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For intensity and brilliance beyond compare, experience Mission Gold Watercolors by Mijello. This line of 96 super-premium watercolors was designed with the help of expert watercolor artists to mirror the strong, vivid colors of nature.
Color Swatches created using heavy application/diluted application and were applied on cold press watercolor paper (150 lb) material.
Lamp black is a very opaque, heavily staining black pigment that does not have much covering or tinting power. It is typically the most opaque black in watercolor form. Though a very pure black, it tends to muddy slightly in mixtures. Natural sources may be brownish or bluish in tone because of impurities. When used in oil paints, it is one of the slowest drying pigments, and should not be used in underpainting or applied in layers underneath other colors.
Lamp Black is very lightfast and absolutely permanent. It is used in all techniques in permanent painting.
Carbon itself is not considered hazardous, however other combustion products that are hazardous are often present as impurities when Lamp Black is produced from natural materials. For this reason, commercial preparations of the pigment should be considered slightly toxic. Avoid skin contact and inhalation. Where such impurities are present, Lamp Black is a possible human carcinogen.
Lamp Black is a carbon based black traditionally produced by collecting soot (known as lampblack) from oil lamps. It has been used as a pigment since prehistoric times. It is the black found in Egyptian murals and tomb decorations and was the most popular black for fresco painting until the development of Mars Black.
Carbon Black, Channel Black, Furnace Black, Oil Black, Vegetable Black. Flame Black is an impure version of Lamp Black. An alternate spelling is Lampblack, in which the first syllable is stressed and the two words are elided to form a closed compound.
Fe7(CN)18(H2O)x or C6FeN6H4N
Prussian Blue is a semi-transparent, deep cyan-blue with a greenish undertone and a very high tinting strength unequaled by most pigments. It is similar to Phthalo Blue unless mixed with white, when it gives up intensity and becomes smoky. It can behave erratically and less reliably in oil and watercolor form depending on its manufacture. For permanent painting Phthalo Blue is considered a more reliable choice.
Prussian Blue is lightfast and permanent in all techniques except for fresco. When mixed with Zinc White in watercolor or tempera form, it fades upon exposure to light and completely regains its chromatic strength in the dark. Modern manufacturing techniques have made this tendency less of an issue in recent years
Prussian Blue is moderately toxic if ingested. It will emit toxic hydrogen cyanide gas if heated, exposed to ultraviolet radiation, or treated with acid.
"The first of the modern pigments," Prussian Blue is the first artificial pigment with a known history. It was discovered by accident in 1704 by the Berlin color maker Heinrich Diesbach, who was trying to create a pigment with a red hue by mixing iron sulfate and potash. The potash Diesbach purchased from a local laboratory had been contaminated by animal oil and blood during previous experimentation. The resulting mixture yielded a very pale red that changed to purple and then deep blue when he tried to concentrate it. Since previous blue pigments came from lapis lazuli, an expensive stone, Diesbach’s discovery was extremely important for artists of the time.
Berlin Blue, Bronze Blue, Iron Blue, Paris Blue, Paste Blue. Celestial Blue, Monthier Blue and Soluble Blue are varieties of Prussian Blue. Blue Lake is a reduced or let-down variety of Prussian Blue. Chinese Blue, Milori Blue, and Steel Blue are the three highest grades of Prussian Blue.
Quinacridone Magenta is a semi-transparent and powerful bluish red with an impressive mixing range. It makes an excellent glazing color and is one of the bluest of the Quinacridone colors. The pigment's properties vary considerably, depending on how it is ground. Quinacridone pigments have relatively low tinting strength in general. For this reason, quinacridone colors are often expensive, because more pigment is required in the formulation.
Quinacridone Magenta offers very good lightfastness in most media, but some have argued that it is less lightfast in watercolor form. Although Quinacridone Magenta received only a passing grade of "fair" under ASTM test protocols, other test results have rated the pigment very good to excellent. Transparent reddish violet pigments in general have more problems with lightfastness than any other range of colors. PR122 is often used as the Magenta of CMYK (four color) process printing because it offers a better tradeoff between tinting strength and lightfastness than other pigments in its class.
Quinacridone Magenta has no acute hazards. Overexposure to quinacridone pigments may cause skin irritation. Quinicridone pigments contain a compound found to be a skin, eye, and respiratory irritant.
Quinacridone Magenta came from a red violet aniline dye that was first produced in 1858 by Natanson. It was called Magenta to commemorate a battle in Magenta, Italy. Over time, Magenta became the standard color name for a deep, violet red. Although quinacridone compounds became known in the late 19th century, methods of manufacturing so as to make them practical for use as commercial pigments did not begin until the 1950s. PR122 has become particularly popular in the formulation of Magenta for CMYK process printing.
Acra Red, Quinacridone Violet (PV19), Thalo Red Rose.
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