Blick StudioArtists' ColoredPencils and Sets
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Waterbased paint for pen, brush, or air-brush work. Great tinting strength. mixes with most acrylics (test first). For fine art painting, watercolor papers are recommended.
Color Swatches created using full strength/50/50 and were applied on cold press Bristol board (2 ply) material.
organic, fluorone dye
Rhodamine B is a staining violet dye that has flourescent properties. It is extremely soluble in both water and alcohol. In art materials, it is laked as a pigment.
Rhodamine B, like all fluorescent dyes, is not considered to be lightfast. It is recommended for permanent works of art only if they can be adequately protected from exposure to ultraviolet light.
The fluorescent dye Rhodamine B is toxic, and its use is banned in food, textiles, and cosmetics. It is harmful if swallowed, inhaled, or absorbed through the skin. It has been shown to be carcinogenic in rats when injected subcutaneously, producing local sarcomas. However, when it is laked as a pigment it can be biologically inactive and hence non-toxic. With proper preparation, the pigment Rhodamine B Lake is considered harmless, even if ingested.
Rhodamine B, discovered in 1887, is used as a staining fluorescent dye in the biological sciences, for microscopy. It is also used as a laser dye. Because of its low cost, high tinting strength, solubility in water and alcohol, and relative stability for a fluorescent, it has sometimes been used as a food colorant, even though its use in food and cosmetics has been banned in most countries for many years. There have been several highly publicized recalls of food and cosmetic products contaminated with Rhodamine B.
Basic Violet 10, C.I. 45170, Rhodamine 610
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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Material Safety Data Sheet
™ Winsor & Newton is a trademark.