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Premium pigments sourced from around the world are combined with a highly refined medium to produce this superior professional quality watercolor. ShinHan features clear color tones, exceptional brightness and transparency, and superior light stability.
Color Swatches created using heavy application/diluted application and were applied on cold press watercolor paper (150 lb) material.
Naphthol Carmine is a lightly staining, dull red pigment with a color similar to Rose Madder, the natural source of the historic color Alizarin Crimson.
Naphthol Carmine has been reported to have inferior lightfastness compared to more modern sythetic pigments that replace it.
Although there have been no reports of acute toxicity, research has suggested that PR23 is genotoxic, and potentially mutagenic.
Naphthol Carmine was an early synthetic substitute for Rose Madder and Carmine. Before the late 19th centuries, reddish purple colors such as Alizarin Crimson, Tyrian Purple, and Carmine were available only from vegetable and animal sources. The manufacture and preparation of these colors was expensive. Clothing and textiles in these colors were considered a mark of affluence and distinction. Because Naphthol Carmine was far less expensive than the natural colors it replaced, it helped to create a revolution in color in the 19th century, as new color choices became available to the general population at affordable prices. These new sythetic dyes all but destroyed an industry in natural dyestuffs that had once employed thousands. Today, Naphthol Carmine has been largely superceeded by more permanent naphthol dyes.
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.
Lamp black is a very opaque, heavily staining black pigment that does not have much covering power. It is typically the most opaque black in watercolor form. Though a very pure black, it tends to muddy slightly in mixtures, is one of the slowest drying pigments in oils, and should not be used under other colors.
Lamp Black is very lightfast and absolutely permanent. It is used in all techniques in permanent painting.
Lamp Black is slightly toxic by skin contact and inhalation. It is a possible human carcinogen.
Lamp Black is a carbon based black traditionally produced by collecting soot (known as lampblack) from oil lamps. It is the black found in Egyptian murals and tomb decorations and was the most popular black for frescoing until the development of Mars Black.
Carbon Black, Channel Black, Oil Black, Vegetable Black. Flame Black is an impure version of Lamp Black.
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Material Safety Data Sheet
™ ShinHan is a trademark.
Dick Blick Art Materials®, Blick®, Blick Studio®, and Artists Pick Blick® are registered trademarks of Dick Blick Holdings Inc.
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