Renewed and relaunched in 2011, Winsor & Newton Artists' Oilbasr are a unique formulation of genuine oil color in a solid stick. It offers artists an exciting and versatile way of painting and drawing — from sketching to sgraffito — and it can be used in combination with tube color.
Color Swatch created using heavy application/medium application/50% tint and was applied on acrylic primed canvas (7 oz) material.
manganese ammonium pyrophosphate
(NH4)2Mn2(P2O7)2 - Mn3(PO4)2 * 3H2O or H4O7P2H3NMn
Manganese Violet is a semi-transparent, bluish-violet pigment with a discrete opacity and low tinting strength. It is the reddest of the violets, and it covers and dries well in oil and tempera. It also performs well in pastel, encaustic, and watercolor. Manganese Violet is not well suited for fresco or acrylic painting. There can be significant differences in color across brands. It shares similar properties with bluish shades of Cobalt Violet.
Manganese Violet has excellent permanence and lightfastness, and it is one of the most lightfast, balanced violets in watercolor form.
Manganese Violet is highly toxic if inhaled and moderately toxic if ingested.
This pigment was developed in 1868 by E. Leykauf to replace the more expensive Cobalt Violet. It was not offered as an artists’ pigment until 1890.
Burgandy Violet, Mineral Violet, Nürnberg Violet, Permanent Violet.
complex silicate of sodium and aluminum with sulfur
Na8-10Al6Si6O24S2-4 or Na6-8Al6Si6O24S2-4
Ultramarine is the standard warm blue, a brilliant blue pigment that has the most purple and least green in its undertone. It has a moderate to high tinting strength and a beautiful transparency. Synthetic Ultramarine is not as vivid a blue as natural Ultramarine. Ultramarine dries slowly in oil and tends to produce clean, though granular, washes in watercolor. French Ultramarine mixes well with Alizarin colors in oil and watercolor form to create a range of purples and violets. It can dull when mixed with white in acrylic form, but mixes well with other colors. The shade varies based on manufacturer. Considered a great color for glazes, it is not suitable for frescoing.
Ultramarine has excellent permanence, although synthetic Ultramarine is not as permanent as natural Ultramarine. It may discolor if exposed to acid because of its sulfuric content.
Ultramarine has no significant hazards.
The name for this pigment comes from the Middle Latin ultra, meaning beyond, and mare, meaning sea, because it was imported from Asia to Europe by sea. It is a prominent component of lapis lazuli and was used on Asian temples starting in the 6th century. It was one of the most expensive pigments in 16th century Europe, worth twice its weight in gold, and so was used sparingly and when commissions were larger. Ultramarine is currently imitated by a process invented in France in 1826 by Jean Baptiste Guimet, making blue affordable to artists and extending the range of colors on their palettes.
Artificial Ultramarine, French Blue, French Ultramarine, Gmelin's Blue, Guimet’s Blue, Permanent Blue, Royal Blue, Synthetic Ultramarine. New Blue describes particular shades of Ultramarine. Armenian Blue and Lazuline Blue are names for genuine Lapiz Ultramarine. Sky Blue is a pale tone of Ultramarine.
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