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Sennelier creates their extraordinarily luscious colors from the finest hand-ground pigments combined with pure, first-press, non-yellowing, safflower oils. They produce an outstanding collection of oils distinguished by a "satin" finish and buttery feel.
Color Swatches created using heavy application/medium application/50% tint and were applied on acrylic primed canvas (7 oz) material.
Diarylide Yellow is a semi-opaque, moderately staining, intense deep reddish yellow pigment with good tinting strength.
Diarylide Yellow 83 has very good lightfastness and permanence. However, it can fade in tints, so some artists do not consider it suitable as an artists’ color. Many other diarylide yellow pigments are reported to have fair to poor lightfastness, and some are completely fugitive. Diarylide Yellow 83 is reputed to be one of the most permanent of the entire group.
Diarylide Yellow has no significant acute hazards, but chronic hazards have not been well studied.
Diarylide Yellow comes from a family of azo pigments called Diarylide. These yellow hued pigments were developed around 1940 and are very important in printing inks.
Benzidine Yellow, Diazo Yellow.
organic, vat dyes
complex, insoluble anthraquinone
Indanthrene Blue is a clear, clean, deep blue organic pigment. It has moderate to high tinting strength and is not as overpowering as Phthalo Blue. Hansa Yellow Deep, Benzimidazolone Orange, and Raw Umber are its best mixing complements.
Indanthrene Blue is permanent with excellent lightfastness in both masstone and tints.
Indanthrene Blue varies in its acute toxicity, though toxicity is generally slight.
Indanthrene Blue is the oldest vat dye, discovered and patented in 1901 by Rene Bohn. It is considered the first anthraquinone vat dye, a group of dyes characterized by excellent lightfastness. The pigment originates from this dye.
Lamp black is a very opaque, heavily staining black pigment that does not have much covering or tinting power. It is typically the most opaque black in watercolor form. Though a very pure black, it tends to muddy slightly in mixtures. Natural sources may be brownish or bluish in tone because of impurities. When used in oil paints, it is one of the slowest drying pigments, and should not be used in underpainting or applied in layers underneath other colors.
Lamp Black is very lightfast and absolutely permanent. It is used in all techniques in permanent painting.
Carbon itself is not considered hazardous, however other combustion products that are hazardous are often present as impurities when Lamp Black is produced from natural materials. For this reason, commercial preparations of the pigment should be considered slightly toxic. Avoid skin contact and inhalation. Where such impurities are present, Lamp Black is a possible human carcinogen.
Lamp Black is a carbon based black traditionally produced by collecting soot (known as lampblack) from oil lamps. It has been used as a pigment since prehistoric times. It is the black found in Egyptian murals and tomb decorations and was the most popular black for fresco painting until the development of Mars Black.
Carbon Black, Channel Black, Furnace Black, Oil Black, Vegetable Black. Flame Black is an impure version of Lamp Black. An alternate spelling is Lampblack, in which the first syllable is stressed and the two words are elided to form a closed compound.
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