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Da Vinci Fluid Acrylics are an exciting fusion of Da Vinci's most distinguished watercolor hues, and colors traditionally found on acrylic palettes. These fluid acrylic colors promise to awe those who appreciate pigment strength and vibrancy.
Color Swatches created using heavy application/medium application/50% tint and were applied on acrylic primed canvas (7 oz) material.
organic, monoazo
n/a
C24H16Cl3N3O2
This Naphthol Red is an intense scarlet red pigment that is heavily staining. It has an average drying time. It is semi-transparent and has relatively poor covering power.
This Naphthol Red has been rated as having excellent lightfastness under ASTM testing, but other testing methods have demonstrated some tendancy for the color to fade with exposure to strong ultraviolet light. It has been considered a replacement for less lightfast naphthol reds such as PR3. Not suitable for exterior use.
Naphthol Reds are not considered toxic. Naphthol Red AS-D may cause eye, skin, or respiratory irritation. Contact with dry pigment should be avoided.
Unknown.
Naphthal, Naphthol Bordeaux, Naphthol Carbamide, Naphthol Carmine, Permanent Carmine, Permanent Red, Fanchon Red.
monoazo
C18H18N4O6
This Hansa Yellow ranges from reddish yellow to greenish yellow with temperature shifts from cool to warm hues. It has good tinting strength and average to slow drying time.
This Hansa Yellow has excellent lightfastness, particularly in the darker shades.
Hansa Yellow has no significant acute hazards, though its chronic hazards have not been well studied.
Hansa Yellows were first made in Germany just before WW1 from a series of synthetic dyestuffs called Pigment Yellow. They were intended to be a synthetic replacement for Cadmium Yellow.
Arylide, Arylide Yellow, Azo, Brilliant Yellow, Monoazo, Monolite Yellow, Permanent Yellow.
inorganic
titanium dioxide
TiO2
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.
Titanium White has excellent permanence and lightfastness.
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.
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.
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