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Manufactured according to the original formulas, the Artisti line includes authentic, hard to find colors like Prussian Blue and Bitumen. With the exception of the whites, which are ground in safflower oil, all Artisti Oils are prepared using top-quality, cold pressed linseed oil.
Color Swatches created using heavy application/medium application/50% tint and were applied on acrylic primed canvas (7 oz) material.
This Hansa yellow is a transparent yellow. It has great brightness and tinting strength and its drying time ranges from average to slow.
Hansa Yellow makes more intense tints and cleaner secondaries than Cadmium Yellows, especially when mixed with other organic or modern colors like Phthalo Blue and Green. Because they are more transparent, they have great value as glazing colors.
Hansa Yellow G has good permanence and lightfastness, particularly in the lighter shades.
Hansa Yellow pigments have no significant acute hazards, though chronic hazards have not been well studied.
Hansa Yellows were first made in Germany just before World War I from a series of synthetic dyestuffs called Pigment Yellow. Hansa Yellow G, introduced in 1910, was the first of these products to be commercialized. Hansa Yellow G was the standard yellow for printing inks until late in the 20th century, when stronger diarylide yellows began to replace it. It is still used a great deal in packaging, and for air drying paints.
Light Fast Yellow G, Pigment Yellow G, Arylide, Arylide Yellow, Azo Yellow, Brilliant Yellow, Monoazo Yellow, Monolite Yellow, Permanent Yellow.
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
® Maimeri is a registered trademark.