Due to differences in users’ monitors, the colors presented are an approximation of the true color.
PB29-Ultramarine [Blue]
PY43-Yellow Ochre
PR170-Naphthol Red
PB29-Ultramarine [Blue]
inorganic
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.
PY43-Yellow Ochre
earth
iron(III)-oxide, hydrated
Fe2O3H2O
Yellow Ochre provides artists with earthtones from cream to brown. It has good hiding power, produces a quick drying paint, and can be safely mixed with other pigments. Its transparency varies widely from opaque shades to more transparent ones, which are valued for their use as glazes. If gypsum is present, Yellow Ochre is not suitable for frescoing. (See Brown Ochre, PY43.) PY42 is made from synthetic iron oxides. PY43 is made from natural iron oxide.
Yellow Ochre has excellent permanence because ochres are some of the most permanent pigments available.
Yellow Ochre is non-toxic unless it contains manganese.
Ochre comes from the Greek word ochros, meaning pale yellow. It was one of the first pigments to be used by human beings, and evidence of its use has been found at 300,000 year old sites in France and the former Czechoslovakia.
PR170-Naphthol Red
organic, naphthol AS
C26H22N4O4
Pigment PR170 is a bright deep red with bluish undertones. It has an average drying time. It has two crystaline forms that differ significantly in opacity. The more transparent form (F5RK) tends to be more bluish and is less lightfast.
The lightfastness and weatherfastness of Pigment PR170 varies, depending on the application and the crystaline form. The opaque form (F3RK) has very good lightfastness, and is more weather resistant. The transparent form (F5RK) has lightfastness that is considered acceptable in pure applications, but it fades more in tints. Neither form is considered suitable for exterior use.
Naphthol Reds are not considered toxic. They may cause eye, skin, or respiratory irritation. Contact with dry pigment should be avoided.
Naphthol pigments are actually dyes that are "laked" to form pigments. First developed by the German chemical company Hoechst A.G. before World War I, their use in artist paints began in the 1920s. Pigment Red PR170 is a Naphthol AS pigment, chemically related to the diarylide yellow pigments. The Naphthol AS pigments comprise a range of reds. They are used in plastics, textiles, and printing inks.
UPC Code: 835556002297