Sennelier Oil Color Rive Gauche 301 Blue-Grey - 200ml
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Sennelier Oil Color Rive Gauche 301 Blue-Grey - 200ml

Paco Code: 7102593
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€10,00 
€8,60
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Τα λάδια Sennelier Rive Gauche φέρνουν την επανάσταση στα λάδια ζωγραφικής! Στεγνώνουν 2 φορές ταχύτερα από τα κλασσικά λάδια ζωγραφικής κάνοντας έτσι ταχύτερο το χρόνο δημιουργίας του έργου. Ενώ π.χ. το Λευκό Τιτανίου κάνει πάνω από 8 ημέρες να στεγνώσει στα κλασσικά λάδια, στα Rive Gauche στεγνώνει σε 5 ημέρες (σχεδόν μισός χρόνος). Υψηλή περ  + Read More

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  • Τα λάδια Sennelier Rive Gauche φέρνουν την επανάσταση στα λάδια ζωγραφικής!
  • Στεγνώνουν 2 φορές ταχύτερα από τα κλασσικά λάδια ζωγραφικής κάνοντας έτσι ταχύτερο το χρόνο δημιουργίας του έργου. Ενώ π.χ. το Λευκό Τιτανίου κάνει πάνω από 8 ημέρες να στεγνώσει στα κλασσικά λάδια, στα Rive Gauche στεγνώνει σε 5 ημέρες (σχεδόν μισός χρόνος).
  • Υψηλή περιεκτικότητα σε χρωστικές (πιγκμέντα) για υψηλή καλυπτικότητα και καθαρότερες προσμίξεις.
  • Έχουν σατινέ αποτέλεσμα και ομοιόμορφη υφή και είναι κατάλληλα για όλες τις τεχνικές ελαιογραφίας (glaze, wet on wet κτλ.).
  • Περιέχουν καρθαμέλαιο που είναι ανθεκτικό στο κιτρίνισμα του χρόνου αντίθετα με τα περισσότερα λάδια ζωγραφικής που περιέχουν απλό λινέλαιο.
  • Οι αποχρώσεις του καδμίου έχουν την καλυπτικότητα και την ζωντάνια που έχουν σχεδόν και τα πραγματικά χρώματα καδμίου!
  • 32 χρώματα (81% της γκάμας) αποτελούνται από μια χρωστική (μονοπίγκμενα).
  • Είναι οικονομικά, ενώ όλες οι αποχρώσεις έχουν την ίδια τιμή (1 σειρά)
  • Φτιάχνονται στη Γαλλία - Made in France
  • Κατεβάστε / εκτυπώστε το χρωματολόγιο-φυλλάδιο εδώ
  • Paco code
    7102593
  • No.
    301
  • Manufacturer
    Sennelier
  • Product Type
    Oil Paints
  • Barcode
    3046450766148
  • Size
    200ml
  • SKU
    SENNEL-N130332.301
  • Description
    Oil Paint
  • Color Name
    Blue-Grey

Πληροφορίες Χρωστικής

Αυτο το χρώμα περιέχει τις παρακάτω χρωστικές:
  • Pigment Name
    PW6-Titanium White
  • Pigment type
    inorganic
  • Chemical Name
    titanium dioxide
  • Chemical Formula
    TiO2
  • 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.

  • Permanence

    Titanium White has excellent permanence and lightfastness.

  • 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.

  • 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.

  • Pigment Name
    PBk11-Mars Black
  • Pigment type
    earth
  • Chemical Name
    iron oxides
  • Chemical Formula
    FeO or Fe2O3
  • Properties

    Mars Black is an opaque black with a strong and cool masstone, a slightly warm tint, and a warm brown undertone. It is not as black as Ivory Black, but it dries more quickly and has three times the tinting strength. Mars Black is normally the only black available in acrylic form and that is safe to over paint. It can be used in all media without reservation and is widely used as an alternative to Lamp Black and Ivory Black.

  • Permanence

    Mars Black is very lightfast with excellent permanence.

  • Toxicity

    Mars Black has no significant hazards and is the only major black pigment considered non-toxic.

  • History

    The word Mars refers to the Roman god of iron and war. Mars Black was developed in the early 20th century from inorganic, synthetic iron oxide.

  • 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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