Color Swatch created using heavy to light application and was applied on 100 lb (163 gsm) drawing paper material.
This color contains the following pigments:
PV15—Ultramarine Violet
Pigment Type
inorganic
Chemical Name
complex silicate of sodium and aluminum with sulfur
Chemical Formula
H2Na(4-6)Al6Si6O24S2
Properties
Ultramarine Violet is a semi-transparent, dull purple to pale violet with low tinting strength. As a pigment, it is weak in most oil applications, but it performs better in water-based mediums, pastels, and chalks. It is generally the bluest of the violet pigments, although there can be significant differences in color across brands. It is not suitable for fresco work and does not mix well with yellows. Ultramarine Violet is a variant of Ultramarine Blue, and their pigment properties are identical.
Permanence
Ultramarine Violet has excellent permanence and lightfastness.
Toxicity
Ultramarine Violet has no significant hazards.
History
Unknown.
Alternate Names
Mineral Violet, Violet Ultramarine, Ultramarine Red.
PR185—Permanent Carmine
Pigment Type
organic, monoazo
Chemical Name
n/a
Chemical Formula
C27H24N6O6S
Properties
Permanent Carmine (HF4C) is a non-staining, transparent red pigment that is similar to natural carmine in its hue and other properties.
Permanence
Permanent Carmine (HF4C) has excellent lightfastness for a transparent red pigment.
Toxicity
Permanent Carmine (HF4C) has no acute toxicity.
History
Permanent Carmine (HF4C) has been developed as a replacement for Carmine, a transparent red derived from the cochineal insect. It is one of a large group of azo pigments that were discovered and developed by Hoechst in the 1950s and 1960s. In comparison with natural carmine derived from cochineal, it is far less expensive, and offers superior lightfastness.
Alternate Names
n/a
PW6—Titanium White
Pigment Type
inorganic
Chemical Name
titanium dioxide
Chemical Formula
TiO2
Properties
Titanium White is the most brilliant of the white pigments. It is considered an all purpose oil color useful in all techniques and the best all around white. Its masstone is neither warm nor cool, placing it somewhere between Lead White and Zinc White. It is less prone to cracking and yellowing than Lead White, but it still yellows easily. Titanium White dries slowly in oil form, more slowly than Lead White but more quickly than Zinc White. It is opaque in oil and acrylic forms and semi-opaque in watercolor form. This pigment has good chemical stability, and its tinting strength is superior to both Lead White and Zinc White.
Permanence
Titanium White has excellent permanence and lightfastness.
Toxicity
Titanium dioxide is highly stable and is regarded as completely non-toxic. Animal studies give no indiciation that it is absorbed biologically, even after long periods of exposure. The primary safety concern is with inhalation of fine pigment dust particles. Titanium White, if inhaled in large amounts over the course of several years, may cause a benign pneumoconiosis that is visible on x-rays. The National Institute of Occupational Safety and Health (NIOSH) considers fine titanium dioxide particles, if inhaled, to be a human carcinogen. The primary concern for artists is to avoid exposure to fine particulate dust from raw pigments.
History
Titanium is the ninth most abundant element in the Earth's crust, however mineral deposits that are economical to mine are less common. Titanium dioxide was first discovered in 1821, although it could not be mass produced until 1919. Widespread use of the pigment began in the 1940s. Since that time, it has become the most commonly used white pigment. The name comes from the Latin word Titan, the name for the elder brother of Kronos and ancestor of the Titans, and from the Greek word tito, meaning day or sun.
Alternate Names
None.
