Lime / Fresco, Ceramic, Oil, Tempera, Watercolor / Gouache
Color Gray, Black
Form solid
Lightfastness medium 8 (1 is poor, 8 is best)
Lightfastness thinned 8 (1 is poor, 8 is best)
Lightfastness concentrated 8 (1 is poor, 8 is best)
Solubility in water insoluble
Earth colors
Minerals and earths are the raw materials from which various earth color pigments have been extracted for thousands of years. The Stone Age people already created cave paintings from materials that were available to them: black from charred wood or charred bones, collected yellow and red earth and white chalk were enough to depict everything that people wanted to show.
Graphite Powder Silver
Order number: 47700
very fine
Chemical description Natural graphite, CAS No. 999999-99-4 (natural occuring substance)
ColorIndex PBk 10.77265
Suitability Acrylics, Lime / Fresco, Ceramic, Oil, Tempera, Watercolor / Gouache
Color Gray, Black, Silver
Form solid
Lightfastness medium 8 (1 is poor, 8 is best)
Lightfastness thinned 8 (1 is poor, 8 is best)
Lightfastness concentrated 8 (1 is poor, 8 is best)
Solubility in water insoluble
Hostaperm Pink, transparent
Order number: 23401
bright Magenta
Chemical description Pigment Red 122, C.I. 73915
ColorIndex PR 122.73915
Opacity transparent
Suitability Acrylics, Oil, Tempera, Watercolor / Gouache
Color Pink, Red
Form powder
Lightfastness medium 7-8 (1 is poor, 8 is best)
Lightfastness thinned 7 (1 is poor, 8 is best)
Lightfastness concentrated 7-8 (1 is poor, 8 is best)
Resistance Alkali 5 (1 is poor, 8 is best)
Solubility in water insoluble (20°C)
Resistance Lime (1 is poor, 8 is best)
Resistance Acid 5 (1 is poor, 8 is best)
Pastel Green, Victoria Green
Order number: 44190
bright, very lightfast, transparent
Chromium based silicate pigment which can easily be worked with in most mediums. The oil absorbtion is low, thin transparent layers are therefore difficult if ground in oil.
ColorIndex PG 51.77300
Suitability Acrylics, Lime / Fresco, Ceramic, Oil, Tempera, Watercolor / Gouache, Silicate binder, Waterglas, Cement / Tadelakt
Color Green
Form powder
Lightfastness medium 8 (1 is poor, 8 is best)
Lightfastness thinned 8 (1 is poor, 8 is best)
Lightfastness concentrated 8 (1 is poor, 8 is best)
Solubility in water insoluble