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Each hand-rolled stick contains a unique combination of traditional and synthetic pigments, combined to bring out their inherent beauty. Colors lay down with minimal resistance allowing several layers to accrue without becoming too thick.
Color Swatches created using heavy to light application and were applied on 100 lb (163 gsm) drawing paper material.
Burnt Sienna is a warm, mid-brown color formed by burning the yellow-brown limonite clay called Raw Sienna. It ranges from semi-opaque to semi-transparent due to the combination of its opaque, red-brown mass tone and its transparent, orangey undertone. It is an excellent mixing complement for blues and greens and creates salmon or peach colored tints when mixed with white. It can be useful for subduing bright colors and does not get chalky in dark mixtures.
Burnt Sienna has good permanence and is considered one of the most versatile of the permanent pigments.
Burnt Sienna has no significant hazards.
Burnt Sienna has been used as a pigment since prehistoric times, but its current name came about during the Renaissance. It comes from the city of Siena, in Italy, and is short for terra di Siena, meaning earth of Siena. Sienna was famous for the mining and production of earth pigments from the Renaissance until World War II. Due to the depletion of clay deposits in Tuscany, Italian siennas now come from other areas, including Sicily and Sardinia.
Caput Mortuum, Italian Earth, Natural Brown Iron Oxide, Sienna, Spanish Red, Vandyke Brown.
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.
beta copper phthalocyanine
Phthalo Blue PB15:3 is a structural variant of Phthalo Blue PB15 that produces more greenish tones.
Phthalo Blues are completely lightfast and stable and are permanent for all paint uses. They are currently used in inks, coatings, and many plastics due to their stability and are considered a standard pigment in printing ink and the packaging industry.
Phthalo Blues have no significant hazards, although those made before 1982 contained some PCBs (polychlorinated biphenyls).
Developed by chemists using the trade name Monastral Blue, the organic blue dyestuff now known as Phthalo Blue was presented as a pigment in November 1935 in London. Its discovery was accidental. The dark color was observed in a kettle where a dye was being made from a British dyestuff plant. The demand for such a pigment came from commercial printers who wanted a cyan to replace Prussian Blue.
Phthalo Blue Green Shade, Winsor Blue Green Shade
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