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Iconography Pigment No 237 - Ultramarine Blue Dark - 50gr KREMER

Paco Code: 9851059
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€3,10
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Εξαιρετικής ποιότητας σκόνη αγιογραφίας Kremer. Δουλέψτε την με αυγό, κόλλα, ακρυλική ρητίνη ή άλλα ενδιάμεσα (medium) ζωγραφικής.   + Read More

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  • Εξαιρετικής ποιότητας σκόνη αγιογραφίας Kremer.
  • Δουλέψτε την με αυγό, κόλλα, ακρυλική ρητίνη ή άλλα ενδιάμεσα (medium) ζωγραφικής.
  • Color Family
    Blue
  • Paco code
    9851059
  • No.
    237
  • Manufacturer
    Kremer
  • Product Type
    Dry Pigments
  • Barcode
    4501000000503
  • Size
    50gr
  • SKU
    SKONES-237-50
  • Description
    Dry Pigment
  • Color Name
    Μπλε Ούλτραμαριν Σκούρο T FR ***

Πληροφορίες Χρωστικής

Αυτο το χρώμα περιέχει τις παρακάτω χρωστικές:
  • Pigment Name
    PB29-Ultramarine [Blue]
  • Pigment type
    inorganic
  • Chemical Name
    complex silicate of sodium and aluminum with sulfur
  • Chemical Formula
    Na8-10Al6Si6O24S2-4 or Na6-8Al6Si6O24S2-4
  • Properties

    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.

  • Permanence

    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.

  • Toxicity

    Ultramarine has no significant hazards.

  • History

    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.

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