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Blick StudioArtists' ColoredPencils and Sets
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Holbein's opaque matte gouache is Japan's foremost designers' color medium. These paints deliver a brilliant, rich matte finish using naturally opaque pigments - no opaquing agents added. This creates vibrant, exciting color that won't muddy when mixed.
Color Swatches created using full strength/50/50 and were applied on cold press Bristol board (2 ply) material.
cobalt ammonium phosphate
Cobalt Violet PV49 is a lightfast, semitransparent, nonstaining, light violet pigment with low tinting strength. Because of its high cost and low tinting strength, it is generally used only in pure applications.
Cobalt ammonium phosphate is completely lightfast. Because of its low tinting strength, tints are susceptible to color shifts, as other materials undergo changes.
Cobalt ammonium phosphate is toxic.
Cobalt comes from the Middle High German word kobolt, an underground goblin, because miners thought cobalt harmed silver ores. Cobalt Violet was the first real violet pigment and was described by Salvetat in 1859. The light variety of this pigment, developed in Germany earlier in the 19th century, was particularly poisonous due to its arsenic content. Cobalt Violet hues were the only permanent bright violets available to artists until the 1950s. Cobalt ammonium phosphate has been manufactured since 1859, but its use in artist paints is less common than other forms of Cobalt Violet.
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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