Pebeo Lino Ink, Νο506 Ultramarine Blue - 80ml
High-quality water-based lino printing inks for printing from linoleum, wood and other relief printing materials. Their smooth, creamy consistency rolls out effortlessly with a brayer, producing sharp details, crisp outlines and even colour coverage.Rich, high-coverage colours formulated with highly concentrated, stable pigments for vibrant, clean + Read More
- High-quality water-based lino printing inks for printing from linoleum, wood and other relief printing materials. Their smooth, creamy consistency rolls out effortlessly with a brayer, producing sharp details, crisp outlines and even colour coverage.
- Rich, high-coverage colours formulated with highly concentrated, stable pigments for vibrant, clean prints, even on dark papers. Available in 24 colours, including metallic, fluorescent and Duochrome shades that change appearance depending on the viewing angle and lighting.
- All colours are fully intermixable, allowing you to create an unlimited range of custom shades. Approximately 15 minutes of working time and an estimated 30-minute drying time on paper. They can also be used with Pebeo LINO auxiliaries to extend the working time or create lighter shades without reducing opacity.
- Easy cleanup with warm water and soap, with no need for solvents. Highly economical, as 1ml of ink is sufficient to cover approximately one A5 printing plate (14.8x21cm), depending on the printing technique and the amount of ink applied.
- 80ml tube made from 70% post-consumer recycled (PCR) plastic, with clear labelling of the lightfastness, opacity and pigment composition of each colour. Suitable for both beginners and experienced printmakers.
- Important: Protect from freezing, as freezing permanently damages the ink.
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ManufacturerPebeo
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Product TypeEtching Inks And Grounds
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Barcode3167861415064
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Color FamilyBlue
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Color NameUltramarine Blue
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Paco code7610537
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No.506
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Size80ml
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SKUPEBEOC-141506
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DescriptionLino Ink
Πληροφορίες Χρωστικής
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Pigment NamePW6-Titanium White
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Pigment typeinorganic
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Chemical Nametitanium dioxide
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Chemical FormulaTiO2
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Properties
Titanium White is the most brilliant of the white pigments. It is considered an all purpose oil color useful in all techniques and the best all around white. Its masstone is neither warm nor cool, placing it somewhere between Lead White and Zinc White. It is less prone to cracking and yellowing than Lead White, but it still yellows easily. Titanium White dries slowly in oil form, more slowly than Lead White but more quickly than Zinc White. It is opaque in oil and acrylic forms and semi-opaque in watercolor form. This pigment has good chemical stability, and its tinting strength is superior to both Lead White and Zinc White.
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Permanence
Titanium White has excellent permanence and lightfastness.
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Toxicity
Titanium dioxide is highly stable and is regarded as completely non-toxic. Animal studies do not indicate that it is absorbed biologically, even after long periods of exposure. The primary safety concern is with inhalation of fine pigment dust particles. If inhaled in large amounts over several years, Titanium White may cause benign pneumoconiosis visible on x-rays. The National Institute of Occupational Safety and Health (NIOSH) considers fine titanium dioxide particles, if inhaled, to be a human carcinogen. The primary concern for artists is to avoid exposure to fine particulate dust from raw pigments.
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History
Titanium is the ninth most abundant element in the Earth's crust, however mineral deposits that are economical to mine are less common. Titanium dioxide was first discovered in 1821, although it could not be mass produced until 1919. Widespread use of the pigment began in the 1940s. Since that time, it has become the most commonly used white pigment. The name comes from the Latin word Titan, the name for the elder brother of Kronos and ancestor of the Titans, and from the Greek word tito, meaning day or sun.
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Pigment NamePB15:3-Phthalo Blue
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Pigment typeorganic
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Chemical Namebeta copper phthalocyanine
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Chemical FormulaC32H16CuN8
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Properties
Phthalo Blue PB15:3 is a structural variant of Phthalo Blue PB15 that produces more greenish tones.
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Permanence
Phthalo Blues are completely lightfast and stable and are permanent for all paint uses. They are currently used in inks, coatings, and many plastics due to their stability and are considered a standard pigment in printing ink and the packaging industry.
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Toxicity
Phthalo Blues have no significant hazards, although those made before 1982 contained some PCBs (polychlorinated biphenyls).
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History
Developed by chemists using the trade name Monastral Blue, the organic blue dyestuff now known as Phthalo Blue was presented as a pigment in November 1935 in London. Its discovery was accidental. The dark color was observed in a kettle where a dye was being made from a British dyestuff plant. The demand for such a pigment came from commercial printers who wanted a cyan to replace Prussian Blue.
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Pigment NamePV23-Dioxazine Violet
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Pigment typeorganic
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Chemical Namecarbazole dioxazine
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Chemical FormulaC34H22Cl2N4O2
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Properties
Dioxazine Violet is transparent and has very high tinting strength. It is a staining pigment, very dark valued when it is used at full strength. Concentrated, it paints out nearly black, but it mixes with Titanium White to form bright, opaque tints of purple. PV23 produces slightly redder shades than PV37. Because the hue can vary with the conditions of preparation and grinding, it may be offered in red shade, blue shade, and so forth.
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Permanence
Dioxazine Violet has good lightfastness. There may be some concern about it fading or shifting in color in tints and washes. Some artists have reported that PV37, a molecular variant, is more lightfast than PV23.
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Toxicity
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History
Two molecular variants of Dioxazine Violet, PV23 and PV37, are available. They have similar properties, but mix slightly differently.
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Pigment NamePB29-Ultramarine [Blue]
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Pigment typeinorganic
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Chemical Namecomplex silicate of sodium and aluminum with sulfur
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Chemical FormulaNa8-10Al6Si6O24S2-4 or Na6-8Al6Si6O24S2-4
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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.
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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.
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Toxicity
Ultramarine has no significant hazards.
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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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