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Iconography Pigment No 31 - Prussian Blue LUX - 25gr KREMER

Paco Code: 9851080
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€4,40
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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.
  • Manufacturer
    Kremer
  • Product Type
    Dry Pigments
  • Barcode
    000031800501
  • Color Family
    Blue
  • Paco code
    9851080
  • No.
    31
  • Size
    25gr
  • SKU
    SKONES-31-25
  • Color Name
    Μπλε Πρωσσίας FR ***
  • Description
    Dry Pigment

Πληροφορίες Χρωστικής

Αυτο το χρώμα περιέχει τις παρακάτω χρωστικές:
  • Pigment Name
    PB27-Prussian Blue
  • Pigment type
    inorganic
  • Chemical Name
    ferric ferrocyanide/iron(III)-hexacyanoferrate(II)
  • Chemical Formula
    Fe7(CN)18(H2O)x or C6FeN6H4N
  • Properties

    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.

  • Permanence

    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 completely regains its chromatic strength in the dark. Modern manufacturing techniques have made this tendency less of an issue in recent years.

  • Toxicity

    Prussian Blue is moderately toxic if ingested. It will emit toxic hydrogen cyanide gas if heated, exposed to ultraviolet radiation, or treated with acid.

  • History

    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.

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