Blick StudioArtists' ColoredPencils and Sets
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These water-resistant crayons are soft and easy to work with. They feature exceptional covering power, excellent lightfastness, and are great for underpainting. Their hardness allows them to be sharpened more easily for detail and edge work.
Color Swatches created using heavy to light application and were applied on 100 lb (163 gsm) drawing paper material.
charred animal bone
carbon + calcium phosphate
C + Ca3(PO4)2 or C × CaPO4
Ivory Black is a cool, semi-transparent blue-black with a slight brownish undertone and average tinting strength. It mixes well with any color, and creates a range of dull greens when mixed with yellow. It has good properties for use in oil, can be slow to dry in oil form, and should never be used in underpainting or frescoing. Ivory Black is denser than Lamp Black.
Ivory Black is very lightfast and has good permanence, though it is considered the least permanent of the major black pigments.
Ivory Black has no significant hazards.
Ivory Black is a carbon based black first named as Elephantium, and described in the 4th century BCE as produced by heating ivory scraps in clay pots to reduce the ivory or bone to charcoal. The deviation in names is because the more expensive varieties of this pigment were made by burning ivory, and the less expensive ones by burning animal bone. In the 19th century, the name Ivory Black was finally permitted to be applied to Carbon Black pigments made from bone. True Ivory Black is rare in modern times due to the protection of ivory, and the synthetic variety produced today was discovered in 1929. Bone Black is produced as an industrial pigment.
Animal Black, Blue Black, Bone Black. Paris Black is an inferior grade of Ivory Black. Incorrectly labeled as Frankfort Black.
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.
Pigment PR4 is an opaque, bright yellowish red pigment with high tinting strength.
Pigment PR4 has good lightfastness, but newer red pigments are considered more permanent and reliable.
Known also as D&C Red No 36, PR4 is used in cosmetic products such as lipsticks. It has been tested for carcinogenic and mutagenic effects in laboratory rats.
Because it is inexpensive and has a long history of use in cosmetic products, Permanent Red PR4 is widely used in artist materials where safety is more important than archival preservation, as in children's art materials.
Blazing Red, Flaming Red, D&C Red No 36.
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.
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Material Safety Data Sheet
® Caran d'Ache is a registered trademark.