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Hooker's Green

Hooker's Green

Color: Hooker's GreenPermanence: AAOpacity: OpaquePigment: PY42, PG7Pigment description: Synthetic Iron Oxide, Chlorinated Copper PhthalocyanineASTM Rating Ligthfastness: IPigment classification: MixtureColor Index Number: -Viscosity range (mPa.s): 20.000 - 25.000 Color IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

SEK 115.00
1

Fluorescent Magenta

Fluorescent Magenta

Colour: Fluorescent MagentaPermanence: BOpacity: Semi-transparentPigment: FluoPigment description: Fluorescent MagentaASTM Rating Ligthfastness: -Pigment classification: -Color Index Number: -Viscosity range (mPa.s): 20.000 - 25.000 Color IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

SEK 151.00
1

Quinacridone Burnt Orange

Quinacridone Burnt Orange

Colour: Quinacridone Burnt OrangePermanence: AAOpacity: Semi-transparentPigment: PR206Pigment description: QuinacridoneASTM Rating Ligthfastness: IPigment classification: Synthetic organicColor Index Number: 73900 / 73920Viscosity range (mPa.s): 800 - 1.500 Color IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

SEK 195.00
1

Hansa Yellow

Hansa Yellow

Colour: Hansa YellowPermanence: AOpacity: Semi-transparentPigment: PY3Pigmentdescription: Arylide YellowASTMRating Ligthfastness: IIPigmentclassification: Synthetic organicColorIndex Number: 11710Viscosityrange (mPa.s): 800 - 1.500 Colour IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

SEK 115.00
1

Transoxide Red

Transoxide Red

Colour: Transoxide RedPermanence: AAOpacity: TransparentPigment: PR101Pigmentdescription: Synthetic Red Iron OxideASTMRating Ligthfastness: IPigment classification: Synthetic inorganicColorIndex Number: 77491Viscosityrange (mPa.s): 800 - 1.500 Colour IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

SEK 115.00
1

Narrow Hue

Narrow Hue

Transparent colour originally made from ground cobalt glass and used in 16th and 17th century European paintings in place of Ultramarine. Historically Smalt loses color over time, but this modern formula offers a classic deep blue that is permanent. Pigment Classification: MixtureColorIndex Name: PB29 / PV23 / PBk7ColorIndex Number: 77007 / 51319 / 77266ChemicalDescription: Polysulfide of Sodium-Alumino-Silicate / Carbazole Dioxazine / Nearly Pure Amorphous CarbonOpacity/Transparency: TransparentLightfastnessRating: 2Permanency: Very GoodMunsellNotation Listing: Hue 5.0 P Value 2. Chroma 2GlossAverage: 21.39ViscosityRange: 20000-27000 CPSCIEL*a*b* Values: L*25.69 a*3.69 b*-14.17TintStrength: 88.69

SEK 129.00
1

35g

35g

At the end of the 19th century, when Sennelier was developing oil paints for his customers, who included great artists such as Cézanne, Gauguin and Picasso, Gustave Sennelier realised that there was a need to produce some paint that contained the highest quality pigments. In trying to produce the best colours, Gustave noted that the original pigments came from selected traditional sources, while identifying the specific chemical composition of each pigment. All this, his great respect for the materials, not only ensured the durability of work done with his paints, but also ensured a small production of unique colours with unmatched beauty and quality. The pigments are available in 25g -180g cans.

SEK 131.00
1

Dammar Gum

Dammar Gum

Fossil resin collected from trees along the Philippine islands. Dammar comes in irregular, walnut sizes, and has a light yellow color. It has been used frequently since the 18th century, for the manufacture of varnishes and mediums. Dammar dissolves by gentle stirring in solvents such as turpentine or mineral turpentine. It produces a rich, glossy, reversible film. The concentration of dammar varies between 15 and 30%, depending on the solution produced (medium or varnish). It is recommended to add a plasticizer, such as Venice turpentine, maximum 5%. Dammar contains a small percentage of insoluble wax, which is slightly cloudy in the solution. You can remove this cloudiness by leaving the solution undisturbed for a few days, then draining it once or twice through a piece of cheesecloth or paper filter.

SEK 121.00
1