Blick StudioArtists' ColoredPencils and Sets
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Pebeo's XL Studio Oil Color has been developed to fulfill the needs of contemporary expression. The colors mix easily and quickly, and a fast drying time allows artists to add new coats after only three days, perfect for glazes and impastos.
Color Swatches created using heavy application/medium application/50% tint and were applied on acrylic primed canvas (7 oz) material.
Phthalo Blues are pure and clean primary blues with superior covering power. They have a very high tinting strength and tend to overwhelm other pigments, but if color strength can be controlled, they make predictable mixed colors. In oil form, blues are very deep and slow drying. When mixed with other colors or if chlorine is added, Phthalo Blue quickly tends towards green. When using alone, mix with some white, as Phthalo Blue can be semi-transparent and almost black on its own. It is among the most compatible of modern colors with mineral colors and is considered more reliable than Prussian Blue, while sharing the same physical and color properties. Phthalo Blue is a good color for glazing.
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.
Bocour Blue, Cyan Blue, Helio Blue, Heliogen Blue, Intense Blue, Monastral Blue, Phthalocyanine Blue, Rembrandt Blue, Thalo Blue, Winsor Blue.
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.
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.
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