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P ROD U CT CATA LOG www.kremerpigments.com Table of Contents Pigments 01 TABLE OF CONTENTS Dyes & Vegetable Color Paints 02 Fillers & Building ...
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P ROD U CT CATA LOG

www.kremerpigments.com

Table of Contents

Pigments

01

TABLE OF CONTENTS

Dyes & Vegetable Color Paints 02 Fillers & Building Materials

03 Mediums, Binders & Glues

04 Solvents, Chemicals & Additives 05 Ready-made Colors & Gilding Materials

3 31 35 41 53 56 66 69 74 82 85

01 Pigments 02 Dyes & Vegetable Color Paints 03 Fillers & Building Materials 04 Mediums, Binders & Glues 05 Solvents, Chemicals & Additives 06 Ready-made Colors & Gilding Materials 07 Linen, Paper & Foils 08 Brushes 09 Tools, Packaging & Supplies 10 Books & Color Charts 11 General Information

06 Linen, Paper & Foils

07 Brushes

08 Tools, Packaging & Supplies 09 Books & Color Charts

10 General Information

11

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Icon-Legend

ICON-LEGEND The following Icons are used in the brochure:

Hazardous Item Read the Material Safety Data sheet carefully – you can find all Disclaimer product sheets under www.kremerpigments.com and consult our safe handling procedures – see Chapter 11. Not for home use! To buy this product you have to be over 21 years old. Please send us a copy of your identity card. These products require a Hazardous Item Disclaimer. Please fill out the form on page 116 or at www.kremerpigments.com and submit with your order.

Cautionary Label

Products may contain hazardous substances. Read the ACMI cautionary label carefully and consult our safe handling procedures – see Chapter 11. For further product-specific information please visit us at www.kremerpigments.com.

Approved Product

Products bearing the AP Product Seal of ACMI are certified in a program of toxicological evaluation by a medical expert to contain no materials in sufficient quantities to be toxic or injurious to humans or cause acute or chronic health problems. For further information see Chapter 11 or visit us at www.kremerpigments.com.

Kremer-Made

Products with this icon are Kremer-made.

printed: March 2014

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Pigments

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PIGMENTS

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Kremer-made and Historic Pigments Earth & Iron Oxide Pigments Pigments of Modern Age Special & Effect Pigments XSL-Pigments Glass Pigments IWA – Enogu® Mineral Pigments Assortments

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01

Pigments

KREMER-MADE AND HISTORIC PIGMENTS /// Orange / Red 01

/// Pinkcolor 10150 10154

Pinkcolor, very lightfast, < 38 µ Pinkcolor Deep, very lightfast, contains lead, toxic, < 38 µ

/// Cinnabar Chinese cinnabar is historically considered to be the best. This is not only because China understood the manufacturing process of Vermilion early on, but because it developed a system of separating the different colored particles in a glue solution - similar to the process explored by Michael Price (see Azurite MP). 10610 10620 10624

Natural Cinnabar Monte Amiata, < 63 µ, mercuric sulphide Natural Cinnabar, mineral pigment, from China Cinnabar, very fine, chien t´ou, < 20 µ The very finest and brightest of our cinnabars.

10625 10627 10628

Cinnabar, fine, chu piao, 20 - 50 µ Cinnabar, medium, chu sha or yin chu, bright, intense, 50 - 63 µ Cinnabar, dark, p’i sha, 63 - 100 µ Somewhat coarser and less brilliant.

/// 11300 11550

Red Jasper, semi-transparent, 0 - 120 µ Snaefellsjoekull Red, dark, reddish brown-violett earthcolor from Iceland Further Iceland Earthcolors: 11551 Heydalsvegur Yellow, 11552 Brimisvellir Green, 11553 Iceland Earthcolors Assortment.

/// Burgundy Ochre In western Burgundy, south and north of the river Loire, numerous mines produced a local shade of natural earth ochre. Long before it became famous for its wines, and ochre was pulled from the earth, thin layers of iron ore were mined in the region, establishing a smelting industry and contributing to its wealth. Besides ochre and iron ore, there are also significant occurrences of gray clay which burns to a light color in ceramics. The ochre veins run only about a foot thick, and usually deep in the earth. After taking over the S.O.F. (Societe des Ocres Francaises) in 1970, the ochre producers of southern France closed all mines in Burgundy which had turned unprofitable, since the mines of the Luberon in the Provence region yield a higher volume and are more accessible. By chance we have obtained a good amount of the Burgundy ochres from old stock. The Burgundy ochre is also available in yellow hue. 11574 11575 11576 11577

Burgundy Red Ochre, fine, from France, 0 - 80 µ Burgundy Red Ochre, from France, 0 - 120 µ Burgundy Red Ochre Deep, fine, from France, 0 - 80 µ Burgundy Red Ochre Deep, from France, 0 - 120 µ

/// Spanish Ochre Sun-burnt Castille is in the heart of Spain. A special mixture of natural occurring minerals produces this orange-red ochre which we supply in two grinds. 11584 is suitable for underpainting and full tone application, while 11585 extra fine is used for highly lightfast glazes. 11274 11584 11585

Red Ochre, from Andalusia, < 80 µ Spanish Red Ochre, 0 - 120 µ Spanish Red Ochre, extra fine, Bauxite, 0 - 63 µ

/// Moroccan Ochre 116430 Red Moroccan Ochre, warm transparent red ochre, < 120 µ 116431 Red Moroccan Ochre, fine, warm transparent red ochre, < 80 µ

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Kremer-made and Historic Pigments

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Pigments

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116440 Dark Red Moroccan Ochre, maroon, < 120 µ 116441 Dark Red Moroccan Ochre, fine, maroon, < 80 µ

/// Red Bole, in pieces 12480

01

Red Bole, cut in pieces, from Theley

/// Madder Lake Please find the Madder Roots (#37199 + #37201) in Chapter 02 Dyes & Vegetable Color Paints. 37202 37203 372051 372052 372057 372058 372141

Madder Lake, genuine, genuine, made from natural roots Madder Lake, yellowish, precipitated with tin salt Madder Lake Coral, from roots Madder Lake Salmon, from roots Madder Lake Carmine Red, from roots, precipitated with copper Madder Lake Hazelnut, precipitated with copper - May 2012 Madder Lake made of roots, Dark Red, brilliant, intense hue, very fine grind, translucent According to historic recipe.

372142 Madder Lake made of roots, Bordeaux Red, brilliant, very fine grind 37217 Madder Lake Violet-Brown, fine, made from roots 40 kg Madder roots are necessary to get 1 kg Madder Lake Violet-Brown. This Madder Lake is recommended to be used for violin varnishes.

37218

Madder Lake Violet, Kremer-made from roots

/// 42000 42100 42500

Vermilion, mercuric sulphide, light, from China Carmine Naccarat, made of cochineal Red Lead, Minium, contains lead, toxic

/// Yellow /// Lead Tin Yellow 10100

Lead Tin Yellow, light, < 38 µ, contains lead, toxic Light lemon, changed hue.

10110

Lead Tin Yellow deep, changed hue, < 38 µ, contains lead, toxic Lead stannate, lightest yellow in oil painting from medieval times to around 1800. Opaque. Useful for highlights and as a very light covering yellow.

10120

Lead Tin Yellow II, yellow lead glass, 0 - 63 µ, contains lead, toxic Lead Tin Yellow II is produced with quartz, yielding a yellow lead glass pigment that is ground and screened through a fine mesh. Its hue is deeper than 10100 or 10110, and transparent, making it suitable for warm yellow glazes.

/// 10130

Naples Yellow from Paris, < 50 µ, contains lead, toxic Manufactured according to 19th century methods as lead-zinc-antimoniate.

10700

Orpiment, genuine, King´s Yellow, coarse, 175 µ, contains arsenic, toxic The origin of the modern name derived from the Latin term auripigmentum or auripigmento, literally meaning gold paint. Orpiment was once widely used, particularily in the East, but limited supply and its toxic character made it a rare pigment nowadays.

10800

Realgar, genuine, red orpiment, 175 µ, contains arsenic, toxic Realgar is the natural orange-red sulphide of arsenic. It is chemically closely related to orpiment. The two minerals are often found in the same deposits.

10850

Crocoite, natural Chromium Yellow, < 80 µ, contains lead, toxic Crocoite is a mineral consisting of lead chromate.

11272 Yellow Ochre, from Andalusia, 0 - 80 µ 114051 Diamond Powder green-yellow, crystals, approx. 100 µ 11520 Jarosite, clear yellow ochre, < 100 µ Historical yellow pigment. Stable iron mineral with a characteristic pale yellow tone, typical color for Russian icon painting, and in artwork of Ancient Egypt.

11540

Taunus Ochre, light, German

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Kremer-made and Historic Pigments

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Pigments 11551

Heydalsvegur Yellow, yellow-gold, earthcolor from Iceland Further Iceland Earthcolors: 11550 Snaefellsjoekull Red, 11552 Brimisvellir Green, 11553 Iceland Earthcolors Assortment.

/// Burgundy Ochre

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These yellow ochres are like their red equivalents from the area around the Loire and have a very intense hue. 11572 11573

Burgundy Yellow Ochre, fine, from France, 0 - 80 µ Burgundy Yellow Ochre, from France, 0 - 120 µ

/// Moroccan Ochre Brilliant transparent gold ochre. Pure earth pigment from Midelt in Morocco. 116420 Yellow Moroccan Ochre, < 120 µ 116421 Yellow Moroccan Ochre, fine, < 80 µ

/// 17000

Jarosite, from Cyprus, genuine, pale yellow ochre Lemon Yellow ochre is the clearest yellow ochre occurring naturally, without the deeper tone of French ochres. Because of the political situation of Cyprus the mining of this rare and beautiful earth has been neglected, but now a small amount of manual production is once again available. Other deposits of natural ochre of this clarity may exist, but the Cyprian Limonite has always been famous for its unique hue.

17050

Natural Sienna, Monte Amiata, Italian, washed, brilliant, very light Raw Sienna earth from a site near Grosseto, Italy. The pigment has been cleaned and ground very finely to create a brilliant, very light powder.

/// Lake made of Reseda 36261

Lake made of Reseda and Buckthorn Berries, yellow lake pigment, dark golden color More lightfast than lake from weld.

36262

Lake made of Reseda, yellow lake pigment, slightly greenish

/// Osage 37370

Osage, yellow, made of wood flour

/// Stil de Grain 37392 Stil de Grain light, yellow lake pigment made from buckthorn berries 37394 Stil de Grain, yellow lake pigment made from buckthorn berries 373941 Stil de Grain, Schützenberger, Kremer-made from buckthorn berries

/// Massicot 43010

Massicot, Litharge, yellow lead oxide, litharge, pieces, contains lead, toxic

/// Naples Yellow, contains lead 43121 43125 43130

Naples Yellow, lemon, genuine, contains lead, toxic Naples Yellow, dark, genuine, contains lead, toxic Naples Yellow, reddish, contains lead, toxic

/// Green /// Egyptian Green 10064

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Egyptian Green, copper glass, 40 - 120 µ

Kremer-made and Historic Pigments

For further information and prices please visit us at www.kremerpigments.com

Pigments

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/// Malachite Natural copper carbonate, contains copper. Malachite is the most important green up until the 18th century. We offer natural Malachite as well as the MP-quality. Michael Price has developed a process to preserve the subtle green hue of Malachite in oil by coating the particles with protein. Their hue is of special purity and varies according to particle size. 10300 10310 10341 10343 10344 10345 10346

01

Malachite natural, standard, intense color, 0 - 120 µ Malachite natural, extra fine, 0 - 80 µ, intense color Malachite MP coarser, 100 - 125 µ Malachite MP medium, 80 - 100 µ Malachite MP fine, 63 - 80 µ, intense color Malachite MP extra fine, 0 - 63 µ, intense color Malachite MP finest grind, 0 - 20 µ

/// 10350 10355

Chrysocolla, bluish green, copper silicate, 0 - 120 µ Dioptase Copper Silicate, < 40 µ, rare emerald-green to bluish green mineral Dioptase has a hardness of 5 which makes it suitable for the use as a pigment. Dioptase is lightfast, changes its color however at higher temperatures or if exposed to the sun.

/// Malachite Fibres The pigment made of this fibrous mineral is darker than the pigment made of Malachite rocks. 103600 Malachite Fibres, 0 - 120 µ 103601 Malachite Fibres, fine, 0 - 80 µ

/// Malachite, Arabian The pigment of this special Malachite from Algeria is bright green. The various sizes of the small crystals are very equal. The pigment behaves differently than other Malachite pigments, it is easier to grind. Arabian Malachite is the traditional green of the Prophet Mohammad. 103700 Malachite Arabian, 0 - 120 µ 103701 Malachite Arabian, fine, 0 - 80 µ

/// Atacamite Atacamite, Cu2Cl(OH)3, does not occur very often. It contains chlorine. Its stability is similar to Malachite. 103900 Atacamite, 0 - 120 µ 103901 Atacamite, fine, 0 - 80 µ

/// Conichalcite Analytical tests sometimes reveal copper and arsenic in green pigments. A typical analysis of Conichalcite shows 24,5 % copper and 28 % arsenic besides calcium and oxygen. 10870

Conichalcite, contains arsenic, toxic

/// Verona Green Earth 11000 11010

Verona Green Earth, 0 - 120 µ, genuine earth pigment Verona Green Earth, fine, 0 - 80 µ, genuine earth pigment

/// 11100 11110 11111 11120

Bavarian Green Earth, 0 - 120 µ, similar to Bohemian Green Earth Russian Green Earth, 0 - 120 µ, natural earth pigment Russian Green Earth, extra fine, 0 - 63 µ, natural earth pigment Volkonskoite, 0 - 120 µ, Russian Green, from Sibiria

/// Aegirine 11140 11141

Aegirine, fine, 0 - 63 µ, dark green earth Aegirine, medium, 63 µ - 80 µ, dark green earth

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Kremer-made and Historic Pigments

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Pigments /// Epidote Epidote is a calcium aluminium iron sorosilicate mineral. This vivid and bright hue was achieved by intense cleaning processes. It´s unique green color is often described as pistachio. 11150 11151

01

Epidote, yellow-green earth Epidote, greenish extra, yellow green earth pigment, 0 - 120 µ

/// Florentine Green 11152

Florentine Green, 60 - 120 µ, washed

/// Andeer Green The light-green mineral (looks like serpentine) can be used as fine green sand. 11181 11182 11183

Andeer Green, fine, 0 - 200 µ, Green Gneiss from Andeer, Switzerland Andeer Green, medium, 200 - 500 µ, Green Gneiss from Andeer, Switzerland Andeer Green, coarse, sand, 0,5 - 2 mm, Green Gneiss from Andeer, Switzerland

/// 11200 11210 11250 11354 11390 11391 11392

Green Jasper, crystalline bluish green, 0 - 120 µ Green Quartz, 63 -100 µ Celadonite, green earth, from the Côte d’Azur, France Slate Green from Mels, Switzerland Jade, very fine, Russian, < 63 µ Jade, fine, Russian, 40 - 100 µ Jade, medium, green, Russian, 100 - 120 µ

/// Fuchsite Fuchsite is a dark green variety of muscovite. 11420 11421 11422 11424

Fuchsite, extra fine, 0 - 100 µ Fuchsite, fine, 100 - 250 µ Fuchsite, medium, 250 - 500 µ Fuchsite, coarse, 500 - 1000 µ

/// 11552

Brimisvellir Green, moss green, from Iceland, silimar to Verona Green Earth Further Iceland Earthcolors: 11550 Snaefellsjoekull Red, 11551 Heydalsvegur Yellow, 11553 Iceland Earthcolors Assortment.

12200

Copper Resinate, transparent copper green

17400

Green Earth, from Cyprus, genuine, standard High in the mountains of Cyprus, far from the tourist spots, one can find round, fist-sized rocks strewn among the olive groves and in small ravines. Some of these gray-white rocks contain a light, pure, green color, with a core of a hard brown substance. It looks like the brown silicate is slowly weathering into a green earth in this hot, semi-arid climate. The green earth from Cyprus originated mainly in the Turkish part of the island. Political and judicial problems make the collection of the earth basically illegal. Only on the borders of the historical sources can one find a few of these rocks. The painting department of one of the big monasteries in Greece commissioned us with the production of green earth from stones, and they have supplied us with a small amount to sell to our customers.

17410

Bluish Green Earth, from Cyprus, genuine, brilliant Special selected green earth with a bluish quality. Green earth from Cyprus is found while farming the fields of the north-west highlands. As agriculture declined during and after the Turkish-Greek war, the source was lost. A geologist on Cyprus is now finding small amounts of this rare mineral, most of which has a light to medium green hue. Only a few rocks are of this blue-green quality.

37391 44450

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Sap Green, made from ripe buckthorn berries and weld Verdigris, synthetic, coarse bluish green powder, contains copper

Kremer-made and Historic Pigments

For further information and prices please visit us at www.kremerpigments.com

Pigments

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/// Blue / Violet /// Smalt Cobalt silicate, contains cobalt. Oldest known man-made cobalt blue. Blue glass powder. 10000 10010

01

Smalt, standard, according to a recipe from 1820, 0 - 120 µ Smalt, very fine, according to a recipe from 1820, < 80 µ

/// Egyptian Blue Blue copper silicate, made by boiling quartz with copper and calcium. It is the first synthetic pigment we know of and was typical for the ancient cultures of Babylon and Egypt. It was used until the end of the Roman period in Europe. Based on glass frit, it is stable in lime and very fade-resistant. 10060

Egyptian Blue, blue copper silicate, < 120 µ

/// HAN-Blue The blue of ancient China. Chinese Blue is a completely synthetic pigment created by Chinese chemists about 2600 years ago. It is a barium-copper-silicate made from mineral barium (barytes), mineral copper (malachite or azurite) and sand (quartz), compounded at about 1000° C. 10071 10072

HAN-Blue, fine, the blue of ancient China, 0 - 40 µ HAN-Blue Deep, intensive blue, 40 - 80 µ

/// 10074 10075 10170

HAN-Purple, fine, < 40 µ, high tinting strength HAN-Purple, 40 - 80 µ Ploss Blue, copper calcium acetate

/// Blue Bice 10180 10184

Blue Verditer, synthetic Azurite, blue bice, cendres blue Blue Bice, Copper-Calcium-Carbonate, CCC-Blue

/// Azurite Medieval European painting harbours many secrets, which is why we often speak of the „secrets of the old masters.” Painting was organized in guilds, and members of the guild traded recipes of certain processes only among other members. No written account remains of many of these recipes which today pose a riddle to restorers and painters alike. One of the unsolved mystery of painting technology is why Azurite used in oil sometimes does not turn green. Azurite contains copper, which is notorious for changing its color in acidic environments, such as linseed oil. Now a customer of ours - Michael Price - has developed a process to preserve the subtle blue hue of Azurite in oil by coating the particles with protein. As a byproduct of this process, the pigment particles are sorted according to purity and size – yielding many new and vibrant shades that can be used in oil painting. Scientific analysis supports the use of a protein coat in historical copper paint pigments. The IRPA in Brussels even found protein coating on most of the pigments used by the brothers Van Eyck. We now offer from our own production this line of „MP” Azurite pigments. Their hue is of special purity and varies according to particle size. 10200 10201 10203 10204 10206 10207 10208 10210

Azurite natural standard, 0 - 120 µ Azurite MP, extra deep coarse, 100 - 125 µ Azurite MP, extra deep, 80 - 100 µ Azurite MP, deep, 63 - 80 µ Azurite MP, pale, 38 - 63 µ Azurite MP, Sky-Blue light, extra fine, < 38 µ Azurite MP, exclusive, very clear, finer than 38 µ Azurite natural fine, very fine grind, 0 - 80 µ

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Kremer-made and Historic Pigments

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Pigments /// Turquoise Only a few kinds of the Turquoise minerals are suitable for the pigment production. Turquoise is a blue-to-green mineral that is a hydrous phosphate of copper and aluminium, with the chemical formula CuAl6(PO4)4(OH)8·4H2O. 103800 Turquoise Sky-Blue, 0 - 120 µ 103801 Turquoise Sky-Blue, fine, 0 - 80 µ

01

/// Vivianite Vivianite is an aqueous iron phoshate. Its chemical structure is about Fe3 2+(PO4)2·8H2O. The glass-like thin panes are almost transparent. Only when ground it is a gray blue pigment powder. 104000 Vivianite, 0 - 120 µ

/// Sodalite 104200 Sodalite, 0 - 120 µ, bluish-purple gray pigment 104201 Sodalite, fine, 0 - 80 µ, bluish-purple gray pigment

/// 104500 Vesuvianite, purple pigment, 0 - 120 µ Vesuvianite was first discovered on Mount Vesuvius, Italy. Vesuvianite is a complex iron-manganese-silicate.

104602 Cavansite, extra fine, 0 - 40 µ Cavansite - its name refers to the chemical composition, calcium vanadium silicate - is a blue calcium vanadium phyllosilicate mineral. Cavansite is a relatively rare mineral. It is polymorphic with the even rarer mineral, Pentagonite. Our Cavansite is found near Poona, India. We do not know whether Cavansite has ever been used in Europe, but it appears that this bright turquoise blue color was used on some Moghul minatures.

10470

Pentagonite, opaque, turquoise, < 40 µ Pentagonite is a blue hydrous calcium vanadium phyllosilicate mineral. Our Pentagonite is from Goa, India.

/// Lapis Lazuli Lapis Lazuli is a relatively rare, semi-precious stone which has been prized for its intense blue color since antiquity. There are two areas where Lapis Lazuli is found. It has been mined in Afghanistan for more than 8000 years and in Chile since the 20th century. Our Lapis Lazulis 1056025 - 10562 are from Chile, all others are from Afghanistan. 10500 10510 10520 10530

Lapis Lazuli, grayish-blue, natural ultramarine Lapis Lazuli, medium quality, natural ultramarine Lapis Lazuli, good quality, natural ultramarine Lapis Lazuli, pure, Fra Angelico Blue Made according to a historic recipe. Clear, distinct blue.

10540 1056020 1056025 1056038 1056045 1056075 10562 10580

Lapis Lazuli, crystalline, natural ultramarine, pale Lapis Lazuli from Chile, 0 - 20 µ, washed and separated by flotation Lapis Lazuli from Chile, 20 - 25 µ, washed and separated by flotation Lapis Lazuli from Chile, 25 - 38 µ, washed and separated by flotation Lapis Lazuli from Chile, 38 - 45 µ, washed and separated by flotation Lapis Lazuli from Chile, 45 - 75 µ, washed and separated by flotation Lapis Lazuli, sky-blue, from Chile, natural crystalline pigment Ultramarine Ash, by-product of Lapis Lazuli 10530

/// Côte d´Azur Violet Light violet slate powder. From Mels, Switzerland. Contains iron / manganese. 11350

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Côte d´Azur Violet, light caput mortuum

Kremer-made and Historic Pigments

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Pigments

01

/// Indigo Indigo is an organic blackish blue pigment. Natural indigo was the only source of the dye until the late 19th century. Today Indigo is also produced synthetically and available in various shades. A variety of plants, such as Indigofera species or Isatis tinctoria, provide the indigo dye. Indigofera species can be found all over the world. The dye is obtained from the processing of the plant´s leaves. The leaves are soaked in water and fermented in order to convert the glycoside Indican naturally present in the plant to the blue dye Indigotin. The precipitate is mixed with a strong base such as lye, pressed into cakes, dried, and powdered. The powder is then mixed with various other substances to produce different shades of blue and purple. Indigo is among the oldest dyes to be used for textile dyeing. For centuries Indigo has been used in many Asian countries, also in Mesopotamia, Egypt, Greece, Peru and Africa. The Romans used indigo as a pigment for painting and for medicinal and cosmetic purposes. It was a luxury item imported to the Mediterranean from India by Arab merchants. Indigo has been used in traditional textile dying throughout West Africa. From the Tuareg nomads of the Sahara to Cameroon, clothes dyed with Indigo signified wealth. Indigo is insoluble in water and alcohol. Please find our synthetic Indigo (#36009) in this Chapter under Pigments of Modern Age, the appropriate Color Paste (#360094) in Chapter 06 Ready-made Colors & Gilding Materials. 36000 36002 36003 36005 36006 36007

01

Indigo, genuine, Indian, powder, Indigofera tinctoria Indigo, genuine, pieces, from India Indigo made of Woad, natural blue dye Indigo Blue lake, medium blue, natural blue dye Indigo Red-Violet, natural blue pigment Maya Blue, genuine, indigo in a silicic crystal matrix

/// 36010

Tyrian Purple, genuine, Imperial Purple The royal red of antiquity is named after Pupura Lapillus, the shellfish which excretes the purple dye, also called Tyrian dye. Traditionally adorning the robes of emperors, kings and chief magistrates, 1 gram of this dye is made from the secretion of 10.000 of these large sea snails. Since ancient times Purple has been used for dying wool, cotton and silk. One can use the dye directly from the shellfish for this procedure. The pigment made from this natural dye is called Tyrian Purple or Imperial Purple. It can be used for painting.

36015

Purpurissum, Tyrian Purple, genuine, murex trunculus Pigment for paint.

36018

Folium Cloth Blue, dry extract of Chrozophora tinctoria on textile carrier The weight of the samples may vary.

/// White /// Alba Albula 11283

Alba Albula, buff white colored chalk, from Albula, Switzerland

/// Sugar Dolomite From the Swiss Alps. Sugar Dolomite consists of small, pure white crystals. 11290 11291

Sugar Dolomite, 0 - 120 µ Sugar Dolomite, coarse, 120 - 250 µ

/// 11320 11400 11401

Rhodochrosite, pale-coral pink, 0 - 120 µ Rock Crystal, 80 - 150 µ Rock Crystal, fine, powder, 0 - 63 µ Mountain Crystal Powder consists of crystalline white particles which are visible under the microscope.

11405 Diamond Powder, natural white, 60 - 80 µ 114052 Diamond Powder white-silver, crystals, approx. 100 µ 114053 Diamond Powder white-silver, crystals, approx. 250 µ 11410 Eggshell White, fine, white powder

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Kremer-made and Historic Pigments

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Pigments /// Bianco San Giovanni Described by Cennino Cennini. 11415 11416

Bianco San Giovanni, white pigment Bianco San Giovanni, coarse, white pigment

01

/// 11674

Obsidian Black, natural glass from Mexico Mineral black volcanic glass from Mexico is called Obsidian. The rocks are found in Arizona and Northern Mexico, and produce an attractive, subtle gray powder.

11800 11810

Selenite, Marienglas, 0 - 120 µ, gypseous spar from Cyprus, special extender Selenite, Marienglas, fine, 0 - 80 µ, gypseous spar, from Cyprus Specific crystalline structure (plates) make this product especially suitable for violin-making, where it is used as a clear filler in oil varnishes.

11830 11840 11850 12470 46000

Aragonite, extra white, fine grind, 0 - 63 µ Alabaster White, pieces, natural transparent alabaster from Morocco Alabaster, yellowish, pieces, natural alabaster from Morocco White Chalk from Belgium, natural drawing chalk, 8 x 1 x 1 cm Cremnitz White, Lead White, contains lead, toxic Only permitted for the restoration of art works as well as historically protected buildings, only if the use of substitutes is impossible.

/// Brown / Black 10900 10920 10930 10940 11276 11280 11282

Galena, gray-black lustrous powder, contains lead, toxic Pyrite Powder, 0 - 120 µ, green-gray, lustrous powder Pyrite Powder fine, 0 - 80 µ Antimony, stibium, gray metallic, baroque, 0 - 200 µ Brown Ochre, from Andalusia, < 80 µ Black Earth, from Andalusia, < 80 µ Nero Bernino, gray-green slate from Bernina, Switzerland, 0 - 120 µ

11356

Gray from Mels, Switzerland

11360 11362 11530 11620

Brown-Red Slate, from Austria Gray from Burgundy, < 80 µ Gold Ochre, from Saxony, Germany, deep brown-gold, very fine grind Brown Earth from Otranto, Italy, pea-ore, sanguine-rust brown, standard grind Brown earth with lime deposits sometimes produces small, round nuggets of iron oxide sediments, also known as pea ore. In medieval times this pea ore was used to smelt iron. It can be found in practically all areas in which limestone occurs, especially after rain in autumn on freshly tilled soil. The brownish red color is reminiscent of coagulated blood, and the pigment obtained from it can be used in all painting techniques.

11630 11650 11670

Iseo Brown, reddish brown umber, from Italy Elba Brown Ochre deep, dark brown, fine grind, from Tuscany Onyx Black, 0 - 120 µ

/// Carbonic Black 12000 12010 12015 12020 12040 12440

Ivory Black, genuine, own production Peach Black, genuine, matt black Grape Black, genuine, bluish-black Cherry Black, genuine, brownish-black Shungit, Russian Black for Icons, < 80 µ Bideford Black, powder, finer 80 µ

/// 12030

Atramentum, ink stone, black Produced from the tannic acid of oak bark in a reaction with iron salts, Atramentum is a deep black material that differs from carbon or iron oxide blacks. Historically also called „ink stone,” it appears grayish black in watery media, which can act corrosive on paper supports. However, in linseed oil or resinous glazes this pigment develops its incomparable depth and lustre. Very lightfast.

12100

14

Bistre, genuine beechwood soot

Kremer-made and Historic Pigments

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Pigments

01

/// Sepia 12400 12401 12402

Sepia, from adriatic cuttlefish, raw, dry, 0 - 120 µ Sepia, fine, from adriatic cuttlefish, raw, dry, 0 - 80 µ Sepia, very fine, from adriatic cuttlefish, raw, dry, 0 - 63 µ 01

/// Black Drawing Chalk Cennino Cennini writes about a black chalk from Piemont, Italy, which is very dark, good for drawing, and soft enough for sharpening with a knife. This type of slate with a high carbon content can be found in Thuringia (Germany), France and Andalucia (Spain). From a source in France we can supply pieces of this dark chalk, which can be carved to fit pencil holders, and sharpened to a point for dark, extremely fine lines. Prices vary by size of the pieces, and are calculated by weight. 12450 12451 12452

Black Drawing Chalk, pieces, 15 - 30 g, deep black, from France Black Drawing Chalk, pieces, 30 - 80 g, deep black, from France Black Drawing Chalk, pieces, 80 - 150 g, deep black, from France

/// Graphite in pieces 12460

Graphite in pieces, small, up to 250 g, pure, price per kg

EARTH & IRON OXIDE PIGMENTS /// Earth Pigments Please find further earths like Burgundy Ochre, Moroccan Ochre, Spanish Ochre or our Iceland Earthcolors in this Chapter under Kremer-made and Historic Pigments.

/// Yellow Earth Pigments 40010 40012 40013 40030 40040 40050 40060 40070 40130 40195 40200 40214 40220 40241 40260 40280 40301 40310 40320 40392 40400 40404 40410

French Ochre JTCLES, clear yellow earth pigment, washed French Ochre, very light, yellow French Ochre, extra light, yellow French Ochre JOLES, yellow earth pigment, washed French Ochre JCLES, yellow earth pigment, washed French Ochre JFLES, yellow earth pigment, washed French Ochre JALS, warm yellow earth pigment, washed French Ochre SOFODOR, golden earth pigment French Ochre SAHARA, French yellow ochre Gold Ochre, from Poland, Carpathia Ochre Avana, greenish-yellow, Italian Gold Ochre DD, very fine, clear golden yellow, German Italian Gold Ochre light, Sienna de Verona Fawn Ochre, German, very light umber, greenish Satin Ochre, Monte Amiata, gold-orange, from Tuscany, Italy Amberg Yellow, deep, German Iron Oxide Yellow, deep yellow Dark Ochre, German, light ochre Dark Ochre, Italian, light ochre Raw Sienna, French, natural yellow earth Raw Sienna, Italian, natural yellow earth Raw Sienna Badia, Italian, natural earth pigment Raw Sienna brownish, Italian, natural earth pigment

/// Red Earth Pigments 40020 40080 40090

French Ochre RTFLES, red earth pigment, washed French Ochre HAVANE, orange earth pigment French Ochre SOFOROUGE, red earth pigment

For further information and prices please visit us at www.kremerpigments.com

Earth & Iron Oxide Pigments

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01

01

Pigments 40430 40440 40470 40490 40503 40510 40520

Dark Burnt Sienna, Italian, No. 3 Pompeii Red, burnt natural sienna, Tuscan earth Burnt Sienna, from France, natural earth Rosso Sartorius, natural red earth from Sardinia, Italy Red Bole, natural red earth from Germany Venetian Red, Italian red earth Red Bole in pieces

40542 40545

English Red English Red Light, mixed red earth, orange, burnt English Red Deep, German, mixed red earth, burnt, cool red

41550 41600

Mixed Earth Pigments Terra Pozzuoli, mixed red earths Terra Ercolano, mixed orange earths

/// Umbers Native earths from Germany, Italy and Cyprus, containing manganese, they are otherwise similar in composition to Sienna earths. Greenish dark hues of raw umber and warm deep hues of burnt umber are excellent driers and often added to slower drying pigments. 40610 40611 40612 40623 40630 40650 40660 40700 40710 40720 40723 40730

Raw Umber, from Cyprus Raw Umber, light, from Italy Raw Umber, greenish, from Italy Manganese Brown Intense, from Morocco, Caledonian brown, Cappagh brown, contains manganese Raw Umber greenish dark, German Chromite, iron chromium oxide mineral, similar to a dark green umber Raw Umber, dark, brown slightly greenish, from Cyprus Burnt Umber, reddish, Italian Burnt Umber, brownish, from Cyprus Burnt Umber, dark brown, from Cyprus Burnt Umber, type B, from Cyprus Burnt Umber Light, reddish-brown, from Cyprus

/// Green Earth Pigments

40800 40810 40821 40830 40850

Genuine Green Earths Green Earth light, yellowish, German Bohemian Green Earth, genuine, brilliant hue, extra fine grinding Green Earth from Verona, genuine, pure Green Earth from France, light Burnt Green Earth, reddish, coarser grind Mixed & Enhanced Earth Pigments Earth colors are sometimes mixed with one another to achieve a particularly beautiful hue, or enhanced with other pigments to create an optical equivalent of a much more rare and precious pigment.

41700 41750 41770 41800 41820

16

Verona Green Earth, enhanced with Viridian Green Vagone Green Earth, enhanced with Prussian Blue and Chrome Oxide Green Nicosia Green, mixed green earths with cobalt blue, enhanced Bohemian Green Earth, imitation, enhanced earth color, yellowish green light Verona Green Earth, imitation, mixed green earths

Earth & Iron Oxide Pigments

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Pigments

01

/// Brown & Black Earth Pigments 40231 41000

Brown Ochre light, German Van Dyck Brown, Cassel earth, dark Consists mainly of humic acids and iron oxide. Degradation processes: it fades on exposure to strong light and develops a cold, grey tone.

41050

Cassel Brown, wood stain, watersoluble, Van Dyck Brown, oak stain, walnut stain

40900 40911 40920 40930 40960 40970

Slate & Clay, powder Slate Gray, extra light, stone chalk, semi opaque Slate Gray, light, greenish, stone chalk Slate Gray, gray-green, stone chalk Slate Gray, dark, stone chalk, neutral gray Pencil Clay, powder, light warm gray, 0 - 0.5 mm Pencil Clay, pieces, light

01

/// Iron Oxide & Translucent Pigments Chemically produced pure iron oxide pigments are excellently lightfast, opaque and stable in any medium. They are especially recommended for outside applications, in cement and lime. Color range is equivalent to earth colors, from yellow to dark violet-brown.

/// Orange / Red 48050 48060 48100 48120 48150 48200 48210 48220 48250 48289 48600 48651 48660 48700 48710 48750 52350 52400

Iron Oxide Yellow-Orange, Gamma, synthetic iron oxide, acicular particles Iron Oxide Orange 960, light, synthetic iron oxide Iron Oxide Red 110 M, light, synthetic iron oxide Iron Oxide Red 120 M, synthetic iron oxide Iron Oxide Red 130 B, medium, synthetic iron oxide Iron Oxide Red 130 M, medium, synthetic iron oxide Iron Oxide Red 160 M, synthetic iron oxide Caput Mortuum Synthetic 180 M, bluish dark iron oxide red, Persian red Iron Oxide Red 222, dark, synthetic iron oxide, rust protection Iron Oxide Red, micronized, very pure, strong tinting strength Iron Oxide Red, natural, haematite, medium grind Haematite, intense tinting, powder Haematite, pieces, approx. 15 - 30 mm, red Caput Mortuum reddish, natural, very opaque Caput Mortuum dark, Haematite Caput Mortuum violet, Haematite, brownish Translucent Orange-Red, iron oxide Translucent Red medium, iron oxide

/// Yellow 48000 48020 48040 48045 52200

Iron Oxide Yellow 920, medium, synthetic iron oxide Iron Oxide Yellow 415, greenish, synthetic iron oxide Iron Oxide Yellow 940, dark, synthetic iron oxide Iron Oxide Yellow 930, dark, synthetic iron oxide Translucent Yellow, iron oxide

/// Brown / Black 48300 48320 48330 48340 48350 48360 48400

Iron Oxide Brown 610, light, synthetic iron oxide Iron Oxide Brown 640, medium, synthetic iron oxide Iron Manganese Brown 645 T, synthetic burnt umber, red-brown Iron Oxide Brown 655 reddish, beautiful, rich shade of brown Iron Oxide Brown 660, dark, synthetic iron oxide Iron Oxide Brown 686, extra dark, synthetic iron oxide Iron Oxide Black 318, high tinting, Mars Black, synthetic iron oxide, opaque

For further information and prices please visit us at www.kremerpigments.com

Earth & Iron Oxide Pigments

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Pigments 48420 48422 48440 48442 48445 48447 48800 48804 48806 48900 48910 48930 48933 48941 48943 489621 489623 489624

01

Iron Oxide Black 306, bluish, synthetic iron oxide Iron Oxide Black, black blue, for reinforced concrete Iron Oxide Black 320, brownish, synthetic iron oxide Iron Oxide Black, brownish black, for reinforced concrete Iron Oxide Black 303 T, dark black, synthetic iron oxide Iron Oxide Black, temperature stable Magnetite, very fine, 10 µ, deep dark gray powder, almost transparent Magnetite, fine, natural iron oxide black, approx. 63 µ Magnetite, coarse, deep dark gray, approx. 100 µ Iron Glimmer Gray, coarse Natural Iron Glimmer, < 63 µ, gray Iron Glimmer Violet, flakes, red and glossy, transparent Iron Glimmer Violet, extra fine, < 5 µ, haematite Iron Glimmer from Morocco, very fine, 0 - 63 µ, glittery Iron Glimmer from Morocco, fine, 63 - 100 µ, glittery Spanish Haematite, fine, glimmer shape, silver, 0 - 90 µ Spanish Haematite, medium, glimmer shape, silver, 20 - 120 µ Spanish Haematite, coarse, glimmer shape, silver, 100 - 200 µ

PIGMENTS OF MODERN AGE /// Orange / Red /// Cadmium Pigments Cadmium pigments are excellently lightfast, opaque and brilliant with high coloring strength, and of the highest purity available. Please find further cadmium pigments under Yellow and Green in this Chapter. 21080 21090 21100 21120 21130 21140 21150

Cadmium Orange No. 0, very light, very lightfast, opaque Cadmium Orange No. 0.5, light, very lightfast, opaque Cadmium Orange No. 1, medium, very lightfast, opaque Cadmium Red No. 1, light, very lightfast, opaque Cadmium Red No. 2, medium, very lightfast, opaque Cadmium Red No. 3, dark, very lightfast, opaque Cadmium Red No. 4, bluish purple, very lightfast, opaque

/// Organic Pigments, synth. 23152 23178 23179 23180 23181 23182 23200 23202 23230 23250 23290 23291 23293 23401 23402 23410 23490 23493

18

Hostaperm® Pink E, very bright dark pink Irgazine® Orange DPP RA, transparant Irgazine® Scarlet DPP EK, opaque Irgazine® Red DPP BO, opaque DPP - Red, transparent Irgazine® Ruby DPP-TR, opaque Scarlet Red, most brilliant scarlet CPT - Scarlet Red, warm orange Permanent Red A, deep clear red, anthraquinone pigment Permanent Red Dark, GOLO - limited availability Permanent Red, neutral red B Permanent Red FRLL, neutral red C CPT - Red, Medici-Red Hostaperm Pink, transparent Quindo® Pink D, organic pigment Quindo® Red R 6713, organic pigment Purple-Red, brownish, Urbino Red, very lightfast Gubbio Red, transparent brownish-red

Pigments of Modern Age

For further information and prices please visit us at www.kremerpigments.com

Pigments 23504 23540 23560 23570 23585 23600 23610 23720 23800 23950

01

Paliogen® Maroon very fine, brillant bordeaux red Paliotol® Orange, bright orange Paliogen® Orange, carrot orange Pyranthrone Orange, reddish orange Cinquasia® Gold, red-gold, transparent, reddish Alizarine Crimson Light, bright red Alizarine Crimson Dark, bluish red Hostaperm® Red, light reddish violet Isoindolol Orange, warm dark orange Studio Red, Helio, bright red

01

/// 42050

Zirconium Red, Cadmium Red in a matrix of zirconium silicate The lightfastness and resistance to chemicals are excellent (8/8/8), nevertheless the use in very acidic mediums is not recommended. Zirkoniuim Red is stable at temperatures up to 1300° C. The hue is in between a bright Iron Oxide Red (48100) and a Cadmium Red (21130).

42601

Ultramarine Red, violet pink, lightfast Ultramarine Red is not stable in acids and acid rain.

42605

Ultramarine Red B, dark pink, lightfast

/// Garnet Powder 42711 42712 42714 42716

Garnet Powder Red, very fine, grain size approx. 0.1 - 0.3 mm Garnet Powder Red, fine, grain size approx. 0.2 - 0.6 mm Garnet Powder Red, medium, grain size approx. 0.4 - 0.8 mm Garnet Sand Red, coarse, grain size approx. 0.7 - 1.2 mm

/// Studio Pigments An economical way to buy pigment colors, Studio Pigments are based on synthetic organic pigments mixed with a filler (may contain silica). The pigment is ground dry under stone rollers with marble dust / china clay to form a soft powder. They are easily dispersed, especially into waterborne paints. Studio Pigments are bright and relatively lightfast. You can find further Studio Pigments in this Chapter under Yellow, Green and Blue / Violet. 55200 55300 55400 55450 55470

Studio Pigment Orange, synthetic organic pigment and filler Studio Pigment Light Red, synthetic organic pigment and filler Studio Pigment Dark Red, synthetic organic pigment and filler Studio Pigment Bordeaux, synthetic organic pigment and filler Studio Pigment Pink, synthetic organic pigment and filler

/// Yellow /// Cadmium Pigments Please find further cadmium pigments under Orange / Red and Green in this Chapter. 21010 21020 21030 21040 21050 21060

Cadmium Yellow No. 1, lemon, very lightfast, opaque Cadmium Yellow No. 2, very light, very lightfast, opaque Cadmium Yellow No. 4, light, very lightfast, opaque Cadmium Yellow No. 6, medium, very lightfast, opaque Cadmium Yellow No. 8, medium dark, very lightfast, opaque Cadmium Yellow No. 9, dark, very lightfast, opaque

/// Organic Pigments, synth. 23300 23310 23330 23340 23350

Permanent Yellow light, organic pigment Permanent Yellow Medium, organic pigment Irgazine® Yellow, greenish, transparent Isoindole Yellow, organic pigment Indian Yellow imitation, contains nickel

For further information and prices please visit us at www.kremerpigments.com

Pigments of Modern Age

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01

Pigments 23370 23650 23660 23670 23850 24000

01

Pyramid-Yellow medium, clear warm yellow Brilliant Yellow, Hansa yellow Isoindolinon Yellow, greenish Irgazine® Yellow, light orange Studio Yellow, Hansa yellow Paliotol® Yellow-Orange, brilliant orange

/// Bristol Yellow Bristol Yellow is based on non-toxic bismuth, is metal-based and exhibits good hiding power. It is also brilliant and light fast, making it not only a good substitute for discontinued pigments, but also an excellent new color for artists. The powder has a high specific weight and can be used in all media. 43101 43111 43131

Bristol Yellow pale, naples yellow imitation, lead-free Bristol Yellow, medium, naples yellow imitation, lead-free Bristol Yellow, reddish, naples yellow reddish imitation, lead-free

/// 43200 43210 43230

Nickel-Titanium Yellow, artificial mineral pigment Nickel-Titanium Yellow, greenish, artificial mineral pigment Praseodym Yellow, pale Hue similar to Naples yellow.

43300 43500 43600 43870 43880

Titanium Orange, golden-orange Cobalt Yellow, Aureolin Antimony Red, golden antimony sulphide Yellow Zircon, Zircon-Praseodymium-Silicicate Intensive Yellow, transparent

/// Bismuth-Vanadate Yellow 43910 43915 43918 43920

Bismuth-Vanadate Yellow lemon, very lightfast Bismuth-Vanadate Yellow, light, similar to Cadmium Yellow No. 4 Bismuth-Vanadate Yellow, medium, similar to Cadmium Yellow No. 6 Bismuth-Vanadate Yellow, dark, similar to Cadmium Yellow No. 9

/// Studio Pigments 55100 55125 55140

Studio Pigment Yellow, synthetic organic pigment and filler Studio Pigment Egg Yolk Yellow, synthetic organic pigment and filler Studio Pigment Yellow Sun Gold, synthetic organic pigment and filler

/// Green /// Organic Pigments, synth. 23000

Phthalo Green Dark, bluish One might simply call Phthalo Green dark cyan. This corresponds to a large extent to the color of Viridian, however, Pthalo Green is darker and purer, and can be more bluish in tone. Phthalo Green mixed with white is more brilliant than Viridian.

23010

Phthalo Green, yellowish, lightfast

/// 44100 44110 44130 44151 44190

Cobalt Green, contains cobalt Cobalt Oxide Green Blue, deep turquoise, contains cobalt Cobalt Bottle Green, dark green, contains cobalt Cobalt Green bluish A, contains cobalt Pastel Green, Victoria Green, bright, very lightfast, transparent Chromium based silicate pigment which can easily be worked with in most mediums. The oil absorbtion is low, thin transparent layers are therefore difficult if ground in oil.

44200

20

Chrome Oxide Green, cool green, opaque

Pigments of Modern Age

For further information and prices please visit us at www.kremerpigments.com

Pigments 44204 44250 44280 44400

01

Chrome Oxide Green DD, pure, intensive color, very fine Viridian Green, hydrated chrome oxide, bright, transparent Permanent Green, mixture, lightfast Malachite, synthetic, contains copper 01

/// Cadmium Pigments Please find further cadmium pigments under Orange / Red and Yellow in this Chapter. 44500 44510

Cadmium Green, light, mixture of cadmium yellow and ultramarine blue Cadmium Green, dark, mixture of cadmium yellow and ultramarine blue

/// Studio Pigments 55700 55800

Studio Pigment Light Green, synthetic organic pigment and filler Studio Pigment Dark Green, synthetic organic pigment and filler

/// Blue / Violet /// Organic Pigments, synth. 23050 23060 23070 23080 23100 23451 23700 23710 23750 36009

Phthalo Blue, Primary Blue Phthalo Blue royal blue, Heliogen Blue Phthalo Blue reddish, Heliogen Blue Phthalo Blue, very lightfast Indanthren® Blue, deep blue Dioxazine Violet, halogen-free Thioindigo Red, lightfast Cinquasia® Violet RT 201 D, reddish violet Alizarine Violet, bright medium violet Indigo, synthetic, VAT Blue 1 Please find our historic Indigos (# 36000 - 36007) in this Chapter under Kremer-made and Historic Pigments, the Indigo, synthetic Color Paste (#360094) in Chapter 06 Ready-made Colors & Gilding Materials.

/// Ultramarine Pigments 45000 45010 45020 45030 45040 45080 45100 45110 45120

Ultramarine Blue, very dark, synthetic mineral pigment Ultramarine Blue, dark, synthetic mineral pigment Ultramarine Blue, reddish, synthetic mineral pigment Ultramarine Blue, greenish extra, synthetic mineral pigment Ultramarine Blue, greenish light, synthetic mineral pigment Ultramarine Blue, light, synthetic mineral pigment Ultramarine Violet, medium, bluish, mixture Ultramarine Violet, reddish, dark Ultramarine Violet, light reddish, synthetic mineral pigment

/// 45202 45350 45364 45400

Prussian Blue LUX, also Milori Blue, Berlin Blue Manganese Violet, synthetic mineral pigment Copper Blue, very light turquoise blue Zirconium Cerulean Blue, semi-opaque, light blue

/// Cobalt Pigments Cobalt Blue is a relatively new pigment. Discovered by Leithner in 1775, it was not industrially produced until the early 19th century. Since then it has become indispensable in all artist colors including pastel, because of its characteristic soft, yet strong hue, which tends a little towards the azure. It is particularly beautiful in water-based media, where the dark shades can be diluted to a light blue. In oil colors it is mixed with a light oil such as poppy or walnut to prevent the greening effect that the stronger yellowish linseed oil would produce. Its natural drying effect offsets the slow drying quality of those oils. Due to its particle weight, it tends to For further information and prices please visit us at www.kremerpigments.com

Pigments of Modern Age

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Pigments separate from the oil which can cause difficulties in tubes. Adding filler or beeswax can offset this drawback, but it is best made up fresh. When grinding the pigment, one must be careful to not add too much oil. If the paste turns liquid, a little more pigment must be added. There is a fine balance of adding just the right amount of oil, which only practice can reveal. Its wetting properties in all media are good, its hiding power and tinting strength moderate. Cobalt blue is the most expensive pigment of those commonly used today. It is however the only absolutely lightfast and weatherproof blue which makes it an ideal pigment for fresco painting. Its permanence and the irreplacable visual experience created by its soft hue make it a favorite classic among artists. We carry only the finest quality.

01

45700 45701 45702 45710 457141 45720 45730 45740 45750 45760 45800 45810 45820

Cobalt Blue Dark, synthetic mineral pigment Cobalt Blue Dark, greenish, slightly lighter and more greenish than 45700 Cobalt Blue, Sapporo Cobalt Blue Medium, opaque Cobalt Blue Pale, synthetic mineral pigment Cobalt Blue Light, synthetic mineral pigment Cobalt Cerulean Blue Cobalt Blue, greenish Cobalt Blue Turquoise Light Cobalt Blue Turquoise Dark Cobalt Violet, dark, semi-opaque Cobalt Violet Brilliant, dark, < 75 µ Cobalt Violet Brilliant, light

/// Studio Pigments 55500 55600 55900

Studio Pigment Sky Blue, synthetic organic pigment and filler Studio Pigment Dark Blue, synthetic organic pigment and filler Studio Pigment Violet, synthetic organic pigment and filler

/// White 46100 46200 46280 46300 46350 46360

Lithopone, silver-seal Titanium White Rutile, pure white, highly opaque Buff Titanium, natural titanium dioxide, opaque, yellowish Zinc White, zinc oxide, lead-free Zinc Sulphide, fine soft powder Kremer White, pure white, 5 µ Kremer White in watery mediums an alternative to Cremnitz resp. Lead White. It is not quite as bright as Titanium White, stable at temperatures up to 1400° C, suitable for watercolors, in acrylic dispersions, in lime and cement and in oil.

/// Brown / Black /// Organic Pigments, synth. 23480 23500 23502 24100

Cinquasia® Chestnut Brown, very lightfast Paliogen® Maroon, bordeaux-red Maroon, pigment contains coarse particles Aniline Black, deep, neutral black The first synthetic industrial pigment, discovererd 1863, used especially for printing.

/// 47000 47100 47120 47200

Vine Black, German, pure plant black Bone Black, made of bones Nano F - Black, aqueous dispersion Ivory Black JU, bone black, improved quality Based on bone black but with very high tinting strength. Usually the best qualities of bone blacks are called Ivory Black.

47250

Furnace Black, Lamp Black Slow drier, light-weight powder.

22

Pigments of Modern Age

For further information and prices please visit us at www.kremerpigments.com

Pigments

01

/// Basalt 47324 47326 47327 47328

Basalt Black, fine powder, grain size 0 - 0.3 mm, fire-dried Basalt Black, fine sand, grain size 0.1 - 0.3 mm, grayish, fire-dried Basalt Black, medium fine sand, grain size 0.2 - 0.6 mm, fire-dried Basalt Black, sand, grain size 0.5 - 1 mm, fire-dried

01

/// Spinel Pigments 47380 47400

Spinel Black No. 38, copper-chromium-iron spinel Spinel Black, deepest black

47410

Spinel Gray, iron-manganese-spinel

Only „true” black – evenly non-reflectant across the spectrum. Lightfast in all media. Dark, neutral metallic gray, stable up to 1200°C, suitable in all binders.

47420 47430 49550 49600 49700

Spinel Black No. 42, copper-chrominium spinel Spinel Black No. 43, chromium-iron-nickel-manganese spinel Zinc-Iron Brown Dark, spinel Zinc-Iron Chrome Brown Light, spinel Haematite-Chrome Oxide, Spinel, black-brown

/// 47501 47510 47530

Manganese Black Manganese Gray, manganese(IV) oxide Cement Black, mixture - limited availability From approx. the 1930s.

/// Graphite 47600 47700 47710

Asphaltum, from USA Graphite Powder Silver, very fine Graphite Powder Black, fine

/// Charcoal Fagus sylvatica. 47800 Charcoal, made from beech 47810 Charcoal, 0.5 - 1 mm, made from beech 47820 Charcoal, 1 - 2 mm, made from beech

SPECIAL & EFFECT PIGMENTS /// Pearlescent Pigments These high quality pearlescent pigments consist of mica or borosilicate flakes coated with metal oxides in an elaborate process that makes them extremely lightfast and eminently suitable for artists’ paints. Mixtures with translucent pigments achieve a whole new range of pearlescent hues. Milori blue or phthalo blue with an Ekaton white pearl luster pigment results in a blue metallic color, phthalo blue or green with Colibri gold results in intense green metallic colors. Any transparent pigment can be added to obtain new effects. IRIODIN®: Thin natural mica flakes are coated with a thin layer of metal oxide, such as titanium dioxide and / or iron oxide. Through a combination of transparency, refractive index, coating thickness and multiple reflections varied color effects are produced, such as those found elsewhere only in nature - silver white, interference, gold and multi-colored metallic luster effects. MIRA (MIRAVAL)®: Pigments based on synthetic borosilicate flakes (a type of synthetic gem) have extremely smooth surfaces. With its brilliant and colorful sparkle and strong shine they give surfaces a certain air of extravagance: extraordinary sparkle, brilliance and high gloss, high transparency and unique rainbow effect. The MIRA pearlescent pigments are almost colorless, transparent pigments. On a dark background they give a colored glitter effect that is particularly brilliant in glossy binders. PYRISMA®: These pigments are based on natural muscovite mica with a special titanium interference layer. The hue angle of each variety of Pyrisma® was determined by use of advanced complex colorimetric calculation. With their exceptional color saturation and the especially developed particle size distribution these pigments set a new standard. Their excellent perFor further information and prices please visit us at www.kremerpigments.com

Special & Effect Pigments

23

01

Pigments formance and their resistance to environmental influences make them especially suitable for outdoor applications. The product group covers the largest color space which can be achieved with eight interference pigments. All Pyrisma® have particle sizes of 5 - 35 µ. COLORSTREAM®: ColorStream® pigments differ from conventional pigments in their physical and geometric properties. They are based on synthetically manufactured, optimally coplanar Si02 (silicon dioxide) platelets coated with metal oxides. Their production is similar to that of thin quartz wafers used in modern computers. The very thin and flat pigment particles enable exceptional angle-dependent interference effects. We call this magnificent multi-color MAGIC. In combination with other pigments - so called stylings - the ColorStream® effect pigments show to best advantage. EFFECT®: Effect Pigments® are products with individual product-specific properties, such as exciting colors and excellent weather stability. The coloristic properties in combination with the small particle size of these products make it possible to create layers of intense color with a silky-soft texture. XIRALLIC®: Xirallic® shows a very intensive glitter effect with a distinct gleam and is characterized by strong and very pure colors. The effect is intensified by sunlight. By coating with titanium dioxide in different thicknesses silver effects and interference pigments in gold, red, blue and green are produced. The coating with iron (III) oxide leads to bronze, copper and red effect pigments. The entire property profile allows for easy processing in all areas of application. Glittering and shimmering Xirallic® pigments show spectacular results especially in thin coats. In direct sunlight a firework of glitter effects unfolds with XIRALLIC® formulated paint or varnish. All pearlescent pigments are suitable for each of the regular binder systems, such as watercolor, oil, or acrylics. PEARLETS®: There are some new silver and gold pearlescent pigments in granulated form, small beads 1 to 15 mm in diameter. The same amount Pearlets® has about half the volume of the powdered pigment. The dust-free beads dissolve rapidly in water or solvent. The solventsoluble quality is also suitable for UV coatings. COLIBRI - CHROMA - MIRA (MIRAVAL)®: The opaque metallic luster pigments we named COLIBRI, for their likeness to the colors of the feathers of Colibri birds. The transparent, white powder varieties are called CHROMA or MIRA. They give bright colors on a dark background, or when mixed with a little bit of lamp black. Some pigments are available with special weatherstabilized equipment. These pigments are marked with the letter W. All pearlescent pigments can be mixed with transparent pigments and dyes. The transparent silver pigments give a metallic gleam by mixing them with a small amount of lamp black. Many of these pigments produce a strong color- enhancing effect on dark or colored backgrounds. Weight and volume of pearlescent pigments: Kremer Pigments offers the very light pearlescent pigments only by specifying the sale weight. The bulk density of pearlescent pigments is 150-350 g/l, depending on the type and color, e. g. 50 g of pearlescent pigment has a volume of about 150 - 350 ml, and 100 ml of pearlescent pigment usually weighs about 15 - 35 g.

01

/// Silver 50000 50002 50003 50010 50014

Pearl Luster IRIODIN® Silver, 10 - 60 µ, silky silver Pearl Luster IRIODIN® PEARLETS® Silver, water-soluble, 9 - 60 µ, low dust formation Pearl Luster IRIODIN® PEARLETS® Silver, solvent-soluble, 10 - 60 µ, low dust formation Pearl Luster Silver S, metallic-silver, 20 - 100 µ Pearl Luster MIRA® Silver Magic White, 20 - 200 µ Transparent pigment, color is sparkling silver on dark ground.

50020 50021 50024 50035 50040 50080

Pearl Luster IRIODIN® Silver Glitter, fine, 20 - 180 µ Pearl Luster MIRA® Star Gloss, 30 - 300 µ Pearl Luster IRIODIN® Silver Glitter, coarse, 45 - 500 µ Pearl Luster IRIODIN® Icy White, pure silver white, 5 - 40 µ Pearl Luster IRIODIN® Polar Silver, 5 - 25 µ Pearl Luster XIRALLIC® Diamond Silver, 5 - 30 µ The white silvery crystals of the Al2O3, the same substance like in rubies or sapphires, capture the light like little crystals. The surface is coated with metal oxides to enhance the brilliance.

50084

Pearl Luster XIRALLIC® Micro Silver, 5 - 25 µ Small corundum crystals coated with titanium oxide, tin and zirconium oxide. Pearl Luster Micro Silver show silver pale gray shades, similar to aluminum. Pearl Luster Micro Silver is lightfast and resistant to chemicals.

24

Special & Effect Pigments

For further information and prices please visit us at www.kremerpigments.com

Pigments

01

/// Gold 50016

Pearl Luster MIRA® Magic Sun Gold, 20 - 200 µ Transparent pigment, color is sparkling golden on dark ground.

50061 50086 50100 50110

Pearl Luster PYRISMA® Yellow, 5 - 35 µ Pearl Luster Sunshine-Gold, 5 - 30 µ Pearl Luster IRIODIN® Colibri Gold, 10 - 60 µ, golden metallic Pearl Luster IRIODIN® Colibri Star-Gold, fine, 10 - 60 µ

01

Most intense bright golden hue.

50111

Pearl Luster Colibri IRIODIN® Star-Gold, very fine, 5 - 40 µ Most intense bright golden hue, weather-proof.

50124 50140 50160 50164 50179 50180 50200 50220 50221

Pearl Luster IRIODIN® PEARLETS® Solar Gold, 10 - 60 µ, low dust formation, water-soluble Pearl Luster Colibri IRIODIN® Sun-Gold, 5 - 100 µ Pearl Luster IRIODIN® Colibri Glitter-Gold, 10 - 100 µ Pearl Luster Colibri, Glitter-Gold, 45 - 500 µ, extra coarse Pearl Luster IRIODIN® Colibri Satin-Royal Gold, 5 - 25 µ Pearl Luster IRIODIN® Colibri Royal Gold, warm dark yellow hue, 10 - 60 µ Pearl Luster IRIODIN® Colibri Pale Gold, 10 - 60 µ Pearl Luster IRIODIN® Chroma Yellow Gold, 10 - 60 µ Pearl Luster IRIODIN® Chroma Gold, 10 - 125 µ

/// Red & Copper 50017

Pearl Luster MIRA® Magic Copper, 20 - 200 µ Transparent pigment, color is sparkling copper on dark ground.

50062 50085 50300 50320 50340 50359 50360 50361 50400 50410

Pearl Luster PYRISMA® Red, 5 - 35 µ Pearl Luster Sun-Red, 5 - 30 µ Pearl Luster IRIODIN® Colibri Bronze, 10 - 60 µ Pearl Luster IRIODIN® Colibri Glitter Bronze, 10 - 125 µ Pearl Luster IRIODIN® Chroma Copper, 10 - 60 µ Pearl Luster IRIODIN® Colibri Satin Copper, 5 - 25 µ Pearl Luster IRIODIN® Colibri Glitter-Copper, 10 - 60 µ Pearl Luster IRIODIN® Colibri Glitter-Copper, 10 - 100 µ Pearl Luster IRIODIN® Colibri Red, 10 - 40 µ Pearl Luster EFFECT® Colibri Iron Red, 5 - 35 µ Glimmer pigment coated with iron oxide. Metallilc hue similar to hematite.

50440 50651

Pearl Luster Lava Red, intense hue, 5 - 50 µ Pearl Luster COLORSTREAM® Magic Indian Summer, 5 - 50 µ Shades range from pale bronze color from top view to metallic from an angled view.

50652

Pearl Luster Magic Red, gold-red, two colored The hue ranges from a dark pink from top view to golden from an angled view.

/// Violet 50015 50019

Pearl Luster MIRA® Magic Lilac, 20 - 200 µ Pearl Luster MIRA® Magic Red, 20 - 200 µ Transparent pigment, color is sparkling red on a dark ground.

50067

Pearl Luster PYRISMA® Violet, 5 - 35 µ Shades range from purple to blue.

50068

Pearl Luster PYRISMA® Magenta, 5 - 35 µ Shades ranging from red to purple.

50083 50510 50520 50653

Pearl Luster XIRALLIC® Diamond Amethyst, 5 - 35 µ Pearl Luster IRIODIN® Chroma Red, 10 - 60 µ Pearl Luster IRIODIN® Chroma Lilac, 10 - 60 µ Pearl Luster COLORSTREAM® Magic Royal Damask, 10 - 60 µ The hue ranges from red to copper to gold, especially on a dark ground or when used with a dark transparent pigment.

50656

Pearl Luster COLORSTREAM® Magic Violet, green-violet, two colored, 5 - 40 µ The hue ranges from purple from top view to a green from an angled view. The color is almost invisible on a pale ground, but intense on a dark ground.

For further information and prices please visit us at www.kremerpigments.com

Special & Effect Pigments

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01

Pigments /// Blue & Green 50012 50013 50018

Pearl Luster MIRA® Green, 20 - 200 µ, transparent Pearl Luster MIRA® Magic Turquoise, 20 - 200 µ, transparent Pearl Luster MIRA® Magic Blue, 20 - 200 µ Transparent pigment, color is a sparkling intense blue on dark ground.

01

50063 50064

Pearl Luster PYRISMA® Indigo, 5 - 35 µ Pearl Luster PYRISMA® Blue, 5 - 35 µ Great in combination with transparent green and blue pigments.

50065 50066

Pearlluster PYRISMA® Green, 5 - 35 µ, bright green Pearl Luster PYRISMA® Turquoise, 5 - 35 µ Slightly bluish green. Beautiful in combination with transparent green or blue pigments.

50082

Pearl Luster XIRALLIC® Turquoise, 5 - 35 µ Shades range from a watery green from a top view to a watery blue at an angled view. The color is almost invisible on a pale ground, but radiant on a dark ground.

50500 50505

Pearl Luster IRIODIN® Chroma Cobalt Blue, 10 - 60 µ Pearl Luster EFFECT® Cobalt Blue Cobalt blue glimmer interference pigment, coated with Titanium and Tin Oxide. This extremely fine pigment (particles smaller than 15 µ) provides in combination with bluish red pigments vibrant purple surfaces and in combination with warm transparent yellow pigments interesting grays.

50620 50621 50640

Pearl Luster IRIODIN® Chroma Green, 10 - 60 µ Pearl Luster IRIODIN® Chroma Green, 10 - 125 µ Pearl Luster IRIODIN® Duo Red-Green, 5 - 40 µ Shades range from a brownish red from top view to green from an angled view.

50654

Pearl Luster Magic Purple, green-purple, two colored The hue ranges from an intense red-violet purple from the top view to golden green from an angled view.

50655

Pearl Luster COLORSTREAM® Magic Lapis, gold-green to dark blue, two colored, 5 - 50 µ The hue ranges from green from top view to a dark blue from an angled view, similar to some rose chafers (Cetonia aurata).

50657

Pearl Luster COLORSTREAM® Magic Fire, silver-green-red, two colored, 5 - 40 µ The hue ranges from a bright silver green from top view to violet red from an angled view. The color is almost invisible on a pale ground, but intense on a dark ground.

50658

Pearl Luster COLORSTREAM® Magic Green, bright green to oxidizing brass, 5 - 40 µ The hue ranges from a bright green from top view to an oxidizing brass from an angled view. The color is almost invisible on a pale ground, but intense on a dark ground.

50659

Pearl Luster COLORSTREAM® Magic Pacific Lagoon The hue ranges from turquoise to blue to purple, especially on a dark ground and in combination with dark transparent pigments.

/// Black 50090

Pearl Luster IRIODIN® Black, 10 - 60 µ Coated with iron oxide. Enhances the color of transparent pearl luster pigments.

/// Glitter Pigments /// Silver Glitter Pigments 50701 50702 50703 50704 50705 50724

Silver Glitter 0.10 x 0.10 mm, coated with epoxy resin Silver Glitter 0.20 x 0.20 mm, coated with epoxy resin Silver Glitter 0.20 x 0.40 mm, coated with epoxy resin Silver Glitter 0.40 x 0.40 mm, coated with epoxy resin Silver Glitter 0.60 x 0.60 mm, coated with epoxy resin Aluminum Glitter Black, 400 µ, Aluminum-Glitter coated with epoxy resin

/// Gold Glitter Pigments 50800 50801 50802 50803 50804

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Gold Glitter 0.10 mm x 0.10 mm, coated with epoxy resin Gold Glitter 0.20 mm x 0.20 mm, coated with epoxy resin Gold Glitter 0.20 mm x 0.40 mm, coated with epoxy resin Gold Glitter 0.40 mm x 0.40 mm, coated with epoxy resin Gold Glitter 0.6 mm x 0.6 mm, coated with epoxy resin

Special & Effect Pigments

For further information and prices please visit us at www.kremerpigments.com

Pigments

01

/// Colored Glass Flakes 51030 51054 51056 51120 51230 51374

Glass Flakes Brilliant Yellow, 0.5 - 2 mm, transparent Glass Flakes Crown Yellow, 0.5 - 2 mm, opaque Glass Flakes Orange, 0.5 - 2 mm, transparent Glass Flakes Green, 0.5 - 2 mm, transparent Glass Flakes Brilliant Ruby, 0.5 - 2 mm, transparent Glass Flakes Dark Blue, 0.5 - 2 mm, transparent

01

/// Holographic Glitter Polyester film, metallized, printed and cut into small pieces, with holographic surface. Stable up to 170° C, stable in solvents, weather resistant.

/// Silver 50810 50811 50812

Holographic Silver Glitter, fine, 100 µ Holographic Silver Glitter, medium, 150 µ Holographic Silver Glitter, coarse, 200 µ

/// Gold 50820 50821 50822

Holographic Gold Glitter, fine, 100 µ Holographic Gold Glitter, medium, 150 µ Holographic Gold Glitter, coarse, 200 µ

/// Glimmer 50920

Paliochrome Blue-Silver, metallic silver, iridescent Glimmer pigment coated with titanium dioxide. Great metalic effects can be achieved in combination with transparent pigments.

50940

53050 53100 53185 53210 53220 53221 53240 53241 53250

Paliochrome Copper Bluish, iron oxide pigment, sparkling dark metallic copper glass Paliochrome Copper Red-Gold, iron oxide pigment with a distinctiv copper gloss Paliochrome Desert Gold, red-bronze-gold Paliochrome Kiwi Gold, green brown gold Muscovite Mica, 2 - 3 mm, glossy white flakes Mica Plates, historic, available in different sizes (4 - 10 cm) and layers Muscovite Mica Flakes, fine, 1 - 3 mm, white, transparent, 500 g - 700 g apparent weight Muscovite Mica Flakes, standard, 1 - 5 mm, white, transparent, 500 g - 700 g apparent weight Muskovite Mica Flakes, coarse, 1 - 7 mm, white, transparent, 500 g - 700 g apparent weight Mica White, 0.5 - 0.8 mm, flakes Mica Fine, pearlescent powder Phlogopite Mica Amber, thin plates, 0.3 - 1 mm, amber colored Phlogopite Mica Silver-Gray, 1 - 3 mm, yellowish silver-gray flakes Biotite, fine, 0 - 250 µ, brownish golden Biotite, coarse, 250 - 1000 µ, brownish golden Vermiculite, sandy appearance Vermiculite, 0 - 4 mm, weight is approx. 90 g / l Mica Graphite, flakes

53500 53501

Fish Silver, Guanine in alcohol Fish Silver Powder, Guanine

50942 50946 50947 53000 53010 53020 53025 53030

Can be used to brighten colors, and for top quality nail polish. Fish silver is similar to pearlescent pigments.

/// Acrylic Glass 50951 50952

Acrylic Glass, Blue-Green, transparent Acrylic Glass, Green-Yellow, transparent

For further information and prices please visit us at www.kremerpigments.com

Special & Effect Pigments

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Pigments

/// Metal Powder Genuine metals in powderform retain all of their natural characteristics. 54000 Bismuth, metal powder 54100 Bismuth White, white powder, bismuth nitrate oxide 54500 Pewter Powder, gray, very fine 54600 Iron Filings, tiny filings are visible 54610 Cast-Iron Powder, 0 - 300 µ, fast rusting 54630 Blacksmith Powder, gritty 54650 Steel Powder, fine, rusting, gray 54660 Iron Powder, fast rusting 54700 Zinc Dust, gray powder 54800 Aluminum Powder, < 71 µ

01

Foams in water based binders, for foaming mortars.

54850 54881

Copper Powder, fine, reddish Bronze Powder, pure copper tin bronze

/// Daylight Fluorescent Pigments /// Daylight Pigments Daylight fluorescent pigments have a bright, glowing appearance. Their vividness can be increased by applications over a white ground. Their fluorescent effect is fugitive but can be increased by applying a UV absorbing varnish. 56000 56050 56100 56150 56200 56250 56300 56350 56400 56450

Fluorescent Pigment White, very bright, brilliant pigment Fluorescent Pigment Blue, very bright, brilliant pigment Fluorescent Pigment Green, very bright, brilliant pigment Fluorescent Pigment Lemon Yellow, very bright, brilliant pigment Fluorescent Pigment Golden Yellow, very bright, brilliant pigment Fluorescent Pigment Orange, very bright, brilliant pigment Fluorescent Pigment Brick Red, very bright, brilliant pigment Fluorescent Pigment Flame Red, very bright, brilliant pigment Fluorescent Pigment Magenta Red, very bright, brilliant pigment Fluorescent Pigment Violet, very bright, brilliant pigment

/// Phosphorescent Pigments 56500 56550 56600 56650

Phosphorescent Pigment Green, glows in the dark, poor lightfastness Phosphorescent Pigment Blue, glows in the dark, poor lightfastness Phosphorescent Pigment Green in Acrylic Dispersion, glows in the dark, poor lightfastness Phosphorescent Pigment Red, glows in the dark, poor lightfastness

XSL-PIGMENTS The pigments easily disperse in water and aqueous binders thanks to a special treatment with dispersing agents.The XSL-Pigments can also be used for wood stains because of their excellent solubility in water. XSL-Pigments are very lightfast. Unusual effects can be obtained by sprinkling XSL-Pigment particles onto a wet surface. 26000 26120 26140 26308 26310 26405 26500 26600

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XSL Titanium White, very lightfast XSL Translucent Yellow, Iron Oxide Yellow, very lightfast XSL Translucent Red, Iron Oxide Red, very lightfast XSL Poppy Red, soluble in water XSL Irgazine® Red DPP, very lightfast XSL Phthalo Blue, Royal Blue, very lightfast XSL Phthalo Green Dark, very lightfast, readily soluble XSL Black, Furnace Black, very lightfast

XSL-Pigments

For further information and prices please visit us at www.kremerpigments.com

Pigments

01

GLASS PIGMENTS /// Fine Colored Glass Pigments We offer a various range of colored glass pigments in 620 different shades (#39002 - #39454). The colored glass is produced by melting lead crystal glass with heavy metal oxides, thus a wide variety of colors is achieved. The light fastness of all colored glass powders is excellent (8,8,8). The colored glass pigments can be used in all binders, such as oil, acrylic dispersions, lime and all kinds of glues. In certain mortars and cements the pigments may cause blooming. For application in exterior environments it is advisable to do trials first. For further information please visit us at www.kremerpigments.com.

01

/// IWA – Enogu® Glass Pigments For the last few centuries Japanese painting technique has made use of a new quality of pigments for watercolor painting and woodblock printing. This particular technique is called Enogu, for which pigments are made in exactly specified particle sizes – the particles are basically all the same size and shape. In comparison, normal pigments usually come in a range of particle sizes, for example 0 - 80 microns. Colors of a unique particle size appear more brilliant. The following pigments represent our attempt to introduce this technique to Europe and North America. We offer them in the particle size No.12, which is very fine and appropriate for all techniques, such as oil, acrylic, tempera and watercolor. 15221 IWA-Enogu® Kibeni, orange, cadmium glass powder 15222 IWA-Enogu® Iwabeni, scarlet red, cadmium glass powder 15231 IWA-Enogu® Iwahi, red, cadmium glass powder 15241 IWA-Enogu® Iwaaka, geranium red, cadmium glass powder 15251 IWA-Enogu® Benishinsya, laelia red, cadmium glass powder 15252 IWA-Enogu® Iwashikou, brownish red-violet, cadmium glass powder 15253 IWA-Enogu® Shinsia, blackberry, glass powder 15261 IWA-Enogu® Iwamomo, pink, glass powder 15311 IWA-Enogu® Usukuchi-Murasaki, violet, glass powder

IWA – ENOGU® MINERAL PIGMENTS For the last few centuries Japanese painting technique has made use of a new quality of pigments for watercolor painting and woodblock printing. The special Japanese elutriation treatment ensures a more exact and equal grain size than just by sieving and the colors are very brilliant. This particular technique is called Enogu, for which pigments are made in exactly specified particle sizes - the particles are basically all the same size and shape.

/// Yellow Jasper 1671508 1671510 1671512 1671514

Yellow Jasper Iwa-Oudo, No. 8, coarse, approx. 50 µ Yellow Jasper Iwa-Oudo, No. 10, medium, approx. 27 µ Yellow Jasper Iwa-Oudo, No. 12, fine, approx. 14 µ Yellow Jasper Iwa-Oudo, No. 14, very fine, approx. 5 µ

/// Garnet Kicha Golden 1671608 1671610 1671612 1671614

Garnet Kicha Golden, No. 8, coarse, approx. 50 µ Garnet Kicha Golden, No. 10, medium, approx. 27 µ Garnet Kicha Golden, No. 12, fine, approx. 14 µ Garnet Kicha Golden, No. 14, very fine, approx. 5 µ

/// Garnet Sakura-Nezumi 1672008 1672010 1672012 1672014

Garnet Sakura-Nezumi, No. 8, coarse, approx. 50 µ Garnet Sakura-Nezumi, No. 10, medium, approx. 27 µ Garnet Sakura-Nezumi, No. 12, fine, approx. 14 µ Garnet Sakura-Nezumi, No. 14, very fine, approx. 5 µ

For further information and prices please visit us at www.kremerpigments.com

IWA – Enogu® Mineral Pigments

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01

Pigments

/// Cinnabar SHINSYA 1672108 1672110 1672112 1672114

01

Cinnabar SHINSYA, No. 8, coarse, approx. 50 µ Cinnabar SHINSYA, No. 10, medium, approx. 27 µ Cinnabar SHINSYA, No. 12, fine, approx. 14 µ Cinnabar SHINSYA, No. 14, very fine, approx. 5 µ

/// Agate peach 1672509 Agate Peach No. 9, approx. 38 µ 1672512 Agate Peach No. 12, fine, approx. 14 µ 1672514 Agate Peach No. 14, very fine, approx. 5 µ

/// Azurite Azurite is a natural blue basic copper carbonate, Cu3(CO3)2(OH)2. 1673108 Azurite GUNJYOU, No. 8, coarse, approx. 50 µ 1673110 Azurite GUNJYOU, No. 10, medium, approx. 27 µ 1673112 Azurite GUNJYOU, No. 12, fine, approx. 14 µ 1673114 Azurite GUNJYOU, No. 14, very fine, approx. 5 µ

/// Sodalite Sodalite is similar to lapis lazuli. Inside of the zeolite structures there can be sulphur which makes the crystal blue. The special Japanese elutriation treatment ensures a more exact and equal grain size than just by sieving. The color is a beautiful elder blue. 1673908 Sodalite SHIUN-MATSU, No. 8, coarse, approx. 50 µ 1673910 Sodalite SHIUN-MATSU, No. 10, medium, approx. 27 µ 1673912 Sodalite SHIUN-MATSU, No. 12, fine, approx. 14 µ 1673914 Sodalite SHIUN-MATSU, No. 14, very fine, approx. 5 µ

/// Malachite from Africa A green copper carbonate. 1674108 Malachite MATSUBA-ROKUSYOU, No. 8, coarse, approx. 50 µ 1674110 Malachite MATSUBA-ROKUSYOU, No. 10, medium, approx. 27 µ 1674112 Malachite MATSUBA-ROKUSYOU, No. 12, fine, approx. 14 µ 1674114 Malachite MATSUBA-ROKUSYOU, No. 14, very fine, approx. 5 µ

/// Lizard-Stone 1674408 1674410 1674412 1674414

Lizard-Stone, No. 8, coarse, approx. 50 µ Lizard-Stone, No. 10, medium, approx. 27 µ Lizard-Stone, No. 12, fine, approx. 14 µ Lizard-Stone, No. 14, very fine, approx. 5 µ

/// Amazonite Amazonite is a silicate complex of greenish color. It was used to make jewelry in ancient Egypt. 1674508 Amazonite HAKUSUI-MATSU, No. 8, coarse, approx. 50 µ 1674510 Amazonite HAKUSUI-MATSU, No. 10, medium, approx. 27 µ 1674512 Amazonite HAKUSUI-MATSU, No. 12, fine, approx. 14 µ 1674514 Amazonite HAKUSUI-MATSU, No. 14, very fine, approx. 5 µ

/// Epidote 1674908 Epidote No. 8, coarse, approx. 50 µ 1674910 Epidote No. 10, medium, approx. 27 µ 1674914 Epidote No. 14, very fine, approx. 5 µ

/// Iron Oxide Orange 1675308 Iron Oxide Orange, No. 8, coarse, approx. 50 µ 1675310 Iron Oxide Orange, No. 10, medium, approx. 27 µ 1675311 Iron Oxide Orange, No. 11, approx. 20 µ

30

IWA – Enogu® Mineral Pigments

For further information and prices please visit us at www.kremerpigments.com

Pigments

01

/// Burnt Iron Oxide Red 1675408 1675410 1675412 1675414

Burnt Iron Oxide Red, No. 8, coarse, approx. 50 µ Burnt Iron Oxide Red, No. 10, medium, approx. 27 µ Burnt Iron Oxide Red, No.12, fine, approx. 14 µ Burnt Iron Oxide Red, No.14, very fine, approx. 5 µ

01

/// Tiger-Eye Tiger-Eye is a gemstone with a typical chemical structure of SiO2+FeOOH+(Al, Mg, Na). The pigment is golden-brown. 1675908 Tiger-Eye TYOUJICHA, No. 8, coarse, approx. 50 µ 1675910 Tiger-Eye TYOUJICHA, No. 10, medium, approx. 27 µ 1675912 Tiger-Eye TYOUJICHA, No. 12, fine, approx. 14 µ 1675914 Tiger-Eye TYOUJICHA, No. 14, very fine, approx. 5 µ

/// Black Tourmaline Tourmaline can form very large and beautiful crystals. The very hard Tourmaline crystals (Mohs 7.5) occur in a multiplicity of colors, such as blue, green, red, pink, brown or black. The shades of our black Tourmaline range from a slightly blueish gray (No. 14) to a highly glossy black (No. 8). 1676508 Tourmaline DENKISEKI-MATSU, No. 8, coarse, approx. 50 µ 1676510 Tourmaline DENKISEKI-MATSU, No. 10, medium, approx. 27 µ 1676512 Tourmaline DENKISEKI-MATSU, No. 12, fine, approx. 14 µ 1676514 Tourmaline DENKISEKI-MATSU, No. 14, very fine, approx. 5 µ

ASSORTMENTS Our assortments allow you a structured introduction into the world of pigments. For further information and contents please visit us at www.kremerpigments.com. 11553 12991 14000 14110 14210 14250 14251 14252 14253 14280 14284 14290 14292 14294 14300 14302 14310 14350 21200

Set: Iceland Earthcolors Assortment, 3 x 20 g Set: Assortment of Kremer-Made Pigments, 81 pigments in 3 ml jars, in 3 wooden boxes Set: Church Painter´s Assortment, from the Baroque to the present, approx. 30 pigments in glass jars Set: Assortment of All Products, 1 - 2 teaspoons of every pigment, natural plants and dyes, fillers, and resins (approx. 700 products) Set: Pigment Selection A, 27 pigments in 3 ml glasses, in a wooden box Set: 25th Anniversary Pigment Assortment, 25 pigments, linseed oil and oil paint medium in 30 ml glasses, in a wooden box Set: 30th Anniversary Pigment Assortment Blue, 30 pigments: 27 x 30 ml glass, 3 x ca. 3 ml, in a wooden box Set: Pigment Assortment Red, 27 pigments in 30 ml glasses, in a wooden box Set: Pigment Assortment Green, 27 pigments in 30 ml glasses, in a wooden box Set: Stone Conservation Set, 27 pigments in 30 ml glasses, in a wooden box Set: Assortment of Colored Glass Pigments, 16 x 50 ml plastic jars - Grade A, < 63 µ Set: Interior Decoration Set, 27 pigments in 30 ml glasses, in a wooden box Assortment for the Construction of Cribs, 27 pigments in 30 ml glasses, in a wooden box Set: Assortment of Earth Pigments, 12 pigments in 190 ml glasses, each approx. 100 g: 10 Earth Pigments, Vine Black and Buff Titanium Set: Violin-Varnish Assortment, 22 pigments, 4 resins, 1 linseed oil in 30 ml glasses, in a wooden case Set: Starter Set, 8 pigments, packed in 200 ml jars, 1 liter of acrylic Dispersion K 9 Set: Icon-Painters Set, 27 pigments in 30 ml glasses, in a wooden box Set: 35th Anniversary Pigment Assortment, 35 pigments in 10 ml glasses, in a wooden box Set: Assortment of Cadmium Pigments - large, 15 x 50 g, packed in PVC jars

For further information and prices please visit us at www.kremerpigments.com

Assortments

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01

Pigments 26800 41990 41991

01

50695 50696 50990 54990 55990 55991 55992 59690

32

Set: XSL Pigments, Content: 4 colors in 100 g jars (#26000, #26120, #26140, #26600) and 4 colors in 20 g jars (#26308, #26310, #26405, #26500) Set: Earth Pigment Assortment, 100 g each, approx. 68 earth pigments packed in clear jars    Set: Earth Pigment Assortment, 50 g each, approx. 68 earth pigments packed in clear jars   Set: Pearl Luster Interference and White Iridescent Pigments, 27 x 3 ml glass jars, in a wooden box Set: Pearl Luster Iridescent and Magic Pearlescent Pigments, 27 x 3 ml glass jars, in a wooden box Set: Assortment Pearl Luster with Binder, 4 pigments, each in 100 ml jar, and 250 ml of binder no. 75367 Dispersion K 9 Set: Assortment of Metal Powders with Binder, 4 metal powders, each in 100 ml jar, and 250 ml of binder no. 75367 Dispersion K 9 Set: Assortment of Studio Pigments small, 13 x 100 g Set: Assortment of Studio Pigments medium, 13 x 1 kg Set: Assortment of Studio Pigments big, 13 x 10 kg Set: Assortment of 23 Colored Marbles, 23 x 1 kg, in bags

Assortments

For further information and prices please visit us at www.kremerpigments.com

Dyes & Vegetable Color Paints

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DYES & VEGETABLE COLOR PAINTS 02

32 33 33 34

Natural Organic Dyes / Vegetable Color Paints Synthetic Dyes, water-soluble Synthetic Dyes, solvent-soluble, Orasol Fluorescent Colorants

For further information and prices please visit us at www.kremerpigments.com

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02

Dyes & Vegetable Color Paints

NATURAL ORGANIC DYES / VEGETABLE COLOR PAINTS 36020 36040 36045 36100 36110 36160 36180 36200 36210 36250

02

Lac Dye, Indian Lake, red, made from Coccus Lacta secretion Cochenille, Coccus Cacti, dried, silvery gray lice Kermes Lice, from Anatolia, Turkey, dried Logwood, cut pieces, Lignum Campeche Logwood Extract, powder, Lignum Campeche Extract of Brazilwood, deep red, Fernambuci Lignum Sandalwood, red powder Yellow Wood, fustic, cut pieces Extract of Fustic, natural Yellow Wood (fustic), extract Reseda Luteola, dried plant This yellow dye plant was the most common yellow in England before synthetic colors. In the U.S., however, it was not as widely used as Quercitron. Our special Anatolian Reseda has a higher dye content than other qualities and produces a golden yellow color, however the dense plant fibres need special treatment to extract the color. We recommend soaking the plant material in soft water (low mineral content), adjusted to a pH level of 4.5–5 with vinegar, for approx. 36 hrs. at about 40 degrees Celsius, longer at lower temperatures. After that the dying process continues as usual at a minimum of 70 degrees Celsius.

36300 37000

Wild Saffron, made from Curcuma, vibrant warm yellow Dragon´s Blood, powder, Resina Dracaena, from Sumatra Resinous product of Calamus Draco. Soluble in lacquer thinners for red glazes.

37011 37014 37016 37030 37050 37060 37080 37081

Dragon´s Blood, plates, 200 - 250 g each, deep red, from Socotra Dragon´s Blood IYDAHA, cake, from Socotra, made of the bark of the Dracaena Cinnabari tree, piece about 800 - 1000 g, in cotton bag Dragon´s Blood EMZOLO, from Socotra, pieces, also called Emzolo or Edah Amsello Resina Kamala, red natural resin Gamboge, powder, natural yellow resin, toxic Gamboge, pieces, toxic Gum Accaroid, brown-red, powder Gum Accaroid, yellow-red, unprocessed, contains plant parts The yellow Accaroid resin or Yellow Gum Yucca is very rare.

37199 37201

Madder Roots, pieces, from Turkey Madder Roots, ground, from Turkey

/// Madder Lake You can find our Madder Lakes in Chapter 01 under Kremer-made & Historic Pigments (#37203-37218) and the synthetic Alizarine Crimsons under Pigments of Modern Age (#23600, #23610).

/// 37220 37230 37250 37260 37300 37350 37380 37390

Turmeric, powder, from India Turmeric, cut pieces, dried root, from China Alkanet, dried root, red Rathania Roots, krameria triandra Walnut Hulls, cut pieces, nucum juglandis Annatto Seeds, seeds from Bixa orellana Ripe Buckthorn Berries, Rhamni maturi Green Buckthorn Berries, ground, Rhamni inmaturi Unripe Buckthorn berries yield a beautiful yellow stain: Chop the berries (you can use a coffee mill) and boil in water with some alum for about one hour. Pour through a sieve and brush on (recipe from 1899).

373901 Green Buckthorn Berries, shredded, Rhamni inmaturi The dark ochre brown turns yellow in thin layer, lightfastness only about 4.

37400 37500 37510 38200 38300

34

Oak Apples, gallnuts Henna Red, powder Henna Black, powder Catechu, Cutch, brown, powder Lycopodium, traditional wood filler

Natural Organic Dyes / Vegetable Color Paints

For further information and prices please visit us at www.kremerpigments.com

Dyes & Vegetable Color Paints 38500 38520 38540 38580

02

Birch Leaves, cut pieces Frangulae Cortex, cut pieces Mallow Blossoms, black Irish Moss, Caragheen Moss

SYNTHETIC DYES, WATER-SOLUBLE /// Dyeing with Cibacron® F 02

345110 Novacron® Yellow F-4G, greenish, textile dye 345130 Cibacron® Orange F-BR, textile dye 345160 Cibacron® Blue FN-G, textile dye

/// 94050 94100 94110 94140 94142 94150 94160 94175 94236 94900

Nigrosin, water-soluble Alizarine, pure, red Fuchsin, green crystals, intensive red solution Orange Madder, genuine madder root lake, yellow-orange dye Alizarine Yellow GG, paler than Orange Madder, water-soluble Alizarine Carmine, water-soluble Indigotin Blue, water-soluble indigo Tartrazine 85, yellow dye, water-soluble, food coloring E 102 Uranine, greenish-yellow, fluorescent water-soluble dye Rhodamine B, woodstain / varnish, fluorescent

SYNTHETIC DYES, SOLVENT-SOLUBLE, ORASOL /// Wax Dye 35350

Macrolex® Violet B, wax dye

/// Dyes, alcohol soluble 94010 94020 94030 94080

Yellow Dye, Woodstain, colorant 157, alcohol-soluble Red Dye, Woodstain, colorant 471, lightfastness 7 - 8 Blue 807 Dye, lightfastness 7 Set: Four Powdered Stains, 25 g each: 94000, 94010, 94020, 94030

94206 94208 94210

Ponceau S extra Fast Green FCF, for analysis of proteins Sudan® Black B, dye, woodstain

///

/// Orasol® - Colorants 94400 94402 94404 94406 94408 94410 94412 94414 94416

ORASOL® Yellow 4GN, greenish yellow ORASOL® Yellow 2GLN, sun-gold ORASOL® Yellow 2RLN, yellow-orange ORASOL® Orange 247, old ORASOL® Orange G ORASOL® Orange RG, orange-red ORASOL® Brown 2RL, brown ORASOL® Red BL, red-violet dye ORASOL® Blue GN, dark turquoise ORASOL® Blue, light turquoise

/// Wood Stains 94500

Tannin, brown

For further information and prices please visit us at www.kremerpigments.com

Synthetic Dyes, solvent-soluble, Orasol

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Dyes & Vegetable Color Paints

FLUORESCENT COLORANTS 94700 94701 94711 94720 94721 94730 94731 94736 947361 94737 947371 94738 94739

02

36

Fluorescent Yellow, perylene - fluorescent yellow Fluorescent Yellow Varnish, in Ethyl Acetate with Paraloid® B 72 Fluorescent Orange Varnish, in Ethyl Acetate with Paraloid® B 72 Fluorescent Red, perylene- fluorescent red Fluorescent Red Varnish, in Ethyl Acetate with Paraloid® B 72 Fluorescent Violet, Naphthalimide Fluorescent Violet Varnish, in Ethyl Acetate with Paraloid® B 72 Fluorescent Blue, Naphthalim derivate Fluorescent Blue Varnish, in Ethyl Acetate with Paraloid® B 72 Fluorescent Green, perylene pigment Fluorescent Green Varnish, in Ethyl Acetate with Paraloid® B 72 Fluorescent Orange, perylene dye Fluorescent Pink, perylene dye

Fluorescent Colorants

For further information and prices please visit us at www.kremerpigments.com

Fillers & Building Materials

03

03

FILLERS & BUILDING MATERIALS 03

36 38 38 38 39 39 39 40

Colorless & Colored Mineral Fillers Fillers made of Glass Structural & Special Fillers Arbocel & Dralon-Fiber Thickeners Injection and Special Mortar Limes Polishing Powders

For further information and prices please visit us at www.kremerpigments.com

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03

Fillers & Building Materials

COLORLESS & COLORED MINERAL FILLERS Pigments of little opacity, white or nearly white. Chalks are used for gesso („whiting”), while Marble Dusts are used to tone down very intense colors (e.g. organic pigments), add brilliance to very dense and dark colors (e. g. Cadmiums, Viridian) and improve workability. They are added as extenders to increase bulk, soften or harden colors. All our chalks and fillers are natural, except where indicated otherwise.

/// Carbonated, Chalk & Marble 58000 58010 58158 58162 58180 58490 58500

03

Chalk from Champagne, from France, natural calcium carbonate Chalk from Ruegen, from Germany, approx. 40 µ Chalk from Belgium, powder, extra soft, PW 18 Stone Chalk, ca. 4 µ, white, very fine Natural White Earth, from Vicenza, Italy, beige Calcium Carbonate, approx. 1 µ, very white Marble Dust, extra white, Italian, 0 - 32 µ, calcium carbonate Recommended as filler or for gesso.

58520 58540 58560 58580

Marble Dust, extra, Italian, fine grind, < 32 µ Marble Dust, medium, < 90 µ Marble Dust, coarse, powder, < 200 µ Marble Dust, very coarse, 150 - 300 µ For gritty applications.

58720 58740 58850 58852 58860

Calcite, white, average particle size is about 20 µ Dolomite, pure white, 10 µ, natural mineral from Spain, pure white Travertine Sand White, 1 - 5 mm Travertine Sand Yellow, 0 - 5 mm Savonniere Rock Powder, calcareous oolite Savonnières is a fine, hollow limestone from the north east of France. For centuries it has been used for sculptures and façades. The fine, gray powder (< 100 µ) can be used as a filler in restoration mortars for Savonnières sculptures.

59001 59002 59101 59102 59201 59202 59204 59301 59302 59303 59304 59401 59403 59501 59502 59503 59600 59601 59602 59610 59611 59612 59613 59614 59615 59651 59652

38

Veronese White, 0 - 0.6 mm, marble from Italy Veronese White, 0.6 - 1.2 mm, marble from Italy Mori Yellow, 0 - 0.6 mm, marble from Italy Mori Yellow, 0.6 - 1.2 mm, marble from Italy Prugna Brownish Red, 0 - 0.6 mm, marble from Italy Prugna Brownish Red, 0.6 - 1.2 mm, marble from Italy Prugna Brownish Red, 1.8 - 2.5 mm, marble from Italy Alpine Green, 0 - 0.6 mm, marble from Italy Alpine Green, 0.6 - 1.2 mm, marble from Italy Alpine Green, 1.2 - 1.8 mm, marble from Italy Alpine Green, 1.8 - 2.5 mm, marble from Italy Coral Pink, 0 - 0.6 mm, marble from Italy Coral Pink, 1.2 - 1.8 mm, marble from Italy Black Marble, 0 - 0.6 mm, marble from Italy Black Marble, 0.7 - 1.2 mm, marble from Italy Black Marble, 1.2 - 1.8 mm, marble from Italy Carrara White Fine, 0 - 120 µ, marble from Italy Carrara White, 0 - 0.6 mm, marble from Italy Carrara White, 0 - 3 mm, marble from Italy White Marble Dust Carrara, 0.1 - 0.3 mm, even grain sizes, dust-free White Marble Dust Carrara, 0.2 - 0.6 mm, even grain sizes, dust-free White Marble Dust Carrara, 0.4 - 0.8 mm, even grain sizes, dust-free White Marble Dust Carrara, 0.6 - 1.2 mm, even grain sizes, dust-free White Marble Dust Carrara, 1.2 - 1.8 mm, even grain sizes, dust-free White Marble Dust Carrara, 1.8 - 2.5 mm, even grain sizes, dust-free San Ambrogio, brownish, 0 - 0.6 mm, marble from Italy San Ambrogio, brownish, 0.6 - 1.2 mm, marble from Italy

Colorless & Colored Mineral Fillers

For further information and prices please visit us at www.kremerpigments.com

Fillers & Building Materials 59653 59654

03

San Ambrogio, brownish, 1.2 - 1.8 mm, marble from Italy San Ambrogio, brownish, 1.8 - 2.5 mm, marble from Italy

/// Siliceous, Quartz & Granite 58190 58191 58200 58250 58400 58420 58610 58620 58630 58640 58650 58660 58675 58676 58677 58678 58685 58686 58687 58688 58689

Sarti Chalk, grayish, Tailor´s Chalk from Italy Sarti Chalk, yellowish, Tailor´s Chalk from Italy China Clay, from England, white Kaolin, yellowish, white bole Talcum White, fine, filler Talcum White, very fine, filler Quartz Powder, medium, approx. 44 µ Quartz Powder, coarse, approx. 100 µ Quartz Powder, 0.04 - 0.15 mm, sieved Quartz Powder, 0.1 - 0.25 mm, sieved Quartz Powder, 0.25 - 0.4 mm, sieved Quartz Powder, 0.4 - 0.5 mm, sieved Quartz Sand, light gray 0 - 0.3 mm, fine powder Quartz Sand, light gray 0.1 - 0.3 mm, very fine sand Quartz Sand, light gray 0.2 - 0.6 mm, medium fine sand Quartz Sand, light gray 0.5 - 1 mm, fine sand Quartzite Orange 0 - 0.3 mm, fine powder Quartzite Orange, 0.1 - 0.3 mm, very fine sand Quartzite Orange, 0.2 - 0.6 mm, medium fine sand Quartzite Orange, 0.5 - 1 mm, fine sand Cristobalite Powder, approx. 8 µ, very fine, semi-opaque, silicon dioxide

03

Bright white filler for light colors, compound fillers and gesso. Made by high temperature reaction from quartz powder, contains silica (respirable quartz).

58690 58692 58694 58804 58806 58807 58808 58814 58816 58817 58818 58824 58826 58827 58828 58844 58846 58847 58848 58945 58971 58972 58973 58974 58976 58977 58978

Cristobalite Powder, 0.01 - 0.1 mm, silicon dioxide Cristobalite Sand, 0.3 - 0.9 mm, silicon dioxide Cristobalite Sand, 0.1 - 1 mm, silicon dioxide Granite Gray, 0 - 0.1 mm, fire-dried, fine powder Granite Gray, 0.1 - 0.3 mm, fire-dried, very fine sand Granite Gray, 0.2 - 0.6 mm, fire-dried, medium fine sand Granite Gray, 0.5 - 1 mm, fire-dried, fine sand Gneis Green, 0 - 0.3 mm, fire-dried, fine powder Gneis Green, 0.1 - 0.3 mm, fire-dried, very fine sand Gneis Green, 0.2 - 0.6 mm, fire-dried, medium fine sand Gneis Green, 0.5 - 1 mm, fire-dried, fine sand Granite Yellow, 0 - 0.3 mm, fire-dried, fine powder Granite Yellow, 0.1 - 0.3 mm, fire-dried, very fine sand Granite Yellow, 0.2 - 0.6 mm, fire-dried, medium fine sand Granite Yellow, 0.5 - 1 mm, fire-dried, fine sand Granite Red, 0 - 0.1 mm, fire-dried, fine powder Granite Red, 0.1 - 0.3 mm, fire-dried, very fine sand Granite Red, 0.2 - 0.6 mm, fire-dried, medium fine sand Granite Red, 0.5 - 1 mm, fire-dried, fine sand Sepiolite, natural magnesium-silicate, thickener, anti-settling agent Cristobalite - Yellow, 0.5 - 1 mm Cristobalite - Orange, 0.5 - 1 mm Cristobalite - Pink, 0.5 - 1 mm Cristobalite - Brown-Red, 0.5 - 1 mm Cristobalite - Pale Green, 0.5 - 1 mm Cristobalite - Dark Green, 0.5 - 1 mm Cristobalite - Pale Blue, 0.5 - 1 mm

For further information and prices please visit us at www.kremerpigments.com

Colorless & Colored Mineral Fillers

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03

Fillers & Building Materials

/// Plaster, Chalk, Blanc Fixe and others 58100

Chalk from Bologna, from Italy, Gilder´s Gesso Natural mixture of calcium sulphate and calcium carbonate.

58150 58300 58320 58340

Chalk from Bologna, light, from Italy, natural calcium sulphate Terra Alba, selenite, natural gypsum Anhydrite Plaster, dead-burnt gypsum Alabaster Plaster, Italian, crystalline natural alabaster powder, brilliant white Filler for paints and for Gesso Sottile.

58343

Alabaster Modelling Plaster, German Plaster from selected stones, very fine and pure, brilliant white, for models and sculpture.

58360 58700

Scagliola, Italian plaster, fast setting Blanc Fixe, barite, barium sulfate, powder For heavy opaque colors, lowers oil absorption.

FILLERS MADE OF GLASS

03

59800 59810 59821 59822 59825 59830 59831 59832 59835 59850 59851 59852 59910 59920

Glass Beads, made of recycled glass, approx. 0.5 mm Glass Powder, white, 0 - 100 µ, transparent and inert filler Glass Powder in Beads, 40 - 70 µ, ground glass Glass Powder in Beads, fine, < 50 µ, ground glass Glass Powder in Beads, very fine, approx. 15 µ Glass Beads, coarser, colorless, 0.5 - 1 mm Glass Beads, fine, transparent, 150 - 210 µ Glass Beads, very fine, colorless, 0 - 50 µ Glass Beads, coarse, glossy, 1.25 - 1.55 mm Glass Flakes, large, 600 µ Glass Flakes, medium, 140 µ Glass Flakes, fine, 15 µ Scotchlite™ K 1, hollow glass microspheres, very light, high volume filler, average grain size 46 µ, largest bubbles 200 µ Scotchlite™ S 22, hollow glass microspheres, average grain size 29 µ, largest bubbles 53 µ

STRUCTURAL & SPECIAL FILLERS 58920 58942

Bone Ash, white, thickening extender in lime paints Aluminum Hydroxide Fine, white Filler for transparent pigments, absorbs extra oil, prevents separation in tubes.

58950 58954 59792 59960 59980 59984

Plastorit® Super, finer than 12 µ Plastorit® 00, finer than 50 µ Cork Powder, 0.5 -1 mm Phenolic Resin Beads, hollow beads, 0.005 - 0.127 mm Volcano Ash, filler, white, inert, very low weight Volcano Ash, hollow glass bubbles

ARBOCEL & DRALON-FIBER 59700 59720 59730 59740 59750 59751 59755 59770

40

Dralon-Fiber, 4 mm, additive for paint and mortars Dralon-Fiber, 6 mm, additive for paint and mortars Polypropylene Fibres PPS Armicel 500, hydrophilic reinforcement fibres, 400 - 800 µ Arbocel® BC 1000, cellulose fibers, approx. 0.7 mm Arbocel® PWC 500, pure cellulose fibres, length about 500 µ Arbocel® BC 200, cellulose fibers, approx. 0.3 mm Arbocel® BWW 40, cellulose fibres, approx. 200 µ, powder

Arbocel & Dralon-Fiber

For further information and prices please visit us at www.kremerpigments.com

Fillers & Building Materials

03

THICKENERS 58900 58903

Bentonite, thickener for oil paints Attapulgite, Fuller´s Earth Gray rottenstone. Used in a watery paste on stone sculpture, absorbs surface pollution when drying. Contains magnesium-aluminum, hydro-silicate.

58935 58940

Laponite® RD, powder, thickener in water Tixogel® VZ, thickener for oil paints A chemically altered bentonite with high swelling ability which gives paint a buttery consistency. Using Tixogel, you can build up a considerably thick layer of oil-paint and create lively sculptural brushstrokes. It prevents running and sagging of impasto and increases brush loadability.

58960

Aluminium-di/tri-stearate, whitely, waxy powder Gives oil color buttery consistency.

INJECTION AND SPECIAL MORTAR 03

31000 31020 31040

Ledan® TB 1, special injection mortar Ledan® TA 1 Leit 03, injection mortar Ledan® TC 1 PLUS, solidifying mortar Injection mortar to strengthen masonry walls, even in the presence of cement.

31060 31080 31082 31087 31100 31102 31104 31106 31108 31110 31200 31204

Ital B 2 Leit 01, mortar 0.4 g/ml Calco Stuc 1, stucco mortar Ledan® TRAVER STUC, travertin stucco mortar Ledan® ADRANAL, special mortar for the protection of walls against rain and snow Injection mortar PLM-A, for consolidation of frescos Injection mortar PLM-AL, for consolidation of fresco and wall paintings Injection mortar PLM-I, can be used for the consolidation of colored plaster Injection mortar PLM-M, can be used for the consolidation of the masonry Injection mortar PLM-S, this fresco binder can be used for conservation purposes for works with historical and artistic significance Injection mortar PLM-SM, can be used for the general consolidation of mosaic grounds Trass Powder, Rhenish, 63 µ - 0.2 mm Historic Mortar, very weather-resistant (rain, frost) It is suitable for the work on historical masonry and brickwork.

31210 31230 31231 31250 31251 31252

Roman Cement, natural Belite cement from Grenoble Pozzuolana Red Earth, 0 - 6 mm Pozzuolana Red Earth very fine, 0 - 63 µ, for violin makers Chamotte, powder, 0 - 0.5 mm Chamotte, fine gravel, 0 - 4 mm Chamotte, gravel, 0 - 10 mm

LIMES 31800

Pit Lime Slaked lime, minimum age 4 to 6 years. Our pit lime consists of evenly fine grains (particle size approx. 1 - 5 µ), and the paste has a creamy / buttery consistency. The lime paste contains 32.3 % water.This wood-burned marble pit lime is of high quality due to the almost chemical purity. The pit lime may be recommended for high-quality plaster work and for fresco and wall painting.

31802 31808 31840 31900 31940

Roman Pit Lime, from Naples, Italian, hydrated lime, pure white Sinter Lime Water, for the consolidation of chalk mortars Calix Blanca NHL 3.5, natural hydraulic lime Roman Lime, white wall color and surfacer Grassello, white, lime paint, opaque, smooth Grassello is a blade-applied wall coating based on slaked lime putty finely filtered and seasoned for at least 6 months and on natural inert charges. Its environmentally friendly formula is solvent free (0 % VOC) and extremely low in chemical additives (less than 1.50 % in total dry residue). Easy to apply, it has excellent filling power and resists aggression by moulds and bacteria. Grassello is suitable for decorative indoor wall surfaces.

For further information and prices please visit us at www.kremerpigments.com

Limes

41

03

Fillers & Building Materials 31942 31950

Primer for Grassello and Marmorino, based on acrylic polymers, natural fine quartz, inert fillers and special additives Marmorino, white, blade-applied wall coating Based on slaked lime putty finely filtered and seasoned for at least 6 months and on natural inert filler. Marmorino is coarser than Grassello. Its use and application is the same.

POLISHING POWDERS 58750 58760 599870 599890 599900 599902 599904 599905 599906 599907 599920 599930 599950 599960

03

42

Carborundum F 400, 16.3 - 18.3 µ Carborundum F 120, 90 - 120 µ Magnesium Oxide, burnt magnesium oxide Vienna Lime, burnt Dolomite, polishing powder Pumice Powder, fine, Volcanic rock, 0 - 90 µ, from Germany, Eiffel Pumice Powder, 0.4 mm Pumice Powder 0, coarse, Volcanic rock, 0 - 250 µ, from USA Pumice Powder 00, medium, Volcanic rock, 0 - 180 µ, from USA Pumice Powder 000, fine, Volcanic rock, 0 - 150 µ, from USA Pumice Powder 6/0, very fine, Volcanic rock, < 90 µ, from USA Tripoli, Rotten Stone, reddish, diatomaceous earth Tripoli, Rotten Stone, light, Diatomite, diatomaceous earth Scouring Rush, shredded, horsetail, cut pieces Scouring Rush, whole, horsetail, bundle of whole pieces, Egyptian, handpicked

Polishing Powders

For further information and prices please visit us at www.kremerpigments.com

Mediums, Binders & Glues

04

04

MEDIUMS, BINDERS & GLUES

04

42 45 47 48 50 51 52

Water-dilutable Binders Solvent-soluble Binders Oils Mediums, Varnishes & Lacquers Products for Violin Makers Glues & Casting Materials Cyclododecane & further Volatile Binders

For further information and prices please visit us at www.kremerpigments.com

43

04

Mediums, Binders & Glues

WATER-DILUTABLE BINDERS /// Natural Glues & Watercolor Binders Stronger than most modern adhesives, animal glues are used in traditional woodworking and painting technique. Soaked in water and then heated in a water bath, they are used warm, and gel when left to cool. In woodworking, their watersolubility makes them reversible, while their „open time” allows for repositioning. In painting technique, they are used both as a size for canvas and boards, and in tempera paints. Animal glues vary in strength. Always make the minimum strength required – as a guide, a set jelly should be somewhere between hard set and liquid. For a canvas size, try 1 part of 63020 Rabbit Skin Glue for every 14 parts of water (60 grams to 1 litre). For tempera paints, 80 grams for every quart. Compare recipes in Kurt Wehlte: The Materials and Techniques of Painting, in our book section. True rabbit skin glue tends to gel at lower temperatures, making it easier to use in gesso applications. Otherwise, glue made from cow or rabbit collagen are comparable. As an adhesive, heat soaked Bone or Hide Glue and add water until the solution runs smoothly off a wooden spoon.

/// Albuminous Glues You can find our Glue Pots in Chapter 09 Tools, Packaging & Supplies. 63000 63010 63020 63025 63028 63035

04

Bone Glue, pearls, made from cow bones Hide Glue, cubes, made from cow hide Hide Glue, cubes, high jelly strength, made from cow hide Rabbit Skin Glue, cubes, made from rabbit hide Rabbit Skin Glue, fine grind, made from rabbit hide Parchment Glue Parchment Glue is a very popular glue for book binders. Parchment strips are soaked in cold water, dissolved in warm water, filtered and poured into thin sheets. The glue is yellowish, slightly more brittle than isinglass glue and less adhesive.

63045

Technical Gelatine, powder, made from cow hide Easily water soluble, for sizes, grounds, tempera etc.

63052 63053 63060 63200 63210 63220

Glue Plates, made from pure rabbit skin, 35 - 45 g per plate Technical Gelatine, plates, made from rabbit hide, approx. 120 g / plate Bookbinder Glue, grains, gilder glue, light, made from cow hide Casein, precipitated with milk acid, fine powder Casein Binding Medium, borax-casein, according to a recipe by Wehlte Schmincke Casein Binder, borax-casein, liquid Borax hydrolized casein emulsion for casein paints and tempera. As an additive to acrylic colors, it improves adhesiveness to smooth surfaces, i.e. glass, and increases viscosity.

63250 63500 63510 63512 63521 63522 63523 63524 63550

Albumine, egg-white powder Franklin Hide Glue 118 ml, tube Franklin Hide Glue 237 ml, tube Franklin Hide Glue 473 ml, tube Franklin Tide Bond 118 ml, wood glue, tube Franklin Tide Bond 237 ml, wood glue, tube Franklin Tide Bond 473 ml, wood glue, tube Franklin Tide Bond 946 ml, wood glue, tube Fish Glue, highly viscous

/// Gums & Starches 63320 63330 63350 63420 63440

Gum Arabic, grains Gum Arabic Powder, spray dried, white, DAB 10 Cherry Gum, Prunus Avium Dextrine, pure, white Rice Starch This very fine rice starch is manufactured from clean, polished broken rice by extraction and purification of the starch.

63450 63451

44

Xanthan, thickening agent for sodium silicate Wheat Starch Powder, agglutinant

Water-dilutable Binders

For further information and prices please visit us at www.kremerpigments.com

Mediums, Binders & Glues

04

63470 Agar Agar, natural thickener, technical, pure 63477 Fu-Nori, Japanese algae glue 634774 JunFunori®, Japanese algae glue, extra pure Shofu Jin Nori, Japanese Wheat Glue 634775 SHOFU JIN NORI Paste, white paste, Japanese wheat glue, ready to use 634778 SHOFU JIN NORI Powder, Japanese wheat glue, white powder

/// Cellulose Derivatives & Glues 63600 63610 63641 63642 63650 63663 63671

Cellulose Glue K 300, thin, paint glue, methyl-hydroxyethyl-cellulose Cellulose Glue K 1000, thick, thickening agent, paint glue Paint Glue, Na-Carboxymethyl Cellulose, fine, ionic, low viscosity Cellulose Glue K 50, paint glue Cellulose Thickener C 6000, thickener, Na-carboxymethylcellulose Cellulose K 30.000, thickener for mortar and pastes Methocel A4M, methyl cellulose, 4000 mPas Methocel A4M is a quickly dissolvable, medium viscous methyl cellulose. Methocel A4M is soluble in water, dries matte and is extremely reversible. Methocel A4M has been used successfully for the consolidation of paint and wood.The dissolved Methocel A4M can be applied with a brush, sprayed or injected. Methocel A4M does not change colors of the treated surface and can be tinted with pigments.

63682 63700

04

Benecel™ A4C, methyl cellulose Klucel® E, 7 mPas, hydroxypropyl cellulose, low viscousity Excellent binder for watercolor and gouache paints. Also soluble in denatured alcohol as a fixative or glue. Thin consistency.

63706 63710 63712 63720 63744

Klucel® G, 300 mPas, hydroxypropyl cellulose Klucel® M, 5000 mPas, hydroxypropyl cellulose, viscous Klucel® H, 30000 mPas, hydroxypropyl cellulose Ethylcellulose ET 200, soluble in most organic solvents Culminal® MHPC 20000, methyl-hydroxy-propylcellulose

/// Water-soluble Synthetic Resins & Dispersions /// Synthetic Resins, water-soluble 63812

Carbopol® EZ 2, 2-polyacrylic acid, self-dispersing For solvent gels for restoration.

63902 63905 67500

Aquazol® 200, water-soluble synthetic resin, medium viscosity Aquazol® 500, water-soluble synthetic resin, high viscosity Polyglykol 1000, wax-like Stabilizes moisture, soluble in water and organic solvents.

67520 67540 67700 67710

Polyglykol 1500, synthetic wax Polyglykol 400, clear thin liquid Polyvinyl Alcohol (PVA) solid, synthetic resin, 4-98 Polyvinyl Alcohol (PVA) liquid, 15 %, in demineralized water Retarder for acrylic paints. Use also as stabilizer and to improve flow. Add. ca. 10 % to acrylic medium.

67760

Polyvinyl Alcohol (PVA) thin, low viscosity, 4-88 Fields of Application: Modification of dispersion glues, manufacture of paper glues and glues which can be remoistened. Protective gel for the emulsion polymerization, raw material for finishing and textile glaze, binding agent for the surface processing of paper.

/// Pure Acrylic Dispersions 75000

Acrylic Dispersion DM 771, pure acrylic dispersion, viscous Watersoluble, without plasticizers, thick liquid. Semi-gloss, clear, tearproof, hard, with good pigment binding capacity, resistant to yellowing and weather. 50% solids.

For further information and prices please visit us at www.kremerpigments.com

Water-dilutable Binders

45

04

Mediums, Binders & Glues 75075

Dispersion K 52, aqueous acrylic dispersion Acrylic dispersion with very fine particle size, very transparent. The K 52 is recommended for thin, aquarell-like glazes and matte paint. Also suitable for consolidation and impregnation of pourous grounds. Weak film-formig properties, less abrasion resitant than other acrylic dispersions. Not compatible with Cellulose Glue No. 63600.

75100

Primal® AC 35, pure acrylic emulsion For artist paints. Clear, glossy, low odor, solvent free, high adhesion, good blocking resistance, fast drying, for interior and exterior use.

75250

Primal® WS 24, acrylic consolidant Acrylic consolidant and protectant for plaster, stone and wood.

75305 75355 75367

Dispersion K 19 Gloss, acrylic dispersion, transparent, hard surface Dispersion K 19 Matte, acrylic dispersion, dries matte Dispersion K 9, pure acrylic dispersion Good binding stength, low surface contamination, without ammonia, formaldehyde-free, pleasant smell, slightly tacky. Possible to achieve very matte paint when thinned. Replacement for Primal AC 33. Compatible with Potassium Silicate, no. 77750, and Syton®, no. 31430. Recommended thickener is Rohagit, no. 76910.

75600 75900 76000

Plextol® B 500, pure acrylic resin, can be pigmented easily Acronal® 500 D, acidic pure acrylate dispersion, extremely flexible Plextol® D 498, clear with medium gloss, weather-resistant Standard pigment binder. Also suitable as an additive for the manufacture of organo-silicate paints.

76101

04

Dispersion K 360, pure acrylic dispersion, about 60% solids MFT 0 ° C, very elastic, permanently sticky.

76202

Plextol® D 540, medium-hard acrylic dispersion, approx. 49-51% acrylic

/// Polyurethane & Latex Milk 76805 76806 77200

Polyurethane Dispersion PU 52 Polyurethane Dispersion No. 61 PC Latex Milk, natural rubber, kept liquid with ammonia

/// Thickener for Dispersions 76900

Thickener ASE 60, thickens the consistency of alkaline dispersions Prevents running and dripping.

76910

Rohagit® SD 15, thickens gel-like Thickener for dispersion paints, synthetic resin plasters, glues.

78032

Orotan 731 K, disperse aid For pigments ground in dispersions.

78900

Acematt® HK 125, matting agent for acrylic mediums and solvent solubly varnishes

/// Waterglass & similar Binders 31402 31404

Lithium Waterglass, consolidation agent for natural and artificial stone plasters and mortars Durolith® Bioclean L Durolith® Bioclean L, lithium hydroxide is for long-lasting removal of microbial growth from buildings and sculptures, such as Lichens, algae or fungi. Similarly, this product can be used for preventive treatment of concrete, plaster, natural & artificial stone. Durolith® Bioclean L is particularly suited for the treatment of sculptures, as it does not change the visual appearance of surfaces. Application: Mix 100 ml of Bioclean L with 1 liter of water. Attention: Wear protective goggles and gloves.

31430 31431

Syton® X 30, small particles Syton® W 30, water-based silicic acid dispersion, large particles

77305 77750 77760

Silicade 8, composition of water-soluble silicates and acrylic dispersion Potassium Silicate 28/30°, aqueous solution Limasol, silicate binder Limasol can be used for silicate painting, to consolidate translucent ceramics, as acid-resistant coating, primer for the coating of metal. Limasol reacts alkaline, can be thinned with water at any ratio, is very stable in reference to shelf-life, is VOC-free, is incombustible and has no odor.

46

Water-dilutable Binders

For further information and prices please visit us at www.kremerpigments.com

Mediums, Binders & Glues

04

SOLVENT-SOLUBLE BINDERS /// Varnish Materials, Natural Resins 60000

Dammar, best quality, handpicked, from Sumatra Use for varnishes and in mediums. Kurt Wehlte recommends wrapping 100 g damar crystals in gauze and suspending them by a string in a closed jar filled with 200 ml pure gum turpentine. The crystals will take a couple days to dissolve. Our damar is harvested by hand in Sumatra, Indonesia, where deforestation and political unrest have diminished supplies.

60050

Mastic, from Chios, Greece, best quality Dissolve 100 g in 300 ml pure gum turpentine.

60100 60150

Sandarac, from Morocco Manila Copal, soluble in ethanol Often used as an isolating varnish over tempera underpainting.

60161 60200 60205

Gum Copal, from Madagascar Amber, pieces, genuine Amber Colophony, from Russia, brown brittle resin Limited supply.

60210 60250 60270 60300 60310

Amber, powder, genuine, 0 - 1 mm Benzoin, best quality Olibanum, incense, best quality Colophony extra light, rosin, residue of turpentine destillation Colophony Powder, rosin

04

For printing plates, not for varnishes. Does not dissolve entirely.

60320 60400

Burgundy Resin, colophony, of the European pine Shellac Lemon 1, from India, flakes Shellac is a resinous secretion of the lac insect. After the crude lac is gathered from the tree, it is crushed and graded and the largest particles, called seed-lac, are selected for making the best grade of shellac varnishes.

60410 60430 60440 60441 60450 60470 60480 60490 60500 60550

Shellac Orange, from India, flakes Stick-Lac, Raw Shellac Shellac, bleached, light, flakes, wax-free Shellac light, food quality, wax free, decolorized Shellac, bleached, very light, flakes, wax-free Shellac Powder with Borax, very light, water-soluble Shellac Ruby, flakes, wax-free, ruby colored Seed Lac, Crude Shellac Button-Lac, from India Shellac Wax, bleached This Shellac wax dissolves in turpentine. It is used for the conservation of old shellac varnish on furniture.

/// Balsams & Wax Turpentines are natural tree resins. They tend to crystallize like honey when stored for a long time, or subjected to temperature changes that may occur during shipping. Warming the product in a warm water bath will restore its original consistency. Further fluctuations in quality are possible due to the seasonal change of trees, which influences the amount of solvents in the sap. Adding a small amount of solvent such as spirits of turpentine to very thick balsams will remedy this problem. We hope you will appreciate these inconsistencies as signs of the natural character and unprocessed purity of these products. 62000 Larch Turpentine, genuine 62002 Larch Turpentine from South Tyrol 62010 Venetian Turpentine, mixture of larch turpentine and colophony 62040 Silver Fir Turpentine Balsam, Strasbourg-Turpentine-Balsam, dark The resin tends to crystallize. Can be heated to create violin varnish rosin.

62042 62046 62050 62100 62105

Abies Alba Resin, European Silver Fir Picea Excelsa Gum, European Spruce, Norway Spruce Gum Elemi, semi-solid Copaiba Balsam, medium thick Peru Balsam, natural

For further information and prices please visit us at www.kremerpigments.com

Solvent-soluble Binders

47

04

Mediums, Binders & Glues 62108 62110 62200 62210 62222 62300 62400 62500 62600 62620 62690 62800 62900

Tolubalsam, very pale Canada Balsam, Canadian turpentine Beeswax, natural, pure, DAB 10, beads, bright yellow Beeswax, bleached, pure, DAB 10, beads Propolis, from Uruguay Carnauba Wax, bleached, flakes Paraffin, melting point: 52 - 54° C Stearin, flakes Microwax White, micro-crystalline Microwax White-Yellowish, micro-crystalline Ozokerite, colorless white wax Cosmoloid H 80, micro-crystalline wax, pastilles, for iron conservation Renaissance Polishing Wax, micro-crystalline wax

/// Synthetic Resins, solvent-soluble Synthetic resins are used as lacquers or binding media for paints.

/// Polyvinyl Acetate 67000 67020 67040 67160

04

Polyvinyl Acetate 20 Polyvinyl Acetate 30 Polyvinyl Acetate 50 Polyvinyl Acetate Copolymer, in Ethyl Acetate 60%

/// Laropal / MS2A-Resin 67204 67240

Laropal® A 81, very lightfast, aldehyde resin for varnishes MS2A-Resin, resin for very lightfast painting varnishes

/// Regalrez® / Regalite®-Resins 67260 67266 67280 67284

Regalite® R1090, synthetic resin Regalite® R1125, synthetic resin Regalrez® 1094 Regalrez® 1126

/// Plexisol / Plexigum 67300 67380

Plexisol® P 550-40, acrylic resin dissolved in white spirit Plexigum® PQ 611, soluble in Shellsol® T, special boiling-point spirit

/// Paraloid Paraloid™ B-72 is an excellent general purpose acrylic resin. It can be applied in either clear or pigmented coatings by a variety of application methods. 67400 67402 67403

Paraloid™ B 72, ethyl methacrylate polymer Paraloid™ B 72 in Ethyl Acetate, 15 %, acrylate-ester-polymerisate Paraloid™ B 72 in Ethyl Acetate, 15 %, with UV protection For protective varnish in case of high UV exposure.

67404

Paraloid™ B 72 in Ethyl Acetate, 25 %, with UV protection Can be used as reversible surface for labelling museum objects.

67408 67409 67420 67440 67460 67470

Paraloid™ B 72 in Ethyl Acetate, tube, viscous glue Paraloid™ B 72 in Toluene, 50 % solids Paraloid™ B 67, isobutyl-methacrylate polymer Paraloid™ B 82, methyl-methacrylate-copolymer Paraloid™ B 44, methyl-methacrylate-copolymer Paraloid™ B 48 N, methyl-methacrylate-copolymer

/// Softening Agent / Polyvinyl Butyral 67580 67600

48

Special Gum G 1650, softening agent, for conservation varnishes Polyvinyl Butyral 30

Solvent-soluble Binders

For further information and prices please visit us at www.kremerpigments.com

Mediums, Binders & Glues

04

OILS /// Drying Oils /// Linseed Oil The importance of a good coldpressed linseed oil cannot be overstated. Good oil is made from the ripest possible seed of the flax plant. Light color shows that the oil is free from contamination with seeds from weeds and other foreign matter, which can substantially alter normal drying time. Soil and weather conditions influence the harvest: The best oils are produced in a northern climate, where the sun is filtered through layers of haze and allows the seeds to ripen slowly. Wehlte points out that the Dutch masters fared best with home-grown oil, extracted using primitive methods that yield less, but avoid the passing of mucilage into the oil. Northern oils also have a lower acidity than Southern oils. You can tell a good, fresh oil by its smell: it should be light and flowery, not dark and acrid. 73011 73020 73054

Linseed Oil, sun thickened, Oleum Crassum, from Italy Linseed Oil, cold-pressed, from Sweden, low acid content Linseed Oil, cold-pressed, pale yellow, contains some mucilage For oil paints, tempera, wood treatment.

73100 73200 73201 73300

Kremer Linseed Oil Varnish, siccativated with manganese, cobalt-free, fast-drying Linseed Stand Oil, 50 P, consistency like liquid honey Linseed Stand Oil, 450 P, polymerized oil Linseed Oil, refined, varnish oil, bleached linseed oil

04

/// Walnut Oil Walnutoil is less prone to yellowing, and lets white and blue colors retain their characteristic hue. Its drying properties are somewhat slower than linseed oil, adding siccative can accelerate the drying time. 73500 73510 73511

Walnut Oil, refined, pure, refined Walnut Oil, siccativated, pure, refined Walnut Oil, sun thickend, Oleum Crassum Painting medium for classic oil painting techniques.

73550

Walnut Oil, cold-pressed, for tempera

/// 73600 73630 73640 73670 73680 73900

Poppy Oil, pure, refined Perilla Oil, slow drying plant oil Claw Oil, clear Castor Oil, softener for oil-varnish White Oil, vaseline oil, paraffin oil Tung Oil, China wood oil Tung Oil becomes cloudy at approx +5°C and turns into a pasty consistency at low temperatures. This consistency can be reversed by warming up the oil slowly and carefully.

73950 79240

Castor Stand Oil, soluble in denatured alcohol Alkyd Resin Oil, for mediums

/// Essential Oils All essential oils (except #73700, #73750 and #73800) only upon request with special shipping rates and longer delivery time. 73700 Clove Oil, rectified, DAB 9 73710 Rosemary Oil, Spanish, best quality 73720 Cedar Wood Oil, rectified 73730 Tyrolean Dwarf Pine Oil, essential oil 73732 Pine-Needle Oil, essential oil 73734 Silver Fir Needle Oil, essential oil 73736 Fir Cone Oil, essential oil 73750 Lavender Oil, Mt. Blanc, France, best quality

For further information and prices please visit us at www.kremerpigments.com

Oils

49

04

Mediums, Binders & Glues 73760 73770 73800

Eucalyptus Oil, essential oil, pale yellow, thin, 85 / 88 % Cajeput Oil, essential oil, from melaleuca leucadendron Spike-Lavender Oil

/// Owatrol Oil Paint Conditioner and Rust Inhibitor. Owatrol is a unique paint additive that improves finish and eases application for the professional painter and decorator, especially in difficult conditions. Owatrol added to any oil-based paint, varnishes or stains will reduce brush marks and improve coverage. 79071 Owatrol Oil 79073 Owatrol Oil Spray, penetrating and isolating rust inhibitor, wood impregnation

MEDIUMS, VARNISHES & LACQUERS /// Mediums for Oilspaintings /// Claude Yvel 79097 04

Black Oil, by Claude Yvel, medium made of walnut oil and lead oxide, contains lead, toxic Black oil is a fast drying medium and varnish made from walnut oil and litharge. Historically significant for iconpainting and other historical painting techniques.

79098

Gel-Painting Medium by Claude Yvel, tube, contains lead, toxic The long lasting painting medium of the baroque period. Black Oil and a special Mastic Varnish are carefully mixed 1:1. The two liquid components change into a thick gel. When stirring the gel can be made liquid again. The gel may liquify by shipping. In case of higher temperatures in the summertime we recommend to use our 79099 Set to mix the gel freshly. The shelf-life is approx. 6 month. May re-gel if stirred slowly.

79099

Black Oil and Mastic Varnish - Set, components for Gel-Painting Medium by Claude Yvel

/// 79200 79210 79220 79225

Kremer Oil Paint Medium fast drying, Kremer-made Kremer Oil Paint Medium slow drying, Kremer-made Oil Paint Medium, glossy, Scumble Glaze Wax-Paint Medium, mixture of beeswax, stand oil and dammar varnish

/// ALCHEMIST™, Amber Varnish The ALCHEMIST company in Virginia makes a variety of mediums based on historical recipes that permit glazing fine lines and details wet in wet, without running or disturbing lower layers, in one session. Mixed with pigments or natural lakes these products are also used for violin varnishes. Based on 17th century recipes, the Alchemist company has developed a treatment of linseed oil that prevents running or bleeding. Called „Oil of Delft”, this line of products is intended for use instead of the ususal linseed oil and turpentine destillates in order to approximate the paint handling and optical results of 17th century painting. These products do not contain driers and should not be thinned further. 79900 799001 79901 799011 79909

ALCHEMIST Amber Varnish Clear in linseed oil, unthinned ALCHEMIST Amber Varnish Clear in walnut oil, unthinned ALCHEMIST Amber Varnish Dark in linseed oil, unthinned ALCHEMIST Amber Varnish Dark in walnut oil, unthinned ALCHEMIST Oil of Delft Thick, linseed oil painting medium

/// Mediums, water-dilutable 79227 79228

50

Wall Paint Binder, transparent Wax-Translucent Wall Paint Medium, can be thinned with 3 - 6 parts water

Mediums, Varnishes & Lacquers

For further information and prices please visit us at www.kremerpigments.com

Mediums, Binders & Glues 79230

04

Cere-Stucco Soap, wax paste, wax soap made of bleached beeswax and ammonium tartrate, without oil This soap is a water-soluble colourless white paste. After drying it is no longer water-soluble. Use: as a polishing paste for plasterwork, tadelac, stucco lustro, for wood- and wall covering, as a binder for glazes. That kind of wax soap is also called Punic Wax. You can use it very sparingly.

79250

Temperone, Venetian painting medium Temperone is made according to a recipe from the 16th century and is a water-thinnable emulsion of rye flower, larch turpentine, linseed oil, honey and distilled water. The properties of this medium yield an excellent adhesion on oil and emulsion grounds. History: Painters like Tintoretto required a fast-drying and cheap medium to finish large-scale work in a short time. Temperone makes it possible to paint quickly, up to 10 layers in one day. It dries within minutes to a satin gloss, and can be overpainted immediately. The emulsion remains water-soluble for a while, making it ideal for a sketch-like painting process that is easily corrected. Temperone is highly elastic on canvas and has good pigment binding properties. To impart lustre and durability, a final varnish of sandarac dissolved in ethyl alcohol is recommended.

79260

Kremer Watercolor Medium, with gum arabic, honey and glycerin Recipe: Combine several drops of this medium and some distilled water with 1–3 tsp. of dry pigment. Add a few drops of ox gall for flow. Mull into a smooth paste and fill into pans. Let the pans harden overnight. The easiest pigments to mix are mineral based colors.

79290

Feldmann´s Egg Tempera, historic painting medium

/// Varnishes 79300 79301 79320 79321 79330 79340 79350 79351 79360 79365 79375 79377 79380 79500

Dammar Varnish Glossy, UV Stabilized, 1:2 dissolved in double rectified turpentine Dammar Varnish, Glossy, 1:2 dissolved in double rectified turpentine, not UV stabilized Dammar Varnish Matt, UV Stabilized, matte finish, with bleached beeswax Dammar Varnish Matt, matte finish, with bleached beeswax, not UV stabilized Dammar Varnish Yellow Matt, UV Stabilized, matte finish, with natural beeswax Dammar Varnish with Shellsol® A, UV Stabilized, without turpentine Mastic Varnish, UV Stabilized, 1:2 dissolved in double rectified turpentine Mastic Varnish for Claude Yvel Gel, dissolved in double rectified turpentine Regalrez® Picture Varnish, with Regalrez® 1094, UV-stabilized Regalrez® Furniture Varnish, with Regalrez®1126, UV-stabilized Regalite® Picture Varnish, with Regalite® R1090, UV-stabilized Regalite® Furniture Varnish, with Regalite® R1125, UV-stabilized MS2-A-Varnish Glossy, in SHELLSOL® A Pastel Fixative, in ethyl alcohol

04

/// Lacquers & Formulations /// Oil Varnishes Harddrying Oil Harddrying Oil consists of a boiled mixture of resin with linseed oil. It paints out fairly light despite its dark color in the bottle, and imparts hardness, depth and lustre to oil paints and varnishes. Other uses include: As a depth primer on wood, mortar and stone (thinned with spirits of turpentine), a weather- resistant varnish for oil colors, an additive to tempera paints and as a medium for icon painting. 79021 79031

Harddrying Oil Kremer Gloss, clear, fast drying Harddrying Oil Kremer Matt, matted with beeswax, fast drying

79055

Tung Oil Varnish, tung oil cooked with linseed oil Glossy, slightly yellowish, highly weather resistant and with good drying properties. 1 litre covers about 20 square yards. A coat of Tung Oil Varnish is dust dry within 2 hours, hard in 8 hours, and can be over-painted after a day. Application is by brush or spray gun (special precautions: tung oil is considered toxic!). For outside applications four coats are recommended, for inside two coats are usually sufficient. Tung Oil Varnish is highly resistant to scratches and abrasion, and also UV stable, which is why it is used around ocean water or at high altitudes, as well as on staircases and wooden floors that receive high traffic. Colors can be added: 60 grams of pigment per litre do not compromise the paint film, and store bought oil paints can be added up to approx. 10 %. Tung Oil Varnish is used straight out of the can!

79080

Semi-Oil, Linseed Oil Varnish, with fir turpentine and siccative

For further information and prices please visit us at www.kremerpigments.com

Mediums, Varnishes & Lacquers

51

04

Mediums, Binders & Glues 79162

Alkyd Resin AH, ready to use, with siccative Similar to our former Alkyd Resin GG. Alkyde Resin is a half-synthetic medium for oil paints. It is based on alkylated vegetable oils (peanut, cotton etc.) to produce a harder, less yellowing and more elastic drying oil than linseed oil. It is used to grind pigments, and as an additive to oil colors. Although the consistency of alkydes is thick, like honey, when brushed out, the paint film is self-levelling, providing even, saturated coatings.

79421 79450

Amber varnish genuine, made from amber and linseed oil Copal Varnish, for exteriors, with siccative

/// Lacquers & Polish, alcohol-soluble 60453 79400 79622 79640

Shellac Polish, translucent Petersburg Lacquer, high-quality furniture varnish made of mastic, shellac, larch turpentine, etc. Brass Lacquer, from 1892, contains natural resins and dyes, dissolved in ethyl alcohol Polishing Oil for Shellac Finish, made with lavender oil For shellac surfaces.

79780 79782

Brenn-Polish, high gloss, made of shellac and natural resins, dissolved in ethyl alcohol Brenn Polish, matt, made of shellac and natural resins, dissolved in ethyl alcohol

/// Further solvent-based Lacquers

04

79550 79570 79800 79850

Zapon Lacquer, to be thinned with alcohol, colorless, cellulose varnish Zapon Lacquer, to be thinned with ester, colorless, cellulose varnish Beechwood Tar, tar oil mixture Asphaltum Laquer, Bitumen, black, in turpentine, with colophony

PRODUCTS FOR VIOLIN MAKERS 62226

Propolis Soap, William Fulton type, fine yellow powder Ground for violin varnishes, according to William Fulton.

/// Turpentine Rosin Oil 79282 79283 79284

Turpentine Rosin Oil thick, for violin varnishes Turpentine Rosin Oil medium, for violin varnishes Turpentine Rosin Oil thin, for violin varnishes

/// Rubio Mineral Ground & Violin Varnishes 79725 79760 79762 79763

Rubio Mineral Ground, for violins Violin Varnish - recipe of 1710, resin-solution in ethyl alcohol Violin Varnish Pale, yellow-gold, alcohol-soluble Violin Varnish Brown, brown-gold, alcohol-soluble With 23585 CINQUASIA® Red Gold, shellac, sandarac and amber, can be thinned with alcohol.

79764

Violin Varnish Red, red-brown, alcohol-soluble With 23493 Gubbio Red, shellac, sandarac and amber, can be thinned with alcohol.

/// Oil Varnish, transparent 797710 797712 797714 797720 797730 797732

52

Oil Varnish, transparent yellow, lightfast varnish for wood Oil Varnish, transparent maroon, lightfast varnish for wood Oil Varnish, transparent brown-red, lightfast varnish for wood Oil Varnish, transparent yellow-brown, lightfast varnish for wood Oil Varnish, transparent dark red, lightfast varnish for wood Oil Varnish, transparent dark brown-red, lightfast varnish for wood

Products for Violin Makers

For further information and prices please visit us at www.kremerpigments.com

Mediums, Binders & Glues

04

GLUES & CASTING MATERIALS /// Epoxy Resins 97240 97250

Transparent Adhesive Resin, EPO-TEK® 301-2, a two component optical, medical grade epoxy resin HXTAL NYL-1, clear glue for glass, 2-K epoxy resin glue For restoration of glass and ceramics.

97251

Glass Primer TSP, wetting agent, based on tri-ethoxy-silyl-propylamine in iso-propanol Protect from humidity.

97460

Woody Paste, 2 component epoxy paste

/// Casting Resin & Silicone Casting Materials 97400 97450

Rhodorsil RTV 3221, including 2% catalyst 6H, silicone casting material, white Modelit, casting resin

/// Silicone Mold Material, MBlue For pourable compunds. Dripping time 20 - 30 min, hardening after 8 - 10 h, usage with 3 - 5 % 97501 Catalyser for MBlau. Shore hardness of 20 - 22. 97500 97501

Silicone Mold Material, MBlue, standard quality, usage with 97501 catalyser MBlau Catalyzer for MBlue, usage with 97500 Silicon Mold Material, MBlue

04

/// Kremenit 97510 97520

Kremenit White, ceramic mass Kremenit Terracotta, ceramic mass

/// Special Glues 97904 98500 98501

Permabond 2011, super glue, non dripping Archäocoll 2000, ceramic glue N Paint Thinner for Archäocoll 2000, Ceramic Glue, contains PM and acetone

/// Heat Seal Adhesive /// LASCAUX-Glue You can find further LASCAUX®-Products in Chapter 06, the LASCAUX® Silicone Paper in Chapter 07. 81000 81002 81004 82000 87035

Lascaux® Acrylic Glue 303 HV, for paper, cardboard, textiles, former 360 HV Lascaux® Acrylic Glue 498 HV, for flexible surfaces such as linen, wood Lascaux® Acrylic Glue 498-20 X, for light and ageing-resistant, non-cross-linking agglutination such as re-lining Lascaux® Polyamide Textile Welding Powder 5350, melting point: 80°C Heat-Seal Adhesive 375, dry mixture for the preparation of a 40% solution

/// BEVA®-Products 87015 87016 87020 87023

BEVA® UV stable Finishing Varnish, Gustav Bergers Original Formula BEVA® UV stable Matte Varnish, Gustav Bergers Original Formula G. Berger´s Inpainting Medium, Gustav Bergers Original Formula BEVA® D-8 Dispersion, aqueous, non-ionic BEVA® D-8 Dispersion mainly consists of an ethylene vinyl acetate emulsified by a volatile material which evaporates during drying, without leaving a residue. Application in dispersion permits the use of resins of still higher viscosity and greater flexibility than BEVA® 371. However, BEVA® D-8 requires more aromatic mixtures for removal than BEVA® 371. Dry film can be solved with toluole or xylol.

87025 87030

BEVA® Isolation Varnish, according to licence by Gustav Berger BEVA® 371 Hot-sealing adhesive - 1 l, Gustav Bergers Original Formula, 40% solution, CTS

For further information and prices please visit us at www.kremerpigments.com

Glues & Casting Materials

53

04

Mediums, Binders & Glues 87031

BEVA® 371 Hot-sealing adhesive - 5 l, Gustav Bergers Original Formula, 40% solution, CTS 87032 BEVA® Gel, dispersion of acryl and EVA-resins in water 87050 BEVA® 371 Film, Thin, 25 µ, 68 cm 870501 BEVA® 371 Film, Thin, wide, 25 µ, 1.2 cm wide 87051 BEVA® 371 Film, Thick, 65 µ, 68 cm 870511 BEVA® 371 Film, Thick, wide, 65 µ, 1.2 cm 87052 BEVA® 371 Film, Thick, extra wide, 65 µ thick, 6.10 m long, 137 cm wide, roll 87055 BEVA TEX® 371 Film, 15 µ, 68 x 91 cm Non-woven polyester fabric, coated on one side with BEVA® 371 Film.

87060

BEVA® Gesso-p, Gustav Bergers Original Formula

/// Textile Welding Powder 97800

Textile Adhesion Powder, melting range 130 - 133°C

CYCLODODECANE & FURTHER VOLATILE BINDERS Cyclododecane, a temporary consolidant for treatment of artworks, including paintings, textiles and stone. Used for temporary consolidation, adhesion, cleaning, and protection during transport.

04

87099 87100 87108

54

Cyclododecane Spray, melting point 58 - 61°C Cyclododecane, melting point 58 - 61°C Menthol, from peppermint oil, melting point 31 - 35°C

Cyclododecane & further Volatile Binders

For further information and prices please visit us at www.kremerpigments.com

Solvents, Chemicals & Additives

05

05

SOLVENTS, CHEMICALS & ADDITIVES

05

54 54 54 55 55

Solvents Cleaning & Wetting Agents Conservation Materials Chemicals AKA-Products

For further information and prices please visit us at www.kremerpigments.com

55

05

Solvents, Chemicals & Additives

SOLVENTS 70460

Shellsol® T, iso-solvent, aroma-free

CLEANING & WETTING AGENTS /// For Metal Restoration 62901 62902 79625

Pre-Lim Surface Cleaner, paste for non-scratch cleaning of metals Renaissance Metal De-Corroder, safe, non-toxic system for rust removal with full control Incra Lac, copper coating, contains aromatics

78010 78025 78030 78039 78040

Surfynol® 61, wetting agent for special cleaning procedures Tween® 20, polyoxyethylen-sorbitan-monolaurat Triton® X-100, non-ionic disperse agent for water-based mediums Wetting Agent PM, for cleaning emulsion, dispersing agent Disperse Aid, disperse aid for oil paint

///

/// Marseille Soap

05

78045 78046 78050

Olive Oil Soap, block, pure vegetable soap, 8 x 8 x 8 cm, approx. 600 grams, in a block Olive Oil Soap, liquid, in bucket, pure Marseille Soap, needles, pure vegetable soap

78052 78053 780551 78057 78060 78061

Vulpex Liquid Soap, non-ionic concentrated cleaning agent Amytis®, washing and cleaning agent for silk, wool, and brushes Tinovetin® JUN HC, surfactant, wetting agent for fibres Marlipal® 1618/25, flakes, non-ionic surface-active agent Picture Cleaner, from Winsor & Newton Groom Stick®, non-abrasive cleaner made from processed, kneadable, natural rubber Lanolin DAB 9, low pesticide content Ethomeen® C 12, surface-active fatty amine, used as a wetting agent Ethomeen® C 25, 100%, fatty amine from coconut Ox Gall, wetting agent for oil and tempera colors, by Schmincke Texanol®, reduces the minimum required temperature for acrylic drying by about the half Siccative No. 203, drier for oils, lead-free Defoamer, special silicone oil, for waterbased paints to reduce foaming

///

78070 78084 78086 78087 78100 78406 78600

CONSERVATION MATERIALS 78150 78152 78707 78710 78740 78744

56

Tinuvin® 900, UV-absorber, powder Tinuvin® 292, UV-absorber, liquid, soluble in benzine Alchinol d 15 / Hydorol D15, stabilizes water-based solutions with a low salt content against algae Camphor, natural, Chinese Preventol® ON extra Biodocarb, fungicide, anti-mildew agent

Conservation Materials

For further information and prices please visit us at www.kremerpigments.com

Solvents, Chemicals & Additives

05

CHEMICALS More chemicals on request.

/// 64020 64021 64040 64100 64200 64900 65000 71050

Ammonium Hydrogen Carbonate, technical, pure Ammonium Carbonate, pure Potash, potassium carbonate Potash Alum, aluminium potassium sulphate Iron(II) Sulphate, ferrous sulphate Glycerol 86 %, Europharma, of plant origin, DAB 10 Water, demineralized EDTA, ethylenediamintetraacetic acid disodium salt

NH4 HCO3 (NH4)2 CO3 K2CO3 K2Al2(SO4)4 * 24H2O FeSO4 * 7H2O C3H8O3 H2O

AKA-PRODUCTS WISHAB is used for convenient, safe dry cleaning of surface soiling on walls, ceilings, pictures, frescoes, mural paintings, wallpaper, paper, textiles, coats of paint etc. The sponge works by absorbing dirt particles, then crumbling off to avoid friction or polishing the affected surface. It is often used in advance of a wet treatment to prevent dirt being washed into cracks, or on surfaces that cannot be cleaned with water. It has been used with particular success in the cleaning of fire damages. The Wishab paper sponge consists of a blue grip and an attached cleaning sponge (active ingredi- ent). WISHAB sponges are available in three grades – soft, hard and extra hard, and soft for paper. Use depends on the type and sensitivity of the base surface. Please ask for our information sheet. Also available in powder form for spray cleaning. 780625 780627 780628 780629 780630 780632 780633 780634 780635 780638 780642 780644 780645 780650 780655 780658

05

aka pad abrasive C, cuboid, 40 x 40 x 20 mm, with chalk, middel-hard aka pad abrasive CB, board, 150 x 160 x 20 mm, with chalk, medium hard aka pad abrasive P, cuboid, 40 x 40 x 20 mm, with pumice, hard aka pad abrasive PB, board, 135 x 135 x 20 mm, with pumice, hard akapad Paper Sponge white akapad Sponge soft akapad Sponge hard akapad Sponge extra hard akawipe Powder soft, each bag = 500 g akawipe Powder white, each bag = 500 g akablast Spray Powder hard, each bag = 5 kg akablast Spray Powder fine, each bag = 5 kg akablast Spray Powder extra fine, each bag = 5 kg akatec Spray Blaster aka 4450, for akablast Spray Powder akatec Micro Beam Pistol aka 4400, for akablast Spray Powder, fine akatec Angle Jet aka 4475, for Micro Beam Pistol

For further information and prices please visit us at www.kremerpigments.com

AKA-Products

57

06 Ready-made Colors & Gilding Materials

06

READY-MADE COLORS & GILDING MATERIALS

57 59 59 60 61 61 61 06

62 62 63 63 64

58

KREMER Watercolors KREMER Fine Artist Ink KREMER Color Pastes KREMER Oil Colors KREMER Retouching Colors in Shellac KREMER Retouching Colors in Laropal® A 81 KREMER Retouching Chips in Paraloid® B 72 Gessos & Grounds Gold & Gilding Materials Old Holland Classic Oil Colours Chalks LASCAUX®-Products

For further information and prices please visit us at www.kremerpigments.com

Ready-made Colors & Gilding Materials

06

KREMER WATERCOLORS The manual production of very high-quality pigments with Gillot´s Watercolor Medium results in colors with highest brilliancy.

/// KREMER Watercolor Boxes 881000 Kremer Watercolor Set I, watercolor box, with 14 full pans, very lightfast and pure pigments 881002 Kremer Watercolour Set Earth Colors, watercolor box with 14 full pans 881004 Kremer Watercolor Set Landscape Painting, watercolor box with 14 full pans, very lightfast and pure pigments 881005 Kremer Watercolor Set Pearl Luster, watercolor box with 14 full pans 881006 Kremer Watercolor Set Illumination, watercolor box with 14 full pans 881007 Kremer Watercolor Set Gold Retouching Colors, watercolor box with 14 full pans 881008 Kremer Watercolor Set Small, watercolor box, with 8 full pans, very lightfast and pure pigments 881032 Kremer Watercolor Set Hard Edge, 28 strong, opaque watercolors 881035 Kremer Watercolor Set Small - Gray, 14 watercolors for retouching in half pans 881038 Kremer Watercolor Set Small - Landscape Painting, watercolor box with 14 half pans, very lightfast and pure pigments 881040 Kremer Watercolor Set Large, 48 watercolors in large metal pans

/// KREMER Watercolors, single pans /// Orange / Red 101508 115748 231788 231798 231808 231828 232028 232508 234028 234908 234938

Pinkcolor Burgundy Red Ochre Medium Irgazine® Orange DPP RA Irgazine® Scarlet DPP EK Irgazine® Red DPP BO Irgazine® Ruby DPP TR CPT-Scarlet Red Permanent Red Dark Quindo® Pink D Purple-Red, brownish Gubbio Red

236108 3721418 405108 420008 421008 426018 523008 523508 524008 554508

Alizarine Crimson Dark Madder Lake, Dark Red Venetian Red Vermilion Carmine Naccarat Ultramarine Red, violet pink Translucent Orange Translucent Orange-Red Translucent Red Medium Studio Pigment Bordeaux

432008 433008 435008 438808 439408 522008

Nickel-Titanium Yellow Titanium Orange Cobalt Yellow Intensive Yellow Baryte Yellow Translucent Yellow

06

/// Yellow 115728 170008 170508 233108 233308 233708 402208

Burgundy Yellow Ochre Jarosite Natural Sienna, Monte Amiata Permanent Yellow Medium Irgazine® Yellow, greenish Pyramid-Yellow medium Italian Gold Ochre Light

/// Green 103458 Malachite MP extra fine 111118 Russian Green Earth 174108 Bluish Green Earth, from Cyprus 230008 Phthalo Green Dark 230108 Phthalo Green, yellowish 230128 Pea Green, mixture 408108 Bohemian Green Earth 408218 Green Earth from Verona

For further information and prices please visit us at www.kremerpigments.com

417508 Vagone Green Earth 441008 Cobalt Green 441308 Cobalt Bottle Green 441518 441908 442008 442508 557008

Cobalt Green Bluish A Pastel Green, Victoria Green Chrome Oxide Green Viridian Green Studio Pigment Light Green

KREMER Watercolors

59

06

Ready-made Colors & Gilding Materials /// Blue / Violet 102078 105608 230508 360008 450008 450808 451108 452108 454008

Azurite MP, greenish light Lapis Lazuli from Chile Phthalo Blue Indigo, Indian, genuine Ultramarine Blue, very dark Ultramarine Blue, light Ultramarine Violet, reddish Paris Blue Zirconium Cerulean Blue

457008 4571418 457208 457408 457508 457608 487008 489338 559008

Cobalt Blue Dark Cobalt Blue Pale Cobalt Blue Light Cobalt Blue, greenish Cobalt Blue Turquoise Light Cobalt Blue Turquoise Dark Caput Mortuum Reddish Iron Glimmer Violet Studio Pigment Violet

/// White 114108 Eggshell White 118108 Selenite, Marienglas 462008 Titanium White

462808 Buff Titanium 463008 Zinc White 463608 Kremer White

/// Brown / Black 120008 124018 124408 235008 404008 404308 405038 406128

Ivory Black Sepia, fine Bideford Black Paliogen® Maroon Raw Sienna, Italy Burnt Sienna Red Bole Raw Umber, Italy

406308 407208 409208 410008 471008 472508 479008 488008

Raw Umber Greenish, dark Burnt Umber, dark brown Slate Gray Van Dyck Brown Bone Black Furnace Black Paynes Gray, mixture Magnetite

505008 505108 505208 506208 506508 506518 506528 506588

IRIODIN® Chroma Blue IRIODIN® Chroma Red IRIODIN® Chroma Lilac IRIODIN® Chroma Green Magic Gold Magic Indian Summer Magic Red Magic Green

/// Pearlescent 500008 501008 501108 501798 501808 502008 503008 503208 504008

06

IRIODIN® Silver IRIODIN® Colibri Gold IRIODIN® Colibri Star-Gold IRIODIN® Colibri Satin-Royal IRIODIN® Colibri Royal Gold IRIODIN® Colibri Pale Gold IRIODIN® Colibri Bronze IRIODIN® Colibri Glitter IRIODIN® Colibri Red

/// Watercolor Boxes & Pans, empty /// Watercolor Boxes, empty 881010 881014 881016 881030

Watercolor Box empty, for 14 full pans, metall, approx. 22 x 7 x 2.5 cm Watercolor Box small, empty, for 8 full pans, metal, approx. 12.5 x 7 x 2 cm Watercolor Box, 4 rows, empty, for 28 full pans, metal, approx. 11.5 x 22.5 x 3 cm Watercolor Box empty, large, incl. 48 large, empty metal pans, approx. 36 x 18 x 3 cm

/// Pans, empty 881011 Watercolor Pans - full size, empty - 2.7 x 1.5 x 0.9 cm 881012 Watercolor Pans - half size, empty, 1.6 x 1.4 x 0.9 cm

/// Brushes You can find suitable Watercolor Brushes in Chapter 08 under Watercolor & Retouching Brushes.

/// Mediums Interested in making your own watercolors? Please find appropriate mediums in Chapter 04 Mediums, Binders & Glues.

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KREMER Watercolors

For further information and prices please visit us at www.kremerpigments.com

Ready-made Colors & Gilding Materials

06

KREMER FINE ARTIST INK Most inks use dyes as colorants, which makes them very thin and not very lightfast. We use pigments in a rich shellac base, which makes our inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-color like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

/// Orange / Red 180330 Shellac Ink Orange 180338 Shellac Ink Scarlet DPP

180342 Shellac Ink Red DPP 180345 Shellac Ink Ruby DPP

/// Yellow 180310 Shellac Ink Lemon Yellow

180320 Shellac Ink Yellow

/// Green 180370 Shellac Ink Green, bluish

180375 Shellac Ink Green, yellowish

/// Blue / Violet 180350 Shellac Ink Blue-Violet

180360 Shellac Ink Blue

/// White 180390 Shellac Ink White

/// Brown / Black 180380 Shellac Ink Black 180450 Bister Ink

180460 Sepia Ink

/// Assortment - Fine Artist Ink Assortment of 12 Kremer-made Shellac Inks, without 180450 Bister Ink and 180460 Sepia Ink. 180990 Shellac Ink Assortment small 180991 Shellac Ink Assortment medium 180992 Shellac Ink Assortment big

06

/// Ink Solvent & Diluter 180410 Shellac Ink Solvent

180420 Shellac Ink Diluter

KREMER COLOR PASTES Color Pastes are the answer to high quality, intense and lightfast waterbased paint. They are concentrated pigment dispersions in water and easily make 2 - 8 times their original volume in vibrant paints.

/// Orange / Red 28200 28270 28375 28390 28470 28480 28490 28500 28510 28600

Orange, solids content 50% Pyranthrone Orange, solids content 40% Irgazin® Orange DPP RA, solids content 40% Irgazin® DPP Scarlet, solids content 45% Irgazin® DPP Red, solids content 45% Graphtol Red NFB, solids content 35% Permanent Red, solids content 35% Red, solids content 50% Irgazin® Ruby DPP, solids content 35% Quindo® Red, solids content 40%

For further information and prices please visit us at www.kremerpigments.com

KREMER Color Pastes

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Ready-made Colors & Gilding Materials

/// Yellow 27160 28000 28020 28050 28100 28120 28150

Bismuth-Vanadate Yellow, solids content 60% Lemon Yellow, solids content 50% Irgazin® Yellow, greenish, solids content 45% Yellow, solids content 50% Brilliant Yellow, solids content 50% Permanent Yellow Medium, solids content 35% Isoindolinone Yellow, solids content 45%

/// Green 27800 29000 29050

Chrome Oxide Green, solids content 75% Heliogen® Green, solids content 50% Heliogen® Green, yellowish, solids content 50%

/// Blue / Violet 27700 27705 28660 28701 28801 28900 28910 360094

Ultramarine Blue, solids content 60% Ultramarine Blue (new), solids content 60% Cinquasia® Violet, solids content 35% Thioindigo, solids content 40% Dioxazine Violet, solids content 35% Heliogen® Blue, primary blue, solids content 50% Heliogen® Royal Blue, solids content 45% Indigo Synthetic, approx. 30% Indigo, by weight

/// White 27000

Titanium White, solids content 70%

/// Brown / Black 27400 27500 27540 27600

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Iron Oxide Brown 610, solids content 70% Iron Oxide Black, solids content 60% Bone Black, solids content 45% Lamp Black, solids content 40%

KREMER OIL COLORS /// Orange / Red 231827 236107 404407 405107 407007 425007 425207 486007 487007

Irgazine® Ruby DPP TR in Linseed oil, not siccativated Alizarine Crimson Dark in Linseed Oil, not siccativated Pompeii Red in Linseed Oil, not siccativated, made by Original Linoliemaling Venetian Red in Linseed Oil, not siccativated Burnt Umber Reddish in Linseed Oil, not siccativated Red Lead in Linseed Oil, Minium, contains lead, toxic Red Lead in Alkyd Resin, contains lead, toxic Iron Oxide Red in Linseed Oil, not siccativated, made by Original Linoliemaling Caput Mortuum reddish in Linseed Oil, natural, not siccativated

/// Yellow 402207 Italian Gold Ochre Light in Linseed Oil, not siccativated, made by Original Linoliemaling 404007 Raw Sienna in Linseed Oil, not siccativated

/// Green 406307 Raw Umber in Linseed Oil, greenish dark, not siccativated 417007 Verona Green Earth in Linseed Oil, not siccativated, made by Original Linoliemaling

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KREMER Oil Colors

For further information and prices please visit us at www.kremerpigments.com

Ready-made Colors & Gilding Materials

06

417507 Vagone Green Earth in Linseed Oil, not siccativated, enhanced with Prussian Blue and Chrome Oxide Green 442007 Chrome Oxide in Linseed Oil, cool green, contains chrome, not siccativated 446107 Mueller´s Green Light in Linseed Oil, Iron Oxide Yellow and Heliogen® Blue, not siccativated 446247 Mueller´s Green Medium in Linseed Oil, mixture, not siccativated

/// White 460007 460027 462007 463007 463207

Flake White in Linseed Oil, Cremnitz White, lead white, contains lead, toxic Cremnitz White in Walnut Oil, Lead White, contains lead, toxic Titanium White Rutile in Linseed Oil, pure white, not siccativated Zinc White in Walnut Oil, slow drying, not siccativated Zinc White in Linseed Oil, not siccativated

/// Brown / Black 402317 471007 477007 484007

Brown Ochre in Linseed Oil, light warm brown, not siccativated Bone Black in Linseed Oil, not siccativated Graphite Powder Silver in Linseed Oil Iron Oxide Black 318 in Linseed Oil, not siccativated

KREMER RETOUCHING COLORS IN SHELLAC /// Assortment for Wood Restoration The pigments are ground into a bleached shellac solution (60450). Before use: The Retouching Colors have to be thinned with acoholic solvents like spirit or ethyl alcohol (70800). For further information please visit us at www.kremerpigments.com. 14903 Set: Kremer Retouching Colors in Shellac, 27 pigments ground into shellac, 27 x 3 ml glasses, in a wooden box 06

KREMER RETOUCHING COLORS IN LAROPAL® A 81 The assortment contains 81 different hues. This Retouching Colors can be thinned with ethyl alcohol (70800). You also can purchase single colors. For further information please visit us at www.kremerpigments.com. 14904

Set: Kremer Retouching Colors in Laropal A 81, 81 Pigments ground in Laropal A 81, 3 ml each, in 3 wooden boxes

KREMER RETOUCHING CHIPS IN PARALOID® B 72 The Color Chips can be dissolved with all solvents in which Paraloid B 72 is soluble. We recommend Methoxy Propanol PM, 70920.

/// Set: KREMER Retouching Chips in Paraloid® B 72 The Set contais all listed single Retouching Chips in small pans, without 2310093 Cadmium Yellow No. 1 lemon. 14910 Set: Kremer Color Chips in Paraloid B 72, 12 Retouching Colors, in a metal case

/// KREMER Retouching Chips in Paraloid® B 72, single 2101093 2104093 2112093 2300093 2308093 2310093

Cadmium Yellow No. 1, lemon Cadmium Yellow No. 6, medium Cadmium Red No. 1, light Heliogen® Green Heliogen® Blue Indanthren® Blue

For further information and prices please visit us at www.kremerpigments.com

KREMER Retouching Chips in Paraloid® B 72

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06

Ready-made Colors & Gilding Materials 2315293 4420093 4501093 4620093 4740093 4805093 4810093

Hostaperm® Pink E Chrome Oxide Green Ultramarine Blue, dark Titanium White Spinel Black Iron Oxide Yellow-Orange Iron Oxide Red 110 M, light

GESSOS & GROUNDS 46410 46650

Gofun Hakurei Primer Kremer Gesso, white, acrylic

GOLD & GILDING MATERIALS 98154 98155 98156 98157 98212 98213

Starter Set Water Gilding, Set for Kölner high gloss water gilding system Starter Set Instacoll Gilding, Contents: 5 sheets of Gold Leaf Rosenoble Double Gold, 80 x 80 mm, 50 ml Base, 50 ml Activator, 1 Toray brush, tissue, processing instructions Instacoll Activator, for Instacoll gilding Instacoll Base Yellow, for Instacoll gilding Instacoll Tissue Set, contains: 5 pieces Instacoll Tool, tool to press transfer gold into pits

/// Gold Leaf & Silver Leaf Further Gold & Silver Leaves on request. 98405 Silver Leaf, loose, 95 x 95 mm 98406 Silver Leaf, transfer, 95 x 95 mm 98410 Gold Leaf Rosenoble Double Gold, loose, 23 3/4 carat, leaf size 80 x 80 mm 98412 Gold Leaf Rosenoble Double Gold, transfer, 23 3/4 carat, leaf size 80 x 80 mm 98420 Gold Leaf Ducat Double Gold, loose, 23 carat, leaf size 80 x 80 mm 98422 Gold Leaf Ducat Double Gold, transfer, 23 carat, leaf size 80 x 80 mm 98430 Gold Leaf Orange Double Gold, loose, 22 carat, leaf size 80 x 80 mm 98432 Gold Leaf Orange Double Gold, transfer, 22 carat, leaf size 80 x 80 mm 98440 Gold Leaf Lemon Gold Pale, loose, 18 carat, leaf size 80 x 80 mm 98442 Gold Leaf Lemon Gold Pale, transfer, 18 carat, leaf size 80 x 80 mm

06

/// Silverpoints & Goldpoints 887100 Silverpoint 999, pure silver, light and soft line, silver rod approx. 4,8 cm long, Ø approx. 2 mm 887200 Silverpoint 935, medium line, silver rod about 4.8 cm long, Ø 2 mm 887300 Silverpoint 835, darkest and hardest line, silver rod about 4.8 cm long, Ø 2 mm 887500 Goldpoint, Yellow Gold 750, stays gray on paper, gold tip about 1.4 cm long, Ø 1 cm, hard soldered in brass rod about 5 cm long, Ø 2 mm

/// Painter´s Gold / Varnishes & other Gilding Materials /// Mixtion LeFranc 98000 98100

Mixtion Le Franc 3h, 3 hours Mixtion Le Franc 12h, 12 hours, lead free

/// Gilding Dispersion 98110

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Gilding Dispersion, Kremer-made

Gold & Gilding Materials

For further information and prices please visit us at www.kremerpigments.com

Ready-made Colors & Gilding Materials

06

/// Polishing Paste 98160 98163 98165

Polishing Paste Red, LEFRANC® Polishing Paste Yellow, LEFRANC® Polishing Paste Black, LEFRANC®

/// Gilding Tools 98210 98211 98230

Gilder´s Pad small, 25 x 15 cm, with shield Gilder´s Pad large, 30 x 20 cm, with shield Gilding Knife, exclusive, 16 cm

/// Gold Powder, Painter´s Gold & Varnish 98301 98443 98444 98445 98446

Rosenoble Gold, Powder, 23.75 carat Painter´s Gold small, 23.75 carat, approx. 0.4 g Painter´s Gold medium, 23.75 carat, approx. 1.1 g Painter´s Gold large, 23.75 carat. approx. 2.5 g Painter´s Gold Varnish, 23.75 carat, liquid, non-oxidizing

/// Agate Burnishers & Brushes Please find a complete list of all Agate Burnishers at www.kremerpigments.com. The Gilding Brushes are listed in Chapter 08 under Various Special Brushes.

OLD HOLLAND CLASSIC OIL COLOURS Since the early days of oils, artists have made high demands regarding the durability of their work. In order to meet these demands for optimum durability, Old Holland still produces all its classic oil paints according to traditional formulas, supplemented by the latest contemporary insights. The choice of pigments is a unique mix of the best traditional colours and the best pigments derived from the latest technological developments. You can find a list of all Old Holland Artists´Oil Colours at www.kremerpigments.com. 06

CHALKS We offer traditional chalks in red, black and white – you can find them in Chapter 01 under Kremer-made and Historical Pigments and Pastels from La Maison Du Pastel.

/// Pastel Chalks - La Maison Du Pastel Since 1724 pastels are made in Paris by the predecessors of the Maison du Pastel. Manufactured in small quantities, Roché pastels are individually hand-rolled into a form suitable for both bold and detailed work. With exceptionally lightfast pigments and a minimum of binder, the pastels possess a particular texture that allows them to adhere well to a number of supports, as well as display a remarkable intensity and clarity of color. The pastels are about 7.5 cm long and have a diameter of 1 cm. Please find the hues, color chart and prices at www.kremerpigments.com. More chalks are available on request. Order numbers 832333 839241, order quantity: 3 pieces. 832333 832336 832339 832531 832535 832539 832921 832925 832928 833211 833215

Carmine Brown No. 3 Carmine Brown No. 6 Carmine Brown No. 9 Carmine Red No. 1 Carmine Red No. 5 Carmine Red No. 9 Venetian Red No. 1 Venetian Red No. 5 Venetian Red No. 8 Capuchine Red No. 2 Capuchine Red No. 5

835437 835771 835775 835779 835792 835796 835798 837161 837165 837169 837261

For further information and prices please visit us at www.kremerpigments.com

Apple Green No. 7 Cobalt Green No. 1 Cobalt Green No. 5 Cobalt Green No. 9 Emerald Green No. 2 Emerald Green No. 6 Emerald Green No. 8 Glacier Blue No. 1 Glacier Blue No. 5 Glacier Blue No. 9 Cobalt Ultramarine Blue No. 1

Chalks

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06

Ready-made Colors & Gilding Materials 833219 833652 833655 833659 834131 834135 834139 834151 834155 834159 834421 834425 834429 834781 834785 834789 835391 835396 835399 835431 835434

Capuchine Red No. 9 Cadmium Orange No. 2 Cadmium Orange No. 5 Cadmium Orange No. 9 Yellow Gold No. 1 Yellow Gold No. 5 Yellow Gold No. 9 Lemon Yellow No. 1 Lemon Yellow No. 5 Lemon Yellow No. 9 Yellow Ochre No. 1 Yellow Ochre No. 5 Yellow Ochre No. 9 Van Dyk Brown No. 1 Van Dyk Brown No. 5 Van Dyk Brown No. 9 Algae Green No. 1 Algae Green No. 6 Algae Green No. 9 Apple Green No. 1 Apple Green No. 4

837264 837269 837331 837335 837339 838241 838242 838245 838248 838411 838415 838416 838542 838546 838549 839121 839141 839161 839165 839169 839241

Cobalt Ultramarine Blue No. 4 Cobalt Ultramarine Blue No. 9 Ultramarine Blue No. 1 Ultramarine Blue No. 5 Ultramarine Blue No. 9 African Violet No. 1 African Violet No. 2 African Violet No. 5 African Violet No. 8 Ara-Violet No. 1 Ara-Violet No. 5 Ara-Violet No. 6 Heliotrop-Violet No. 2 Heliotrop-Violet No. 6 Heliotrop-Violet No. 9 Black Blue No. 1 Intense Black No. 1 Velvet Black No. 1 Velvet Black No. 5 Velvet Black No. 9 Lily White No. 1

/// Set: La Maison du Pastel 839901 La Maison du Pastel, Portrait Assortment, 12 handmade pastels in a box, Content: Heliotrop violet Nr. 4, Red Ochre Nr. 3, Earth from Catane Nr. 5, Brown Ochre Nr. 1, Cadmium Red Nr. 4, Cadmium Orange Nr. 9, Venetian Red Nr. 8, Deer Brown Nr. 9, Sunset Nr. 8, Gold Ochre Nr. 8, Plant Green Nr. 9, Emerald Green Nr. 8

LASCAUX®-PRODUCTS 06

81000 81002 81004 81010 81012 81013 81015 81020 81022 81023 81024 81025 81026 81027 81028 81030 81040 81042 81045 81047 81048 81060

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Lascaux® Acrylic Glue 303 HV, for paper, cardboard, textiles, former 360 HV Lascaux® Acrylic Glue 498 HV, for flexible surfaces such as linen, wood Lascaux® Acrylic Glue 498-20 X, for light and ageing-resistant, non-cross-linking agglutination such as re-lining Lascaux® Acrylic Emulsion d 498 M, for light and ageing-resistant, non-crosslinking agglutination such as re-lining Lascaux® Medium for Consolidation, aqueous dispersion of an acrylic copolymer Lascaux® Medium I, glossy Lascaux® Medium II, matte Lascaux® Impasto Gel Medium 1, glossy Lascaux® Impasto Gel Medium 2, matte Lascaux® Acrylic-Transparent Varnish 575 UV glossy, can be thinned with water Lascaux® Acrylic-Transparent Varnish 575 UV matte, can be thinned with water Lascaux® Acrylic-Transparent Varnish 575 glossy, can be thinned with water Lascaux® Acrylic-Transparent Varnish 575 matte, can be thinned with water Lascaux® Hydro-Ground Lascaux® Retarder Lascaux® Gesso, white Lascaux® Acrylic Resin P 550-40%, glossy, soft, thermoplastic resin, in 40% naphtha Lascaux® Acrylic Varnish P 550/675-32%, matte Lascaux® Acrylic Glaze 39 %, glossy Lascaux® Medium for Retouching 20-50, Mowilith® 20/AYAB Lascaux® Acrylic Resin 742-33%, for a hard, well adherent coating on paper, cement, glass etc. Lascaux® Adhesive Wax 443-95, mixture of microcrystalline wax and polyterpene resin

LASCAUX®-Products

For further information and prices please visit us at www.kremerpigments.com

Ready-made Colors & Gilding Materials

06

/// LASCAUX® UV Protect 81070 81071 81072

Lascaux® UV Protect 1 Brillant, protective UV spray Lascaux® UV Protect 1 Matt, protective UV spray Lascaux® UV Protect 1 Satin, protective UV spray

82000 83020 87035

Lascaux® Polyamide Textile Welding Powder 5350, melting point: 80°C Lascaux® Silicone Paper, 50 m, 148 cm wide, 92 g/qm, both sides siliconized Heat-Seal Adhesive 375, dry mixture for the preparation of a 40% solution

///

06

For further information and prices please visit us at www.kremerpigments.com

LASCAUX®-Products

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07 Linen, Paper & Foils

07

LINEN, PAPER & FOILS

67 67 68

07

68

Linen & Stretcher Bars Paper & Sketch Books Foils

For further information and prices please visit us at www.kremerpigments.com

Linen, Paper & Foils

07

LINEN & STRETCHER BARS Stretcher Bars only available on request.

/// Linen 873000 Linen Canvas 597 medium L510, medium weight, raw, without priming Width: 212-224 cm, thread count: 10x10, 335 g/m²

873010 Linen Canvas 615 heavy L511, heavy quality, raw, without priming Width: 212-215 cm, thread count: 14x14, 410 g/m²

873020 Linen Canvas 99 medium, wide L515, medium quality, raw, without priming Width: 305 cm, thread count: 16x16, 330 g/m²

873030 Linen Canvas 165 light L516, light quality Width: 224 cm, thread count: 12x12, 160 g/m²

873040 Linen Canvas 526 heavy L526, very heavy quality, washed, almost white Width: 140 cm, thread count: 44x56, 950 g /m²

873050 Canvas light L517, very fine quality, without knots, without priming Width: 210 cm, thread count: 30x30, 180 g/m²

873060 Linen light re-lining Canvas L518, loosely woven, without knots, without priming Width: 210 cm, thread count: 16x16, 135 g/m²

873100 Cotton Canvas L520, twill weave Width: 165 cm, thread count: 20x22, 300 g/m²

873150 Hemp Canvas L525, width: 150 cm, thread count: 24x23, 300 g/m² 873160 Linen Canvas Sample Book, contains 1 sample of each of our linen canvas

PAPER & SKETCH BOOKS /// Paper 875006 875010 875020 875025 875026 875030 875040 875041 875050 875060 875070 875080

Paper, 145 g/m², 4-sided deckle edge, yellowish-white, rough, 53 x 76 cm Paper, 225 g/m², smooth deckle edge, white, rough, 63.5 x 76 cm Ingres 90, hand-made paper, white, 90 - 95 g / m², 48 x 62.5 cm Arches Bütten Paper, Grain Staine, 300 g / m², 56 x 76 cm Arches Bütten Paper, fine, 300 g/m², 56 x 76 cm Arches, 185 g/m², hand-made paper, 1.13 x 9.15 m Arches, 300 g/m², hand-made paper, 1.13 x 9.15 m Arches, glazed, 1.13 x 9.15 m, 300 g/m² C à grain, 180 g/m², 1.50 x 10 m Japanese Paper Wenzhou, 30 g/m², 45 cm x 25 m, roll Japanese Paper Wenzhou, 30 g/m², 69 cm x 10 m, roll Japanese Paper Wenzhou, 30 g/m², 97 cm x 10 m, roll

07

/// Sketch Books Sketchbook, 29 x 29 cm, binderboard covers with linen spines, 132 pages, 120 g Sketchbook, 21 x 21 cm, binderboard covers with linen spines, 144 pages, 100 g Sketchbook, DIN A4, binderboard covers with linen spines, 144 pages, 100 g Sketchbook, DIN A5, binderboard covers with linen spines, 144 pages, 100 g Sketchbook, DIN A5, horizontal, binderboard covers with linen spines, 144 pages, 100 g 875125 Sketchbook, 20.5 x 23.5 cm, 36 pages, 110 g 875127 Sketchbook for Landscape Painting, 30 x 15 cm, 120 pages

875120 875121 875122 875123 875124

For further information and prices please visit us at www.kremerpigments.com

Paper & Sketch Books

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07

Linen, Paper & Foils

FOILS /// Hostaphan Foils A classical release film for a variety of applications thanks to the unique combination of mechanical strength, thermal and chemical resistance as well as the low adhesion to many polymeric materials. 87220 HOSTAPHAN® Foil RN 15, 15 µ, 1375 mm wide, 21 g/m², 50 m roll 87221 HOSTAPHAN® Foil RN 75, 75 µ, 1400 mm wide, 105 g/m², 50 m roll 87222 HOSTAPHAN® Foil RNT 36, 36 µ, 1400 mm wide, 50 m roll, 51 g/m² 87225 Set: HOSTAPHAN® foils, 1 roll each of RN 15, RN 75, RNT 36

/// Tyvek® Package dimensions may cause higher shipping costs. 87240 Tyvek® 1622 E, wrapping material for art objects, roll length: 50 m, width: 152.4 cm

/// Tin Foil 87200

Tin Foil, 50 cm wide, 25 µ, 1 roll 600 g, equivalent to approx. 6.5 m or 3.25 m²

/// Beva®-Film You can find our Beva®-Products in Chapter 04 Mediums, Binders & Glues.

/// LASCAUX® Silicone Paper You can find further LASCAUX®-Products in Chapter 06 Ready-made Colors & Gilding Materials and the LASCAUX®-Glues in Chapter 04 Mediums, Binders & Glues. 83020 Lascaux® Silicone Paper, 50 m, 148 cm wide, 92 g/qm, both sides siliconized

07

70

Foils

For further information and prices please visit us at www.kremerpigments.com

Brushes

08

08

BRUSHES

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Brushes for Restorers and Painters Brushes for Restoration and Cleaning 08

For further information and prices please visit us at www.kremerpigments.com

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08

Brushes

BRUSHES FOR RESTORERS AND PAINTERS Please find a list of all available brushes at www.kremerpigments.com.

/// Watercolor & Retouching Brushes Watercolor Brush, Toray Hair, #850052.., size 0 - 12. Soft, black. Black lacquered handle.

Watercolor Brush, Nylon Hair, #850456.., size 0 - 6. Golden-red nylon hair, with short black lacquered handle.

Watercolor Brush, Squirrel Hair with Synthetic Hair, #850053.., size 8 - 54

/// Oil Painting Brushes Gussow Oilpainting Brush, Toray Hair, #850056.., size 1 - 20. Cat tongue shaped, golden toray hair, white lacquered long handle, seamless silver ferrule. Lascaux® Brush Interlon, flat, #850058.., size 2 - 40. Very durable, silver seamless ferrule, long black handle. For oil painting, gouache or acrylic painting. Lascaux® Brush Interlon, round, #850059.., size 2 - 40. Black lacquered handle with nickel plated seamless ferrule. For oil painting, gouache or acrylic painting. Oilpainting Brush Round, oval, #850076.., size 2 - 24. Finest white China bristles, long lacquered handle, seamless silver ferrule. Gussow Oil Painting Brush, flat, #850077.., size 2 - 24. The finest white China bristles, long lacquered handle, seamless nickel-plated ferrule, double crimping.

Gussow Oil Painting Brush, Polecat Hair, flat, #850550.., size 2 - 20. Long red lacquered handle, silver seamless ferrule. Gussow Oil Painting Brush, long, flat, #850771.., size 2 - 24. The finest white China bristles, long lacquered handle, seamless nickelplated ferrule, double crimping. Script Liner, Pale Ox Hair, pointed tip, #850809.., size 2 - 24

Poster Paint Brush, flat, #850811.., size 1/16 - 7/8. Pale ox hair, black lacquered handle, nickel ferrule. Oil Painting Brush, Ox Hair, flat, #854155.., size 2 - 20. Long unlacquered handle, nickel ferrule.

/// Fresco Brushes & Liners

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Fresco Brush, Liner, round, #850301.., size 2 - 24. Bleached China bristles.

Fresco Brush, square, #850814.., size 8 - 20. Long white hog bristles, seamless ferrule, long raw wooden handle.

Fresco Brush, Liner, flat, #850302.., size 2 - 28. White bristles, metal ferrule, long untreated handle, sold only by the dozen.

Angular Brush, #850815.., size 10 - 30. Black China bristles, long raw wooden handle, metal ferrule.

Fresco Brush, oval, #850803.., size 6 - 24. Filbert, white hog bristles, long handle, raw wooden handle, seamless ferrule.

Fresco Brush, round, #850819. 55 mm, 110 mm long vegetable fibres reinforced with nylon threads on the outside, bound with string, then sealed with lacquer, round handle, 27 cm.

Brushes for Restorers and Painters

For further information and prices please visit us at www.kremerpigments.com

Brushes Liner, round, #850812.., size 1 - 8. With gray bristles, raw wooden handle, for oiland mural painting.

Universal Brush, flat, #854196.., size 12 - 20. Short white bristles, stainless aluminium ferrule.

Varnish and Gesso Brush, flat, #850070.., size 1/2 - 4 (inch). Soft white hog hair, raw handle, metal ferrule.

Varnish Brush, Goat, #850975.., size 1/2 - 4 (inch). Very soft dark hair, flat, natural wooden handle.

Lacquer and Varnish Brush, #850072.., size 1 - 3 (inch). Very soft ox-ear hair, short black handle.

Varnish Brush, Various Selected Hair, black, #854125.., size 2 - 4 (inch). Black nickel ferrule, short handle.

Flatbrush, FIBONACCI, #85060.., size 40 - 100 mm. Synthetic fiber.

Varnish and Gesso Brush, flat, #85419725. Width: 25 mm, length of hair: 32 mm. Metal ferrule.

Varnish and Gesso Brush, plastic, #850611.., sizes: 7 x 3 cm, 10 x 3 cm, 12 x 3 cm, 14 x 4 cm. White bristles, short, screw-on plastic handle. Varnish and Gesso Brush, large, #850612.., sizes: 21 x 3 cm, 30 x 3 cm. Bristles metal ferrule for broom stick mounting.

Flatbrush, Squirrel, #854202.., size 1 - 4 (inch). Fine squirrel mop, metal ferrule.

Varnish and Gesso Brush, flat, #85062..., width: 80 - 200 mm. Very soft bristles, 50 mm long (size 200: 57 mm long), about 8 mm thick, amber varnished handle, copper colored ferrule. Scumbling Brush, oval, #850630. 13 x 6 cm, China bristles 68 mm, lacquered wood.

Flatbrush, Fine Pale Bristles, #85422..., size 1 - 4 (inch). Metal ferrule, wooden handle.

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/// Flat Brushes

Flatbrush, Fine Ox Hair, #854203.., size 1 - 3 (inch). Metal ferrule.

/// Various Special Brushes Sword-shaped Liner, #850038.., size 3 - 4 (inch). Brass setting, squirrel hair, short wooden handle.

Priming Brush, Goat Hair, flat, #850922.., size 3/4 - 3 (inch). Soft white goat hair, rustproof ferrule, short white handle.

Gilder Tip, Squirrel Hair, #850075.., size 1 - 4 1/2 (inch). Bound in paper.

Gilding Brush, Squirrel Hair, #854132.., size 2 - 16. Oval, wooden handle.

Badger Blender, #850079.., size 2 - 4 (inch). Red handle, traditional shape.

Dusting Brush, round, #854135.., size 2 - 16. White goat hair, oval shaped, nickel-plated ferrule, wooden handle.

For further information and prices please visit us at www.kremerpigments.com

Brushes for Restorers and Painters

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Brushes Fan Blender, White Bristles, #850228.., size 2 - 12. Seamless silver ferrule, long clear lacquered handle. Fan Blender, Badger Hair, #850229.., size 2 - 12. Seamless silver ferrule, long black handle.

Marabout-Dusting-Brush, #854137. Selected white down feathers, length of feathers approx. 10 cm, nickel ferrule, short black lacquered wooden handle. Gilding Brush, #85421708. Oval, white bristles, metal ferrule.

Synthetic Brush for Instacoll-Gilding, #850780.., size 1 - 2 (inch).

Gilder Tip, Badger Hair, #857510.., size 1 - 3 (inch). Bound in wood.

Badger Hair Brush, round, #850837.., size 2 - 6. Stainless steel, black lacquered handle. For oil paint and lacquer painting.

Gilder Tip, Squirrel Hair, #857520.., size 1 - 3 (inch). Bound in wood.

/// Brushes for Marbleising Mottler, #850508.., size 1/2 - 4 (inch). Short hard white bristles, raw wooden handle.

Graining Comb Set, Steel, #850825. 3 combs each of 4 different sizes.

Dragger / Flogger, #850509.., size 2 - 4 (inch). Long black bristles, raw wooden handle.

Liner Brush, #850826. Black bristles, raw handle, 85 mm wide, 20 mm long and 4 mm thick black China bristles, handle at 45° angle.

Stippler, thick, #850805.., size 2 - 40. Short raw wooden handle.

Chiqueteur Brush, round, Squirell Hair, #85083506. 6 mops.

Stippler, round, #850806.., size 0 - 20. Short white bristles, raw wooden handle, metal ferrule.

Chiqueteur Brush, flat, Squirrel Hair, #850836.., size 1 - 3. With 2 mops

Muccino, White China Bristles, #850807.., size 12 - 30. Round brush for oil- and mural painting.

Stippler, round, #854192.., size 6 - 10. Sturdy short bristles, raw wooden handle.

Squirrel Mop, #850810.., size 1 - 8. Squirrel hair mixture, oval, black lacquered handle, silver seamless ferrule.

Stippler, round, Goat Hair, #854193.., size 4 - 8. Soft short goat hair, raw wooden handle

Pipe Grainer, #850822.., size 1 - 5 (inch). White bristles, metal ferrule, raw wooden handle.

Stippler, round, #858061.., size 0 - 10. Short white bristles, raw wooden handle.

Mottler, #850823.., size 3 - 4 (inch). White bristles set in wavy metal ferrule. For wood effects.

Set: Stipplers, #85419236. Content: 1 of each - 85419206, 85419210, 85419304, 85419308, 85419612 and 85419616.

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For further information and prices please visit us at www.kremerpigments.com

Brushes

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/// Brushes for Studio & Church Painting Angular Brush, # 850465.., width: 30 mm - 60 mm. Long black Chinese bristles, approx. 90 cm long with raw wooden handle and brass ferrule.

Flat Wide Brush, #853150.., width: 30 mm - 80 mm. Long black Chinese bristles, approx. 90 cm long raw wooden handle and brass ferrule.

Round Brush, #850475.., size 2 - 14. Black Chinese bristles, leather-bound, approx. 90 cm long handle.

BRUSHES FOR RESTORATION AND CLEANING We offer a various range of products with Natural Hair Brushes like Hand Brushes and Dusters, Brushes with long handle & Cylinder-shaped Brushes, Vacuum Cleaners, Dusters & Erasing Tips as well as Bookbinder´ s Brushes. For further information please visit us at www.kremerpigments.com.

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Brushes for Restoration and Cleaning

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09 Tools, Packaging & Supplies

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TOOLS, PACKAGING & SUPPLIES

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Packaging Tools Supplies

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For further information and prices please visit us at www.kremerpigments.com

Tools, Packaging & Supplies

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PACKAGING /// Glass Bottles 964104 964110 964112 964116 964120 964124 964128 964132 964138 964139

Glass Bottle, 30 ml, wide, clear glass, wide opening, with cover Glass Bottle, 100 ml wide, wide opening, clear, with cover Glass Bottle, 100 ml, brown, brown glass, with dropper and cover Glass Bottle, 250 ml, narrow, clear glass, narrow-mouthed opening, with cover Glass Bottle, 250 ml, wide, clear glass, wide opening, with cover Glass Bottle, 500 ml, wide, clear glass, wide opening, with cover Glass Bottle, 1000 ml, narrow, clear glass, narrow-mouthed opening, with cover Glass Bottle, 1000 ml, wide, clear glass, wide opening, with cover Glass 3 ml, clear, with snap-on cover Glass 10 ml, clear, with snap-on cover

/// Tubes 963600 963620 963640 963660

Aluminum Tubes, approx. 8 ml, 13.5 x 75 mm, white, aluminum Aluminum Tubes, approx. 50 ml, 25 x 145 mm, white, aluminum Aluminum Tubes approx. 95 ml, 30 x 185 mm, white, aluminum Aluminum Tubes, approx. 200 ml, 40 x 210 mm, white, aluminum

/// Wooden Boxes 963000 Wooden Box small, beech wood, handmade, empty, size about 27 x 11 x 4 cm 963010 Wooden Box, beech wood, handmade, empty, size about 29 x 12 x 6.5 cm 963020 Wooden Box, beech wood, handmade, empty, size about 24.7 x 18.5 x 4.4 cm

/// PE / PVC - Materials 964000 964010 964020 964030 964040 964050 964060 964061 964062 964070 964071 964072 964080 964090 964091

PVC-jar, 50 ml, transparent PVC-jar, 100 ml, transparent PVC-jar, 200 ml, transparent PVC-jar, 500 ml, transparent PVC-jar, 1000 ml, transparent PVC-jar, 2000 ml, transparent PE-Bucket 1 l, with cover PE-Bucket 11 l, with cover PE-Bucket 20 l, with cover PE-Bottle 250 ml, narrow PE-Bottle 1000 ml, narrow PE-Bottle for Chemicals, 1000 ml, narrow PE-Bag 500 x 800 mm, for 25 kg Injection 10 ml Injection 2 ml

/// Watercolor Boxes & Pans, empty You can find our Watercolor Boxes and further supplies in Chapter 06. 09

TOOLS /// Stucco Tools 885000 Set: Italian Restoration Tools, hand-made in Tuscany, Italy 885159 885003 885004 885007 885030

Spatula, pointed /round Spatula, pointed, 18 cm Spatula, round, 18 cm Spatula, pointed /round, 22 cm Spatula, round/ rasp, 23 cm

For further information and prices please visit us at www.kremerpigments.com

885034 885036 885054 885079 885080

Hook, 16 cm Hook, 21 cm Plaster Tool, 17 cm Gouge, small Gouge, large

Tools

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Tools, Packaging & Supplies 885028 Knife, 25 cm 885029 Scalpel knife, 18 cm, can be sharpened

/// Spatulas

885002 885005 885007 885009

Spatula, pointed /round, 18 cm, narrow Spatula, pointed /round, 18 cm, medium Spatula, pointed /round, 22 cm Spatula, pointed /round, 25 cm

885003 Spatula, pointed, 18 cm

885004 885006 885008 885023

Spatula, round, 18 cm, spatula and rasp Spatula, round, 20 cm, spatula and rasp Spatula, round, 23 cm, spatula and rasp Spatula, round, 33 cm, spatula and rasp

885012 Spatula, pointed, 18 cm, spatula and rasp

885030 Spatula, round/ rasp, 23 cm, spatula and rasp 885032 Spatula, round/ rasp, 27 cm, spatula and rasp

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885061 885062 885063 885067 885069 885071

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Tools

Spatula round, 16 cm Spatula round, 18 cm Spatula round, 19.5 cm Spatula round, 25 cm Spatula round, 29 cm Spatula, round, 34 cm For further information and prices please visit us at www.kremerpigments.com

Tools, Packaging & Supplies

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885159 Spatula, pointed /round, 16 cm

/// Scrapers

885018 Rasp, 18 cm, curved differently 885019 Rasp, 22 cm, curved differently 885022 Rasp, 28 cm, curved differently

885024 Rasp, 19 cm, cambered, denticulated 885026 Rasp, 23 cm, cambered, denticulated

/// Hooks

885034 885036 885037 885038

Hook, 16 cm Hook, 21 cm Hook, 23 cm Hook, 25 cm

/// Plaster Tools

885043 885045 885047 885049 885051

Plaster Tool, 20 cm, width 8 mm, spatula / length 20 cm Plaster Tool, 22 cm, width 14 mm, spatula / length 22 cm Plaster Tool, 24 cm, spatula / length 24 cm Plaster Tool, 27 cm, width 30 mm, spatula / length 27 cm Plaster Tool, 29 cm, width 38 mm, spatula, length 29 cm

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885053 Plaster Tool, 16 cm, width 4 / 6 mm, length 16 cm 885054 Plaster Tool, 17 cm, width 10 / 5 mm, length 17 cm 885057 Plaster Tool, 23 cm, width 17 / 22 mm, length 23 cm For further information and prices please visit us at www.kremerpigments.com

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Tools, Packaging & Supplies /// Gouges

885077 Gouge / Spatula, medium, width 14 mm, length 22 cm

885079 Gouge, small, width 7 / 9 mm, length 20 cm 885080 Gouge, large, width 13 / 17 mm, length 21 cm 885081 Gouge, extra large, width 14 / 18 mm, length 23 cm

/// Rasps

885610 Rasp big, pointed / round, 24 cm 885611 Rasp small, pointed / round, 18 cm

885620 Rasp big, pointed / curved, 25 cm 885621 Rasp small, pointed / curved, 18 cm

885640 Rasp big, pointed / round, 24 cm 885641 Rasp small, pointed / curved, 18 cm

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885650 Rasp big, both sides pointed, 25 cm 885651 Rasp small, both sides pointed, 18 cm

885660 Rasp big, one side curved, 25 cm 885661 Rasp small, one side curved, 18 cm

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Tools, Packaging & Supplies

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885670 Rasp pointed / curved, 18 cm 885676 Rasp both sides pointed, 18 cm

885691 Rasp flat / curved 20 cm, made of steel, rasp surface 5 x 2.5 cm 885692 Rasp flat / curved 25 cm, made of steel, rasp surface 7 x 3.4 cm 885694 Rasp flat / curved 30 cm, made of steel, rasp surface 8.5 x 4.7 cm

/// Tools made of Metal Diamond Files, 18 cm long, 3 cm with diamonds, 10 different forms Set: 4 Painter´s Spatulas, steel, wooden handles, sizes: 2 cm, 5 cm, 8 cm, 12 cm Palette Knife, steel, 16 cm Canvas Pliers, aluminum, with plastic covered grips, 11.5 cm wide, 20 cm long FLOREAT Wall Hooks, nickel-plated: 4 x size 0, 2 x size 1, 2 x size 2, 1 x size 3, 1 x size 4, 13 pins 892100 Set: Sgraffito Tools, 18 tools, in a wooden box

885235 885700 885720 885735 885750

/// Painter´s Spatulas 885702 885705 885708 885712

Painter´s Spatula exclusive, fine, width 2 cm Painter´s Spatula exclusive, small, width 5 cm Painter´s Spatula exclusive, medium, width 8 cm Painter´s Spatula exclusive, large, width 12 cm

/// Gouges 8852121 Gouge No. 1, 1 mm 8852122 Gouge No. 2, 2 mm

/// Hooks 885218 885219 885225 885226 885227 885228 885229 885231 885232 885233

Hook, No. 18 Hook, No. 19 Hook, No. 25 Hook, No. 26 Hook, No. 27 Hook, No. 28 Hook, No. 29 Hook, No. 31 Hook, No. 32 Hook, No. 33

For further information and prices please visit us at www.kremerpigments.com

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Tools

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Tools, Packaging & Supplies

/// Bone Folder / Mortars & Pestles / Glass Mullers / Sieves and others /// Paper Stomp 88311 88313

Paper Stomp, Ø 7 mm, 12 cm length, set of 12 Paper Stomp, Ø 12 mm, 15 cm length, set of 12

/// Bone Folder 883220 Bone Folder, 12 cm, made from bone, set of 3 883226 Bone Folder, 16 cm, made from bone, set of 3

/// Wooden Stirrers 88327

Wooden Stirrers, approx. 260 x 16 x 3 mm, beech, approx. 100 pieces in pack

/// Mortars & Pestles Pharmaceutical porcelain mortars and pestles from Berlin (Germany) are the easiest way to mix pigment with any medium except acrylic. These are tools and should be considered as an investment. Do not use for pounding rocks! Clean easily with turpentine and soap. 883300 Mortar + Pestle 90 mm diameter, made by Berliner Porzellanmanufaktur Haldenwang 883310 Mortar + Pestle 180 mm diameter, made by Berliner Porzellanmanufaktur Haldenwang 883320 Mortar + Pestle, diameter 96 mm / 3.5, standard quality 883321 Mortar + Pestle, diameter 192 mm / 8, standard quality 883322 Mortar + Pestle, diameter 236 mm, standard quality

/// Glass Mullers Our glass mullers are all handmade. They are used on a sandblasted piece of glass to slowly grind oil into the pigment. Our mullers are oversized and heavier than other models, giving them better working properties. Retexture your muller or sand down a glass surface with Carborundum. The handles are refired to provide a smoother grip. 883340 883345 883348 883350 883355 883358

Glass Muller with handle, small, 75 g, approx. Ø 3.5 cm Glass Muller with handle, small, 350 - 500 g, Ø approx. 4 - 4.5 cm / 1.6 - 1.8 inch Glass Muller with handle, large, Ø 5 cm, ca. 145 g Glass Muller with handle, large, Ø approx. 10 cm, 1400 g Glass Muller, medium, Ø 7.5 cm, app. 400 g Granite Muller, Black Swedish Granite, 185 mm / Ø 8 cm

/// Sieves Further sieves on request. 883330 Sieve, Ø 20 cm, 100 µ

/// Black Mirror 883375 Black Mirror, 20 x 15 cm, approx. 3 mm thick, black glass 883376 Black Mirror, 30 x 20 cm, approx. 3 mm thick, black glass 883377 Black Mirror, 40 x 30 cm, approx. 3 mm thick, black glass

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/// Sponges 883500 883550 883551 883560

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Natural Sea Sponge, approx. 20 - 30 g each, 20 - 25 cm Natural Sponge, small, for watercolors, Ø approx. 5 - 6 cm, pack of 5 Natural Sponge, medium, for watercolors, Ø approx. 10 - 12 cm, pack of 5 Suction-Block, very absorptive sponge, 60 g, 17.6 x 7.4 x 3.3 cm

For further information and prices please visit us at www.kremerpigments.com

Tools, Packaging & Supplies

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/// Agate Burnishers The Agate Burnishers (#88401-88451) are made of polished stones and a seamless metal mounting. The wooden handles are lacquered. The agates are semi-precious stones, formed from silica compounds. Please find a complete list of all Agate Burnishers at www.kremerpigments.com.

SUPPLIES 78099

Foam Dispenser, 200 ml PET-Bottle

/// Glue Pots 891000 891001 891002 891005 891010

Glue Pot, 0.5 liter, aluminium pot Glue Pot, 1 liter, aluminium pot Glue Pot, 2 liters, aluminium pot Glue Pot, 5 liters, aluminium pot Electric Glue Pot, volume approx. 0.9 liter

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For further information and prices please visit us at www.kremerpigments.com

Supplies

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10 Books & Color Charts

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BOOKS & COLOR CHARTS

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English Books Color Charts

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Books & Color Charts

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ENGLISH BOOKS /// General / Dictionaries 992102 Leslie Carlyle: The Artists’ Assistant, Hardcover, 297 x 210 mm, 608 pages, 43 tables, 106 illustrations 992103 Cennino d’Andrea Cennini – The Craftsman’s Handbook, 142 pages, index, paperback 992104 Sir Charles Lock Eastlake: Methods and Materials of Painting, two volumes bound as one, paperback 992105 Mark David Gottsegen: The Painter´s Handbook, 320 pages, 20 b/w illustr., ppbk. 992106 Kirby et al.: Trade in Artists Materials, 489 pages, many pictures, size 22 x 30 cm, Hardcover 992107 R. D. Harley: Artists’ Pigments c. 1600 - 1835, Reprint, paperback, 256 pages, 53 halftones, 6 colour plates 992108 Pip Seymour: The Artist’s Handbook, Softcover, 520 pages, 24 x 16 cm 992110 Theophilus: On Divers Arts, Paperbound, 216 pages, index, 45 plates and diagrams 992112 François Delamare: Blue Pigments, 5000 Years of Art and Industry, Softcover, 396 pages 992113 Spike Bucklow: The Alchemy of Paint, Paperback, 336 pages 992114 D.V. Thompson: The Materials and Techn. of Medieval Painting, foreword by Bernard Berenson, index, 239 pages, paperbound 992115 Giorgio Vasari: VASARI on Technique, 18 plates, 11 figures, 328 pages, paperbound 992116 Nicholas Eastaugh, Valentine Walsh: Pigment Compendium, Hardcover, 960 pages 992117 Kurt Wehlte: The Materials and Techniques of Painting, 2001, 672 pages, hardcover, Kremer 2001, edition of 2500 copies 992130 Robert Feller: Artist’s Pigments - Volume 1, Hardcover, 300 pages, illustrations 992131 Ashok Roy: Artist’s Pigments - Volume 2, paperback, 231 pages, illustrations 992132 Elisabeth West Fitzhugh: Artist’s Pigments - Volumen 3, 364 pages, illustrations 992133 Barbara Berrie: Artist’s Pigments - Volume 4, Hardback, 234 pages 992134 Artist’s Pigments: Volumes 1 - 3, A Handbook of the History and Characteristics 992135 Artist’s Pigments: Volumes 1 - 4, A Handbook of the History and Characteristics

/// Conservation / Cleaning 992201 G.A. Berger / W.H. Russel: Conservation of Paintings, Hardcover, 246 x 175 mm, 376 pages, 16 colour plates, 144 halftones 992202 Mary-Lou E. Florian: Protein Facts, Journal of the Canadian Associaton for Conservation (J.CAC), Volume 33, published 2007, paperback, 160 pages 992203 Mary-Lou E. Florian: Fungal Facts, Paperback, with many illustrations, 146 pages, London 2002 992204 C. V. Horie: Materials for Conservation, Paperback, 281 pages 992206 Joanna Kosek: Conservation Mounting for Prints and Drawings, Hardback, 186 pages, 87 colour illustrations 992208 Rayner, Kosek & Christensen: Art on Paper 992210 Richard Wolbers: Cleaning Painted Surfaces, Aqueous Methods, Paperback, 198 pages, many b/w and colored photos and illustrations 992211 Mireia Xarrie Balaam - Glossary of Conservation I, 180 pages 992212 Barros D´Sa et al: Adhesives and Consolidants, in Painting Conservation, 109 pages, colour illustrations

/// Painting Practices 992109 A. P. Laurie: The Painters in Methods and Materials, unabridged, unaltered republication, 48 plates, 16 illustrations in text 992306 Mai-mai Sze (Editor): The Mustard Seed Garden, translated from the Chinese and edited by Mai-mai Sze, 624 pages, many b/w-illustrations 992307 Daniel V. Thompson: The Practice of Tempera Painting, 141 pgs, 89 b/w illustr., ppbk. 992308 Claude Yvel: Peindre à l’eau comme les Maitres, 160 pages, 20.5 x 27.5 cm, beaucoup d`illustrations en couleur et camaïeu, broché 992703 Fels, D.: Lost Secrets of Flemish Paintings

For further information and prices please visit us at www.kremerpigments.com

English Books

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Books & Color Charts

/// Dyeing / Plant Colors 992402 Dominique Cardon: Natural Dyes, Published 2007, hardback, 800 pages, 560 illustrations 992403 Robert Chenciner: Madder Red - A History of Luxury and Trade, Hardcover, 384 pages, b/w-illustrations 992406 Jenny Dean: Wild Color, the Complete Guide to Making and Using Natural Dyes, 144 pages, softcover 2010

/// Musical Instruments 992502 J. + R. Hammerl: Violin Varnishes, 127 pages, hardcover 992505 Brandmair, B. & Greiner S.: Stradivari Varnish, 365 pages, 42 x 29.5 x 3.7 cm English & German text on every page

/// Gilding 992601 Peter & Ann Mactaggart: Practical Gilding, 209 x 141 mm, line illustrations, paperback 992603 Hughes, Rowe: The Colouring, Bronzing & Patination of Metals, 372 pages, 275 illustrations, 16 color plates, hardcover

/// Plastic 992701 B. Keneghan and L. Egan: Plastics - Looking at the Future, Published 2008, paperback, 184 pages, 96 colour, 41 half tones illustrations

COLOR CHARTS 990001 Color Chart Kremer Pigments - Blue Colors, 42 samples, size: 3 x 5 cm 990002 Color Chart Kremer Pigments - Cadmium Pigments, 12 samples, size: each 3 x 5 cm 990004 Color Chart Kremer Pigments - Handmade and Historic Pigments, 82 samples, size: each 3 x 5 cm 990005 Color Chart Kremer Pigments - Iron Oxides, 39 samples, size: each 3 x 5 cm 990006 Color Chart Kremer Pigments - Earth Pigments, 72 samples, size each: 3 x 5 cm 990008 Color Chart Kremer Pigments - Yellow Colors, 36 samples, size: each 3 x 5 cm 990010 Color Chart Kremer Pigments - Green pigments, 24 samples, size: each 3 x 5 cm 990012 Color Chart Kremer Pigments - Organic Pigments, handpainted, approx. 50 samples 990013 Color Chart Kremer Pigments - Pearlescent Pigments, handpainted, approx. 70 samples 990015 Color Chart Kremer Pigments - Red Pigments, 37 samples, size: each 3 x 5 cm 990017 Color Chart Kremer Pigments - Fluorescent Pigments, 10 samples, size: each 3 x 5 cm 990018 Color Chart Kremer Pigments - Watercolor, handpainted, approx. 93 samples 990020 Color Fan Kremer - Wall, handpainted, 19 samples for wall paint

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Color Charts

For further information and prices please visit us at www.kremerpigments.com

General Information

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GENERAL INFORMATION

86 89 91 105 106 108 114 116 117

Recipes FAQ & References Pigment-suitability list Courses & How to find us Terms of trade and shipping Index Hazard Warnings / ACMI Hazardous Item Disclaimer Space for your notes

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General Information

RECIPES

Making oil colors by hand is an excellent opportunity to learn about the singular character of each pigment. Every pigment behaves differently when ground in oil. According to specific surface and weight one needs more or less oil and arrives at a larger or smaller amount of ready ground oil color. Generally one can count on using two parts of pigment to one part of oil. In each case, only trying out will reveal the actual amounts. Pour the desired amount of pigment into the mortar and add just a little oil. Start grinding and observe the absorption of oil. Slowly add correspondingly more or less oil until you arrive at a firm, fully saturated paste. This is a condition in which all pigment particles are mixed evenly in oil, which should be reached after about 15 minutes, using 100 to 200 g. It easily happens that the mixture suddenly seems too liquid and one has run out of pigment to absorb the excess oil. Therefore it is best to retain some pigment our extender, such as a fine marble dust, which one can add, until one reaches the desired consistency. Small amounts of extender do not change the color perceptibly. Although the best oil color consists purely of pigment and oil, you can use various amounts of pigment and extender if you like. Avery small amount of an opaque white, e.g. Titanium White, makes translucent pigments opaque. For storage, tubes are most practical, since the surface of the color cannot dry out like in jars. To clean the mortar and pestle you will need ample amount s of turpentine or a similar solvent, a lot of newspapers and some paper towels at the end. The mortar should be completely clean and dry before you start with the next color. Linseed Oil is the most common oil used for oil colors. Of the various kinds available, cold pressed linseed oil is the purest. It is of a golden color and is in spite of its yellowing tendency most often used. Stand Oil is highly weather resistant and dries glossy. Linseed oil varnish with cobalt drier is highly recommended for egg-oil emulsions, because it dries quickly and yellows little. Linseed oil varnish is a refined oil used for the standard production of oil color. Poppy oil dries very slowly and not as hard as linseed oil. It is preferred for light colors, since it is nearly colorless, yellows little and cracks less. Walnut oil dries faster.

Making Oil Colors

Interior Walls

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Recipes

For a base coat on interior walls solve 300g Cellulose Glue K 300 (63600) in 10 qt. cold water overnight. Add 7 kg Chalk from Champagne (58000) and 4 kg Titanium White Color Concentrate (27000), you can also substitute Titanium White (46200) dry pigment; mix well. Pour through a sieve/ strainer if necessary. Add 2 qt. Primal AC 35 (75100) for greater permanence. This covers approx. 150 square yards. Adding 500 g fine Glass Beads (e.g. 59831) creates an additional nice effect. For color washes on interior walls solve 100g Klucel EF (63700) in 10 qt. cold water. Add 50–250 g earth pigment according to the desired color intensity. Mix ½ -1 qt. Primal AC 35 (75100) acrylic dispersion for greater permanence. Apply with a flat, wide brush or sponge. This covers approx. 200 square yards. For further information and prices please visit us at www.kremerpigments.com

General Information

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Soak 40 g Casein (63200) with 125 ml cold water overnight. Mix this with 33 g Slaked Lime (31800). The casein paste is treated like fresh curd. It is hydrolyzed with 33 g Slakes Lime (31800), 20 %. This recipe never fails to make a good, thick casein glue of even consistency. It has, however, the disadvantage to jell very fast. The jellying procedure can be avoided by diluting with water by filling up to a total volume of 1 liter and then stirring in about 1 teaspoon of cere-stucco soap (79230) 5 minutes after adding the lime. The resulting solution is a 4% casein-lime solution. All lime-caseins are to some extent weatherproof and therefore represent a special group among the mural media. A base coat of a dilution of the 4 % casein-lime solution with 9 parts of water can be applied to the walls. For an opaque, white Wall Paint, 1 Liter Casein-Lime solution can be mixed with about 1 kg pigment, e.g. Titanium White (46200) or Chalk from Champagne (58000) or a mixture of both. The wall paint should have a consistency which can easily be spread. Should the paint become too thick it can be diluted again. Always dilute with the 4 % Casein-Lime solution and not with pure water. Make sure to test the paint on the wall before applying the first coat. The amount of binding agent is different for each pigment. Should the paint be too chalky, more concentrated casein-lime solution has to be added, if it shows cracks or peeling problems the paint contains too much lime and therefore has to be diluted further and more pigment added. Make sure to use pigments which are suitable for lime. Estimated consumption: On loam plaster: approx. 150 ml / m² / coating . On lime plaster: approx. 100 ml / m²/ coating.

Lime Casein Wall Paint

Heat 40 parts distilled water in a double boiler and add 20 parts Gum Arabic (63300). Stir to dissolve. Add 1/2 part Glycerol (64900) as a plasticizer. This keeps the finished paint from becoming too brittle and cracking. Add more if you plan to pour the paint into pans, so they retain some moisture. You can use any Color Concentrates or choose a pigments according to your technique: use transparent ones if you prefer light washes, and opaque ones for gouache. Mix pigments into a thick paste with the Gum Arabic solution and dilute with water for use as needed. Note: The Gum Arabic crystals may take 1-2 days to completely dissolve.

Classic Watercolor

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Recipes

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General Information

Acrylic Paint

š For hard, glossy surfaces: 75367 Dispersion K 9 or 76000 Plextol® D 498. š For thin layers: 75000 Acrylic dispersion 771. š For very clear, hard surfaces: 76805 Polyurethane Dispersion PU 52, 75305 Dispersion K 19 Gloss. š For matte surfaces: 75355 Disperion K 19 Matte Choose an Acrylic Dispersion. Mix pigment with water into a paste. Some pigments require a wetting agent, e.g. Orotan 850 (78033). Use more pigment for matte colors and less pigment for a glossy color. Add a filler to increase bulk, and texture or reduce gloss. Use ½ to 1 ½ parts of acrylic with every part of pigment paste. Use less for a flat appearance, more for gloss. Add water if necessary. Add 1/10 part of Polyvinyl alcohol liquid (67710) as a stabilizer, to retard drying and improve consistency. Other additives: š 1/50 part 78032 Orotan 731 K, as surfactant š 1/10 part 67710 Polyvinyl alcohol liquid, as stabiliser š 1/50 part 78100 Texanol, to avoid cracks š 1 drop 78600 Defoamer and 2 chips 78740 Preventol ON extra as preservative Mix the pigment and the dispersion slowly with the other ingredients and add water to obtain the desired consistency.

We definitely recommend tests prior to the final application, we cannot guarantee for any instructions given.

11

90

Recipes

For further information and prices please visit us at www.kremerpigments.com

General Information

11

FAQ & REFERENCES

How Much Binder do I need?

Each pigment needs a different amount of binder, depending on the grading and the surface of the pigment. The amount, especially for oil-based binders, may vary widely.

Volume and packing size

Kremer Pigmente sells pigments in small and greater package sizes. Each pigment has a different volume per weight. 100 g of Furnace Black (47250) will have 5 times the volume of 100 g Terra di Siena. This individually determines the packing size for each product.

A Pigment cannot be wetted

Synthetic Organic Pigments, Fluorescent Pigments, Van Dyck Brown or Milori Blue cannot easily be mixed with water. These pigments will behave like oil and float on top of the water. Alcohol (Ethyl alcohol, Isopropanol) or a wetting agent (e.g. Orotan 731 K (78032)) will reduce the surface tension and facilitate the use of the pigment.

Kremer Pigmente offers a variety of luminescent pigments and fluorescent dyes. Basically they can be distinguished by the type of light effect. Phosphorescent pigments are substances that glow in the dark after light excitation. Fluorescent pigments or dyes start to glow when exposed to ultraviolet light. A transparent binding medium is essential for an ideal outcome. Please take into account that UV-absorbers in your lacquer can reduce the fluorescent action.

Fluorescent and Phosphorescent Colors

Animal Glues

Bone Glue, Hide Glue, Rabbit Skin Glue, Gelatine, and Isinglass are animal glues. These glues must first be soaked in water and then heated in a water bath. The heating temperature should never exceed 60 °C; otherwise the glue looses its elasticity and adhesive strength. When cooling down, the glue will form a gel. Heating it will re-liquefy it. Animal glue spoils quickly. The endurance of glue solutions can be improved by keeping it in the refrigerator. It is possible to add 0.5% preservative, such as Biodocarb (78744). Wall paints made with animal glue as a binder will permanently remain water-soluble. Old wall-paint has to be removed before applying new paint. We offer empty watercolor pans for making your own watercolors. To fill these empty pans, fill the liquid watercolor into a 10 ml syringe (pharmacy or laboratory supplies), and then put a thin layer of watercolor into the pan. The color can be kept in the syringe. Allow each layer to dry before the next layer is added. The recipe must be modified if the watercolor cracks during drying (too little binder) or does not dry (too much binder).

Filling Watercolors into Pans

11

For further information and prices please visit us at www.kremerpigments.com

FAQ & References

91

11

General Information

The filling and sealing of oil paint tubes is simple, but requires some practice. Grind the oil paint into a thick paste. The paint should have the consistency of toothpaste. Take off the cap of the tube. Put the oil paint onto a piece of wax paper and roll it up like a selfmade cigarette. The paper roll should be small enough to fit into the back of the tube. Push the paper with the oil paint into the tube and lay it onto a board. Use a short round wooden stick, about the diameter of a broom stick and about 15 cm long, and roll it on the paper from behind, so the oil paint is pressed into the tube. Close the cap and flatten the end of the tube with the wooden stick. Pull the paper carefully out of the tube. Flatten the end of the tube again, fold the metal (with help of a palette knife or spatula) to close the tube. Squeeze the folded metal firmly with a pair of pliers.

How to get Oil Paint into a tube

Our pigments, colorants and binders are intended for conservators, artists and craftsmen. Kremer Pigmente does not supply products for cosmetic use. We do not handle the products according to cosmetic standards and regulations, and some products can cause allergies when applied on human skin.

Kremer Pigments for Soaps and Cosmetics

We assume no responsibility for these references. Please contact us in case of any queries.

Kremer products are packed in Europe, where the metric system has been established. Mixture ratios and calculations are much easier in metric: 1 Liter consists of 1000 ml (= Milliliter) and 1 kg (= Kilogramm) of 1000 g (= Gramm). Until we arrange for packaging in the US, please convert as follow:

Conversion of weights and measures

75 ml

=

2.54 fl. oz

100 g

=

3.53 oz

250 ml

=

8.45 fl. oz

500 g

=

1.1 lbs.

500 ml

=

16.9 fl. oz

1 kg

=

32.12 ounces or 2.2. pounds

1 liter

=

1.06 quarts or 2.11 pints

11

92

FAQ & References

For further information and prices please visit us at www.kremerpigments.com

General Information

11

Abbreviations used for the Color Index:

Pigment

Colorindex

Tempera

Watercolor / Gouache

Lime / Fresco

10000 10010 10060 10064 1007110072 1007410075 1010010120 10130 1015010154 10170 10180 10184 10200 1020110208 10210 1030010310 1034110346 10350 10355 10360013601 103700103701 103800103801 103900103901 104000 104200104201 104500 104602 10470 1050010562 10580 1061010620 1062410628

Smalt, standard Smalt, very fine Egyptian Blue Egyptian Green

PB 32.77365 PB 32.77365 PB 31.77437 PB 31.77437

8 8 8 8

š š š

š š š š

š š š š

š š š

š š š š

HAN-Blue, var.

8

š

š

š

š

š

HAN-Purple, var.

8

š

š

š

š

š

Lead Tin Yellow, var.

77629

8

š

š

š

š

Naples Yellow from Paris

PY 41.77588

8

š

š

š

š

8

š

š

š

š

š

š š š š

š š š

Pinkcolor

š

Ploss Blue Blue Verditer Blue Bice Azurite natural standard

PB 30.77420 PB 30.77420 PB 30.77420

8

Azurite MP, var.

PB 30.77420

8

š

š

š

Azurite natural fine

PB 30.77420

8

š

š

š

Malachite natural, var.

PB 30.77420

8

š

š

š

Malachite MP, var.

PB 30.77420

8

š

š

š

Chrysocolla Dioptase Copper Silicate

PB 31.77437

8

š š

š š

š š

Malachite Fibres, var.

PB 30.77420

8

š

š

š

Malachite Arabian, var.

PB 30.77420

8

š

š

š

Turquoise Sky-Blue, var.

8

š

š

š

Atacamite, var.

8

š

š

š

Vivianite

8

š

š

š

š

Sodalite, var.

8

š

š

š

š

Vesuvianite Cavansite, extra fine Pentagonite

8 8 8

š

š š š

š š š

š š š

š

š

š

Lapis Lazuli, var.

PB 29.77007

8

š

š

š

š

š

Ultramarine Ash

PB 29.77007

8

š

š

š

š

š

Natural Cinnabar, var.

PR 106.77766

š

š

š

š

Cinnabar, var.

PR 106.77766

š

š

š

š

For further information and prices please visit us at www.kremerpigments.com

Cement / Tadelakt Silicate binder / Waterglas

No.

Acrylics

G (Green) Br (Brown) Bk (Black) W (White)

Oil

Y (Yellow) O (Orange) R (Red) B (Blue) V (Violet)

Lightfastness

P (Pigment) N (Natural) S (Solvent) D (Dye)

š

11 Pigment-suitability list

93

77640

š š š 8 8 8

Pyrite Powder, var.

š

š š

š š š š š

š š š š š

š

š

š

š

Cement / Tadelakt Silicate binder / Waterglas

š š

Lime / Fresco

PY 39.77086 PY 39.77085

Watercolor / Gouache

Colorindex

Orpiment, genuine Realgar, genuine Crocoite Conichalcite Galena

Tempera

Pigment

10700 10800 10850 10870 10900 1092010930 10940 1100011010 11100 1111011111 11120 1114011141 1115011151 11152 11181 11182 11183 11200 11210 11250 1127211280 11282 11283 1129011291 11300 11310 11315 11320 11350 11354 11356 11360 11362 1139011392 1140011401 11405114053 11410 1141511416 1142011421 1142211424 11520 11530 11540

Acrylics

No.

Oil

General Information

Lightfastness

11

š

Antimony

PR 107.77060

8

š

š

Verona Green Earth, var.

PG 23.77009

8

š

š

š

š

š

Bavarian Green Earth

PG 23.77009

8

š

š

š

š

š

Russian Green Earth, var.

PG 23.77009

8

š

š

š

š

š

Volkonskoite

8

š

š

š

š

š

Aegirine, var.

8

š

š

š

š

š

š

Epidote, var.

8

š

š

Florentine Green Andeer Green, fine Andeer Green, medium Andeer Green, coarse Green Jasper Green Quartz Celadonite

8 8 8 8 8 8 8

š š

š

š

š

š

š

8 8

š š

š š

š š

š š

š š

8

š

š

š

š

š

8

š

8 8 8 8 8

š š š š š š

š š š š š š š š š

š š š š š š š š š

š š š š š š š š š

8

š

š

š

š

š

8

š

š

š

š

š

8

š

š

š

š

8

š

š

š

š

š

š

š

š

š

š

š

š

š

š

š

š

š š š

š š š

PW 27.77811 PW 27.77811 PG 23

Ochres from Andalusia, var. Nero Bernino Alba Albula Sugar Dolomite, var. Red Jasper Rose Quartz from Namibia Amethyst, Brasilian Rhodochrosite Côte d´Azur Violet Slate Green from Mels Gray from Mels Brown-Red Slate Gray from Burgundy

PW 18:1.77220:1, 77713:13 PW 27.77811 PW 27.77811 PW 27.77811 77733

PBk 19.77017

Jade, var. Rock Crystal, var.

PW 27.77811

Diamond Powder, var.

š š š

š š š š š š

Eggshell White

PW 18.77220

Bianco San Giovanni, var.

PW 18.77220

Fuchsite, var.

PW 20.77019

8

š

š

Fuchsite, var.

PW 20.77019

8

š

š

Jarosite Gold Ochre Taunus Ochre, light

PY 43.77492 PY 43.77492 PY 43.77492

8 8 8

š š š

š š š

š

š

š

š

š š

š š

š š š š

š š š

š š š

š š š š š š š

š š š

š š š

š

š š š

š š

š š

š

š

š

š š š š š

š š š š

š š š

š š

š

11

94

Pigment-suitability list

š

For further information and prices please visit us at www.kremerpigments.com

š

Pigment

Colorindex

Lightfastness

Oil

Acrylics

Tempera

Watercolor / Gouache

Lime / Fresco

No. 1157211573 1157411575 1157611577 1158411585 11620 11630 116420116421 116430116431 116440116441 11650 11674 1180011810 11830 12000 12010 12015 12020 12030 12040 12100 12200 1240012402 12440 1522115311 16715081671514 16716081671614 16720081672014 16721081672114 16725091672514 16731081673114 16739081673914 16741081674114 16744081674414 16745081674514 16749081674914 16753081675311

Burgundy Yellow Ochre, var.

PY 43.77492

8

š

š

š

š

š

š

Burgundy Red Ochre, var.

8

š

š

š

š

š

š

Burgundy Red Ochre Deep, var.

8

š

š

š

š

š

š

8

š

š

š

š

š

š

Brown Earth from Otranto Iseo Brown

PBr 7

8 8

š š

š š

š š

š š

š š

š š

Yellow Moroccan Ochre, var.

PY 43.77492

8

š

š

š

š

š

š

Red Moroccan Ochre, var.

8

š

š

š

š

š

š

Dark Red Moroccan Ochre, var.

8

š

š

š

š

š

š

Elba Brown Ochre deep Obsidian Black

8 8

š š

š š

š š

š š

š š

š

š

š

š

š

š š š š š š š š

š š š š š š š š

š š š š š š š š

š š š š š

š

š

š

Spanish Red Ochre, var.

Selenite, Marienglas, var.

PW 25.77231

8

š

Aragonite Ivory Black, genuine Peach Black Grape Black Cherry Black Atramentum Shungit Bistre Copper Resinate

PW 18.77220 PBk 9 PBk 8.77268 PBk 8.77268 PBk 8.77268

8 8 8 8 8 8

š š š š

Sepia, var.

NBr 9

Bideford Black

PBk 8.77268

NBr 11

š

š š

š

š

8

š

š

š

š

8

š

š

š

š

š

Garnet Kicha Golden, var.

8

š

š

š

š

š

š

Garnet Sakura-Nezumi, var.

8

š

š

š

š

š

š

IWA-Enogu®, var. Yellow Jasper Iwa-Oudo, var.

11

Cement / Tadelakt Silicate binder / Waterglas

General Information

PW 27.77811

Cinnabar SHINSYA, var.

PR 106.77766

8

š

š

š

š

Agate Peach, var.

PW 27.77811

8

š

š

š

š

Azurite GUNJYOU, var.

PB 30.77420

8

š

š

š

š

š

š

š

š

š

š

š

š

š

š

š

Sodalite SHIUN-MATSU, var.

8

Malachite MATSUBA-ROKUSYOU, var. PB 30.77420

8

Lizard-Stone, var.

8

š

Amazonite HAKUSUI-MATSU, var.

8

š

š

š

š

š

Epidote, var.

8

š

š

š

š

š

Iron Oxide Orange, var.

8

š

š

š

š

š

PW 26.77718

11

For further information and prices please visit us at www.kremerpigments.com

Pigment-suitability list

95

Colorindex

Tempera

Watercolor / Gouache

Lime / Fresco

Burnt Iron Oxide Red, var.

PR 101.77491

8

š

š

š

š

š

Tiger-Eye TYOUJICHA, var.

PW 27.77811

8

š

š

š

š

š

8

š

š

š

š

Jarosite, from Cyprus Natural Sienna, Monte Amiata Green Earth, from Cyprus Bluish Green Earth, from Cyprus

PY 43.77492 PY 43.77492 PG 23.77009 PG 23.77009

8 8 8 8

š š š š

š š

š š š š

š š š š

Cadmium Yellow, var.

PY 35.1.77205

8

š

š

š

š

š š

š š

š š

Tourmaline DENKISEKI-MATSU, var.

Cadmium Yellow, medium Cadmium Yellow No. 9, dark

PY 37:1.77199

8

š š

Cadmium Orange, var.

PO 20:1.77202

8

š

š

š

š

š š š š š š š

š š š š š š š

š š š š š š š

š š š š š š š

Cadmium Orange, light Cadmium Orange No. 1, medium Cadmium Orange, dark Cadmium Red No. 1, light Cadmium Red, light Cadmium Red No. 2, medium Cadmium Red, medium

PO 20:1.77202

8

PR 108:1.77202

8

PR 108:1.77202

8

Cadmium Red, var.

PR 108:1.77202

8

š

š

š

š

Phthalo Green Dark Phthalo Green, yellowish Phthalo Blue Phthalo Blue royal blue Phthalo Blue reddish Phthalo Blue Indanthren® Blue Hostaperm® Pink E Irgazine® Orange DPP RA Irgazine® Scarlet DPP EK Irgazine® Red DPP BO DPP - Red Irgazine® Ruby DPP-TR Scarlet Red CPT - Scarlet Red Permanent Red A Permanent Red Dark Permanent Red Permanent Red FRLL CPT - Red Permanent Yellow light Permanent Yellow Medium Irgazine® Yellow, greenish Isoindole Yellow Indian Yellow imitation Pyramid-Yellow medium Hostaperm Pink, transparent Quindo® Pink D Quindo® Red R 6713

PG 7.74260 PG 36.74265 PB 15:1.74160 PB 15:3.74160 PB 15:6.74160 PB 16.74100 PB 60.69800 PR 122.73915 PO 73.561170 PR 255.561050 PR 254.56110 PR 254.56110 PR 264.561300 PR 168.59300 PR 166.20730 PR 177.65300 PR 194.71100 PR 170.12475 PR 9.12460 PR 144.20753 PY 151.13980 PY 154.11781 PY 129.48042 PY 109.56284 PY 150.12764 PY 108.68420 PR 122.73915 PV 19.73900 PV 19.73900

8 8 8 8 8

š š š š š š š š š š š š š š š š š š š š š š š š š š š š š

š š š š š š š š š š š š š š š š š š š š š š š š š š š š š

š š š š š š š š š š š š š š š š š š š š š š š š š š š š š

š š š š š š š š š š š š š š š š š š š š š š š š š š š š š

8 8 8 8 8 8 8 6-8 6-8 7-8 4-6 5-7 6-8 8 7-8 7-8 7-8 8 8 8 7-8

Cement / Tadelakt Silicate binder / Waterglas

Pigment

Acrylics

No. 16754081675414 16759081675914 16765081676514 17000 17050 17400 17410 2101021050 21051 21060 2108021090 21091 21100 21111 21120 21121 21130 21131 2114021150 23000 23010 23050 23060 23070 23080 23100 23152 23178 23179 23180 23181 23182 23200 23202 23230 23250 23290 23291 23293 23300 23310 23330 23340 23350 23370 23401 23402 23410

Oil

General Information

Lightfastness

11

š š š š

š š š š

š š š š š š š

š š š š š š š

š š š

š š š

š š š š

š š š š

š š š

š š š

š š

š š

š

š š

š š

11

96

Pigment-suitability list

For further information and prices please visit us at www.kremerpigments.com

Watercolor / Gouache

PY 184

8

š

š

Kremer Color Paste - Iron Oxide Brown 610

PR 101.77491, PBk 11.77499, PY 42.77492

8

š

Kremer Color Paste - Iron Oxide Black Kremer Color Paste - Bone Black Kremer Color Paste - Lamp Black Kremer Color Paste - Ultramarine Blue Kremer Color Paste - Ultramarine Blue (new) Kremer Color Paste - Chrome Oxide Green Kremer Color Paste - Lemon Yellow Kremer Color Paste - Irgazin® Yellow, greenish Kremer Color Paste - Yellow Kremer Color Paste - Brilliant Yellow Kremer Color Paste - Permanent Yellow Medium

PBk 11.77499

8

PBk 9.77267 PBk 7.77266

8 8

PB 29.77007

8

PV 37.51345 PR 206.73900/73920 PR 175.12513 PBr 23.20060 PR 179.71130 PR 179.71130 PO 59.12075 PO 51 PO 36.11780 PO 48.73900/73920 PR 112.12370 PR 83.58000 : 1 PY 74.11741 PY 213.117875 PY 110.56280 PR 88.73312 PV 19.73900 PV 19.73900 PV 5:1.58055:1 PO 61.11265 PY 3.11710 PR 3.12120 PY 139.56298 PBk 1.50440 PW 6.77891 PY 42.77492 PR 101.77491 PR 112.12370 PR 254.56110 PB 15:2.74160 PG 7.74260 PBk 7.77266 PW 6.77891

27400 27500 27540 27600 27700 27705 27800 28000 28020 28050 28100 28120

8 8 7-8 8 8 8 8 8 8 7-8 7-8 6-8 7-8 7-8 6-7 7-8 8 5-8 7-8 6-7 3-7 6-7

PB 29.77007

š š š š š š š š š š š š š š š š š š š š š š š

š

š

š š š

š š š

š š š š š š š š š š š š š š š š

š š š

š š š

š š š

š

š

š

š

š

š

š

š

š

š

š

š

š

š

š

š

š

š

š š

š š

š š

š

š

š

š

š

š

š

š š

š

8

š

š

š

š

PY 3.11710

7

š

š

š

š

PY 129.48042

8

š

š

š

š

š š

š š

š š

š

PY 74.11741

8 6-8

PY 154.11781

8

š

š

š

š

For further information and prices please visit us at www.kremerpigments.com

š š š š š š

š š š

PG 17.77288

11

Cement / Tadelakt Silicate binder / Waterglas

Tempera

š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š

Colorindex

Dioxazine Violet Cinquasia® Chestnut Brown Purple-Red Gubbio Red Paliogen® Maroon Paliogen® Maroon very fine Paliotol® Orange Paliogen® Orange Pyranthrone Orange Cinquasia® Gold, red-gold Alizarine Crimson Light Alizarine Crimson Dark Brilliant Yellow Isoindolinon Yellow Irgazine® Yellow Thioindigo Red Cinquasia® Violet RT 201 D Hostaperm® Red Alizarine Violet Isoindolol Orange Studio Yellow Studio Red, Helio Paliotol® Yellow-Orange Aniline Black XSL Titanium White XSL Translucent Yellow XSL Translucent Red XSL Poppy Red XSL Irgazine® Red DPP XSL Phthalo Blue, Royal Blue XSL Phthalo Green Dark XSL Black Kremer Color Paste - Titanium White Kremer Color Paste - Bismuth-Vanadate Yellow

Lime / Fresco

Acrylics

š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š

Pigment

23451 23480 23490 23493 23500 23504 23540 23560 23570 23585 23600 23610 23650 23660 23670 23700 23710 23720 23750 23800 23850 23950 24000 24100 26000 26120 26140 26308 26310 26405 26500 26600 27000

Oil

8 8 8 6-7 8 8 8 8 8

š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š š

No.

27160

Lightfastness

General Information

š

š 11

Pigment-suitability list

97

28390 28470 28480 28490 28500 28510 28600 28660 28701 28801 28900 28910 29000 29050 31231 3600036003 36005 36006 36007 360094 36010 36015 36020 36261 36262 37000 3720237218

11

98

Lime / Fresco

28375

Watercolor / Gouache

28270

Tempera

28200

Acrylics

28150

Pigment Kremer Color Paste - Isoindolinone Yellow Kremer Color Paste - Orange Kremer Color Paste - Pyranthrone Orange Kremer Color Paste - Irgazin® Orange DPP RA Kremer Color Paste - Irgazin® DPP Scarlet Kremer Color Paste - Irgazin® DPP Red Kremer Color Paste - Graphtol Red NFB Kremer Color Paste - Permanent Red Kremer Color Paste - Red Kremer Color Paste - Irgazin® Ruby DPP Kremer Color Paste - Quindo® Red Kremer Color Paste - Cinquasia® Violet Kremer Color Paste - Thioindigo Kremer Color Paste - Dioxazine Violet Kremer Color Paste - Heliogen® Blue Kremer Color Paste - Heliogen® Royal Blue Kremer Color Paste - Heliogen® Green Kremer Color Paste - Heliogen® Green, yellowish Pozzuolana Red Earth very fine

PY 109.56284

7-8

š

š

š

š

PO 34.21115

6

š

š

š

š

PO 36.11780

8

š

š

š

š

š

PO 73.561170

8

š

š

š

š

š

PR 255.561050

8

š

š

š

š

š

PR 254.56110

8

š

š

š

š

š

7

š

š

š

š

PR 170.12475 PR 112.12370

4-6 8

š š

š š

š š

š š

PR 264.561300

8

š

š

š

š

š

8

š

š

š

š

š

7-8

š

š

š

š

š

PR 88.73312 PV 37.51345 PB 15:3.74160

8 8

š š š

š š š

š š š

š š š

š š š

PB 15:3.74160

8

š

š

š

š

š

PG 7.74260

8

š

š

š

š

š

PG 36.74265

8

Colorindex

PV 19.73900

Oil

No.

š

š

š

š

š

š

š

š

š

š

8

š

š

š

š

Indigo Blue lake Indigo Red-Violet Maya Blue Indigo Synthetic, Color Paste Tyrian Purple Purpurissum Lac Dye Lake made of Reseda and Buckthorn Berries Lake made of Reseda Dragon´s Blood, powder

8 8 8

š š š

NV 1.75800 NV 1.75800 NR 25.75450 NY 2.75590/75580 + NY 14.75440 NY 2.75590/75580 NR 31.75200,75210

š š š š š

š

š š š š š š š

š

š š š š š š š

š

š

š

š

š

š š

š š

š

Madder Lake, var.

NR 9.75330/75420

4-6 š

š

š

š

š

š

š

š

š

š

š

š

š

š

š

š

Osage, yellow

37391

Sap Green

37392

Stil de Grain, var.

373941

Stil de Grain, Schützenberger

390021394545 40010 40012 40013 40020

Colored Glasses, var. French Ochre JTCLES French Ochre, very light French Ochre, extra light French Ochre RTFLES

Pigment-suitability list

š

3

Farblack aus: NY 8.75660 NG 2.75440/75650/75695 NY 14.75440 NG 2.75440/75650/75695 6

š

8

š

š

š

š

š

8 8

š š š š

š š š š

š š š š

š š š š

š š š š

PY 43.77492 PY 43.77492 PY 43.77492 PR 102.77491

8

š

š

Indigo, var.

37370

Cement / Tadelakt Silicate binder / Waterglas

General Information

Lightfastness

11

š

š š š š

For further information and prices please visit us at www.kremerpigments.com

No.

Pigment

Colorindex

Lightfastness

Oil

Acrylics

Tempera

Watercolor / Gouache

Lime / Fresco

40030 40040 40050

French Ochre JOLES French Ochre JCLES French Ochre JFLES

8 8 8

š š š

š š š

š š š

š š š

š š š

š š š

40060

French Ochre JALS

8

š

š

š

š

š

š

40070

French Ochre SOFODOR

8

š

š

š

š

š

š

40080

French Ochre HAVANE

8

š

š

š

š

š

š

40090 40130 40195 40200 40214 40220 40231

French Ochre SOFOROUGE French Ochre SAHARA Gold Ochre, from Poland Ochre Avana, greenish-yellow Gold Ochre DD Italian Gold Ochre light Brown Ochre light

8 8

š š š š š š š

š š š š š š š

š š š š š š š

š š š š š š š

š š

8 8 8 8

š š š š š š š

40241

Fawn Ochre

8

š

š

š

š

š

š

40260 40280 40301 40310 40320 4039240410 40430 40440 40470 40490 40503 40510 40542 40545 40610 40611 40612 40623 40630 40650 40660 40700 40710 40720 40723 40730 40800 40810 40821 40830 40850 4090040930 4096040970 41000

Satin Ochre Amberg Yellow Iron Oxide Yellow Dark Ochre, German Dark Ochre, Italian

PY 43.77492 PY 43.77492 PY 43.77492 PY 43.77492, PR 102.77491 PY 43.77492 PY 43.77492, PR 102.77491 PR 102.77491 PY 43.77492 PY 43.77492 PY 43.77492, PBr 7. PY 43.77492 PY 43.77492 PY 43 PBr 7, PY 42, PBk 11, PR 101 PY 43.77492 PY 43.77492 PY 43.77492 PY 43.77492 PY 43

8 8 8 8 8

š š š š š

š š š š š

š š š š š

š š š š š

š š š š š

š š š š š

Raw Sienna, var.

PY 43.77492

8

š

š

š

š

š

š

Dark Burnt Sienna Pompeii Red Burnt Sienna, from France Rosso Sartorius Red Bole Venetian Red English Red Light English Red Deep Raw Umber Raw Umber, light Raw Umber, greenish Manganese Brown Intense Raw Umber greenish dark Chromite Raw Umber, dark Burnt Umber, reddish Burnt Umber, brownish Burnt Umber, dark brown Burnt Umber, type B Burnt Umber Light, reddish-brown Green Earth light Bohemian Green Earth Green Earth from Verona Green Earth from France Burnt Green Earth

PBr 7 PR 103 PBr 7 PR 102.77491 PR 102.77015 PR 102.77491 PR 101.77491 PR 101.77491 PBr 8.77727 PBr 7 PBr 8.77727 PBr 8.77727 PBr 8.77727

8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8

š š š š

š š š š š š š š š š š š š š š š š š š š

š š š š š š š š š š š š š š š š š š š š š š š š š

š š š š

š š š š

š

š š š š š š š š š š š š š š š š š š š š š š š š š

š š š š š š š š š š š š š š š š š š š š

š š š š š š š š š š š š š š š š š š š š

Slate Gray, var.

PBk 19.77017

8

š

š

š

š

š

8

š

š

š

š

7-8

š

š

š

PBr 8.77727 PBr 8.77727 PBr 8.77727 PBr 7 PBr 8.77727 PBr 8.77727 PG 23.77009 PG 23.77009 PG 23.77009 PG 23.77009

Pencil Clay, var. Van Dyck Brown

NBr 8

š š š š š š š š š š š š š š š š š š š š

11

Cement / Tadelakt Silicate binder / Waterglas

General Information

š š š š

11

For further information and prices please visit us at www.kremerpigments.com

Pigment-suitability list

99

11

100

41600

Terra Ercolano

NBr 8 PR 101, PR 102.77491 PR 101, PR 102.77491

41700 41750 41770 41800 41820 42000 42050 42100 42500 4260142605 42711 42712 42714 42716 43010 43101 43111 4312143130 43131 4320043210 43230 43300 43500 43600 43870 43880 4391043920 44100 44110 44130 44151 44190 4420044204 44250

Verona Green Earth Vagone Green Earth Nicosia Green Bohemian Green Earth, imitation Verona Green Earth, imitation Vermilion Zirconium Red Carmine Naccarat Red Lead, Minium

NR 4:1.75470 PR 105.77578

Ultramarine Red, var.

PR 259.77007

Garnet Powder Red, very fine Garnet Powder Red, fine Garnet Powder Red, medium Garnet Sand Red, coarse Massicot, Litharge Bristol Yellow pale Bristol Yellow, medium Naples Yellow, var.

š

8

š

š

8

š

š

š

š

š

š

8 8 8 8 8

š š š š š š š š š

š š š š š š š š

š

š

š š

š

š š š

š š š š š š š š

PR 106.77766

š

š

š

š

8

š

š

š

š

8 8 8 8

š š

š š š š

š

š

š š š š

š š š š

š

š š

š š

š š

š š

š š

š

8 8

š š š š

š

š

š

8

š

š

š

š

š

š

š

PY 46.77577

PY 41.77588

Bristol Yellow, reddish

š

6-7

Cement / Tadelakt Silicate binder / Waterglas

Terra Pozzuoli

Lime / Fresco

41550

Watercolor / Gouache

Colorindex

Cassel Brown, wood stain

Tempera

Pigment

41050

Acrylics

No.

Oil

General Information

Lightfastness

11

Nickel-Titanium Yellow, var.

PY 53.77788

8

š

š

š

š

š

š

š

Praseodym Yellow Titanium Orange Cobalt Yellow Antimony Red Yellow Zircon Intensive Yellow

PY 159.77997 PBr 24.77310 PY 40.77357 77061

8 8

š š š

š š š

š š š

š š

š š

š š

PY 159.77997

8

š š

š š

š š

š š š š š š

š š

š š

š š

Bismuth-Vanadate Yellow, var.

PY 184

8

š

š

š

š

š

š

š

Cobalt Green Cobalt Oxide Green Blue Cobalt Bottle Green Cobalt Green bluish A Pastel Green, Victoria Green

PG 50.77377 PG 26.77343

8 8 8 8 8

š š š š š

š š š š š

š š š š š

š š š š š

š š š

š š š

š š š

š

š

š

Chrome Oxide Green, var.

PG 17.77288

8

š

š

š

š

š

š

š

Viridian Green

8

š

š

š

š

š

š

8

š

š

š

š

š

š

š š

š š

š š

8

44280

Permanent Green

44400 44450 4450044510 45000 4501045080 4510045120 45202

Malachite, synthetic Verdigris, synthetic

PG 18.77289 PG 7, PG 17, PB 15, PB 28, PW 7 77422 PG 20.77408

Cadmium Green, var.

PG 14.77199

8

š

š

š

š

Ultramarine Blue, very dark

PB 29.77007

8

š

š

š

š

š

Ultramarine Blue, var.

PB 29.77007

8

š

š

š

š

š

Ultramarine Violet, var.

PV 15.77007

8

š

š

š

š

š

Prussian Blue LUX

PB 27.77510

8

š

š

š

š

Pigment-suitability list

8 8

For further information and prices please visit us at www.kremerpigments.com

š

PB 71.77998 PB 74.77366

š š š š š š š š š š š

š š š š š š š š š š š š š

š š š š š š š š š š š š š

š š š š š š š š š š š š š

š š š š š š š š š š š š

š š š š š š š š š š š

š š š š š š š š š š š

š š š

š š š

š š

š š š š

š

š

š š š š š š š š š š š š š š š š š

š š š š š š š š š š š š

š

PB 36.77343

8 8 8 8 8 8 8 8 8 8 8

Cobalt Violet, var.

PV 14.77360

8

š

š

š

š

Cobalt Violet Brilliant, light Cremnitz White Lead Sulfate, basic Lithopone Titanium White Rutile Buff Titanium Zinc White Zinc Sulphide Kremer White Gofun Shirayuki Vine Black, German Bone Black Nano F - Black Ivory Black JU Furnace Black Basalt Black, fine powder Basalt Black, fine sand Basalt Black, medium fine sand Basalt Black, sand Spinel Black No. 38 Spinel Black Spinel Gray Spinel Black No. 42 Spinel Black No. 43 Manganese Black Manganese Gray Cement Black Asphaltum Graphite Powder Silver Graphite Powder Black Charcoal Charcoal, var.

PV 49.77362 PW 1.77597 PW 2.77633 PW 5.77115 PW 6.77891 PW 6:1.77891 PW 4.77947 PW 7.77975 PW 12.77990

8 8 8 8 8 8 8

š š š š š š š

š š š š š š š š š š š š š š š š

š š š š š š š š š š š š š š š š

š š š š š š š š š š š š š š š š š

š š š š š š š š š š š š

š š š š š š š š š š š š š š

š š š š š š š š š š š š

š š š š š š š š š š š š

Iron Oxide Yellow, var.

48040

Iron Oxide Yellow 940, dark

48045

Iron Oxide Yellow 930, dark

48050

Iron Oxide Yellow-Orange, Gamma

PB 74.77346 PB 28.77346

PB 35.77368 PB 36.77343

PBk 8.77268 PBk 9.77267 PBk 9 PBk 7.77266

PBk 26.77494 PBk 26.77494 PBk 28.77428 PBk 30.77504 PBk 14.77728 PBk 14.77728

š 8 8 8 8 8 8 8 8 8 8 8

š š š š š š

š

š š š š š š š

NBK 6 PBk 10.77265 PBk 10.77265 PBk 8.77268 PBk 8.77268

8 8 8 8 8 8 8 8

PY 42.77492

8

š

š

š

š

š

š

š

PY 42.77492, PR 101.77491 PY 42.77492 PY 42.77492, PR 101.77491

8

š

š

š

š

š

š

š

š

š

š

š

š

š

8

š

š

š

š

š

š

š

For further information and prices please visit us at www.kremerpigments.com

11

Cement / Tadelakt Silicate binder / Waterglas

8

Lime / Fresco

Oil

PV 16.77742

Watercolor / Gouache

Colorindex

Manganese Violet Copper Blue Zirconium Cerulean Blue Cobalt Blue Dark Cobalt Blue Dark, greenish Cobalt Blue, Sapporo Cobalt Blue Medium Cobalt Blue Pale Cobalt Blue Light Cobalt Cerulean Blue Cobalt Blue, greenish Cobalt Blue Turquoise Light Cobalt Blue Turquoise Dark

Tempera

Pigment

45350 45364 45400 45700 45701 45702 45710 457141 45720 45730 45740 45750 45760 4580045810 45820 46000 46050 46100 46200 46280 46300 46350 46360 46400 47000 47100 47120 47200 47250 47324 47326 47327 47328 47380 47400 47410 47420 47430 47501 47510 47530 47600 47700 47710 47800 47810 4800048020

Acrylics

No.

Lightfastness

General Information

Pigment-suitability list

11

101

Oil

Acrylics

Tempera

Watercolor / Gouache

Lime / Fresco

8

š

š

š

š

š

š

š

PR 101.77491

8

š

š

š

š

š

š

š

PR 101.77491

8

š

š

š

š

š

š

š

8

š

š

š

š

š

š

š

8

š

š

š

š

š

š

š

8

š

š

š

š

š

š

š

š

š

š

š

š

š

š

8

š

š

š

š

š

š

š

8

š

š

š

š

š

š

š

8

š

š

š

š

š

š

š

No.

Pigment

48060

Iron Oxide Orange 960, light

4810048210 48220 4825048289

Iron Oxide Red, var. Caput Mortuum Synthetic 180 M Iron Oxide Red, var.

PR 101.77491

Colorindex PY 42.77492, PR 101.77491

48300

Iron Oxide Brown 610, light

48320

Iron Oxide Brown 640, medium

48330

Iron Manganese Brown 645 T

48340

Iron Oxide Brown 655 reddish

4835048360 4840048442 4844548447 48600 48651 4870048750 48800 48804 48806 48900 48910 48930 48933 48941 48943 489621489623 49550 49600 49700 50000

Iron Oxide Brown, var.

PR 101.77491, PY 42.77492, PBk 11.77499 PR 101.77491, PBk 11.77499 PBr 43.77536 PR 101.77491, PY 42.77492, PBk 11.77499 PR 101.77491, PBk 11.77499

Iron Oxide Black, var.

PBk 11.77499

50002 50003 50005 50010 5001250019 50020 50021 5002450040 5006150068 5008050084

Cement / Tadelakt Silicate binder / Waterglas

General Information

Lightfastness

11

Iron Oxide Black, var.

PBk 33.77537

š

š

š

š

š

š

š

Iron Oxide Red, natural Haematite, intense tinting

PR 102.77491 PR 102.77491

8 8

š š

š š

š š

š š

š š

š š

š š

Caput Mortuum, var.

PR 101.77491

8

š

š

š

š

š

š

š

Magnetite, very fine Magnetite, fine Magnetite, coarse Iron Glimmer Gray Natural Iron Glimmer Iron Glimmer Violet Iron Glimmer Violet, extra fine Iron Glimmer from Morocco, very fine Iron Glimmer from Morocco, fine

PBk 11.77499 PBk 11.77499 PBk 11.77499 PBk 11.77491 PBk 11.77491 PBk 11.77941 PR 102.77491 PBk 11.77941 PBk 11.77941

8 8 8 8 8 8 8 8 8

š š š š š š š š š

š š š š š š š š š

š š š š š š š š š

š š š š š š š š š

š š š š š š š š š

š š š š š š š š š

š

Spanish Haematite, var.

PBk 11.77941

8

š

š

š

š

š

š

8 8 8 8

š š š š

š š š š

š š š š

š š š š

š š š

š š š

š

š

š

š

Zinc-Iron Brown Dark Zinc-Iron Chrome Brown Light Haematite-Chrome Oxide, Spinel Pearl Luster IRIODIN® Silver Pearl Luster IRIODIN® PEARLETS® Silver, water-soluble Pearl Luster IRIODIN® PEARLETS® Silver, solvent-soluble Pearl Luster, Sterling Silver WR Pearl Luster Silver S

PG 17.77288

š š š š

š 8

š š

š š

š š

š š

š

Pearl Luster MIRA®, var.

8

š

š

š

š

š

Pearl Luster IRIODIN® Silver Glitter, fine Pearl Luster MIRA® Star Gloss

8

š

š

š

š

š

š

š

š

š

š

Pearl Luster IRIODIN®, var.

8

š

š

š

š

š

Pearl Luster PYRISMA®, var.

8

š

š

š

š

š

Pearl Luster XIRALLIC®, var.

8

š

š

š

š

š

11

102

š š

Pigment-suitability list

For further information and prices please visit us at www.kremerpigments.com

5016050400

Pearl Luster IRIODIN®, var.

50440 50500 50505 5051050640 50651 50652 50653 50654 5065550659 50701 50702 50703 50704 50705 50724 50800 50801 50802 50803 50804 50810 50811 50812 50820 50821 50822 50830 50831 50834 50841 50845 5092050947 50951 50952 52200 52350 52400 53000

Pearl Luster EFFECT® Colibri Iron Red Pearl Luster Lava Red Pearl Luster IRIODIN® Chroma Cobalt Blue Pearl Luster EFFECT® Cobalt Blue

š š

š š

š š

š š

š š

š

š

š

š

š

š

š

š

š

8

š

š

š

š

š

8

š

š

š

š

š

š

š

š

š

š

8

š

š

š

š

š

8

š

š

š

š

š

š

š

š

š

š

Pearl Luster IRIODIN®, var.

8

š

š

š

š

š

Pearl Luster COLORSTREAM® Magic Indian Summer Pearl Luster Magic Red Pearl Luster COLORSTREAM® Magic Royal Damask Pearl Luster Magic Purple Pearl Luster COLORSTREAM® Magic, var. Silver Glitter 0.10 x 0.10 mm Silver Glitter 0.20 x 0.20 mm Silver Glitter 0.20 x 0.40 mm Silver Glitter 0.40 x 0.40 mm Silver Glitter 0.60 x 0.60 mm Aluminum Glitter Black Gold Glitter 0.10 mm x 0.10 mm Gold Glitter 0.20 mm x 0.20 mm Gold Glitter 0.20 mm x 0.40 mm Gold Glitter 0.40 mm x 0.40 mm Gold Glitter 0.6 mm x 0.6 mm Holographic Silver Glitter, fine Holographic Silver Glitter, medium Holographic Silver Glitter, coarse Holographic Gold Glitter, fine Holographic Gold Glitter, medium Holographic Gold Glitter, coarse Mother of Pearl, powder Mother of Pearl, fine Mother of Pearl, medium Mother of Pearl, multi-colored, fine Mother of Pearl, multi-colored

8

š

š

š

š

š

8

š

š

š

š

š

8

š

š

š

š

š

8

š

š

š

š

š

8

š

š

š

š

š

š š š š š š š š š š š

š š š š š š š š š š š š š š š š š š š š š š

š š š š š š š š š š š š š š š š š š

š š

Paliochrome, var.

8

š

š

š

š š š

š š š

Acrylic Glass, Blue-Green Acrylic Glass, Green-Yellow Translucent Yellow Translucent Orange-Red Translucent Red medium Muscovite Mica

8 8 8 8 8

PY 42.77492 PR 101.77491 PR 101.77491 PW 20.77019

For further information and prices please visit us at www.kremerpigments.com

8 8 8 8

š

š š š

š š š š š š

11

Cement / Tadelakt Silicate binder / Waterglas

Lime / Fresco

Watercolor / Gouache

50140

50410

8

Pearl Luster IRIODIN®, var. Pearl Luster IRIODIN® PEARLETS® Solar Gold Pearl Luster Colibri IRIODIN® Sun-Gold

50124

Colorindex

Tempera

Pearl Luster Sun-Red Pearl Luster Sunshine-Gold

Acrylics

Pigment

50085 50086 5009050111

Oil

No.

Lightfastness

General Information

š š

š

š

š

š š š š š š

š š š š

š š š

š š š

Pigment-suitability list

11

103

11

104

8 8 8 8

š

š

š

š

š

š

š

š

š š š š š š

š š š š š š š š š š

š š š š š š š š š š

5-6 š

š

š

š

5-6 š

š

š

š

7-8 š

š

š

š

Fluorescent Pigments, var.

š

š

š

š

Phosphorescent Pigment Green Phosphorescent Pigment Blue Phosphorescent Pigment Green in Acrylic Dispersion Phosphorescent Pigment Red Chalk from Champagne Chalk from Ruegen Chalk from Bologna Chalk from Bologna, light Chalk from Belgium, powder Stone Chalk Natural White Earth Sarti Chalk, grayish Sarti Chalk, yellowish China Clay Kaolin, yellowish

š š

š š

š š š š š š š š š š š

š š š š š š š š š š š

55800

Studio Pigment Dark Green

55900 5600056450 56500 56550

Studio Pigment Violet

Pigment-suitability list

PR 12.12385 PR 122.73915 PB 15:3.74160 PY 74.11741, PG 7.74260 PG 7.74260, PY 74.11741 PV 23.51319

Cement / Tadelakt Silicate binder / Waterglas

š

š

š PW 18.77220 PW 18.77220

PW 18.77220

PW 19.77004 PW 19.77004

š

š

š š š š š š š š š š š š š

PO 5.12075 PR 112.12370

š š

š

8 PBk 16.77945 PM 2.77400 PM 2.77400 PY 74.11741 PY 83.22108

š š š š š š š š š š š

š š

8 š 8 8 4-5 š 5-7 š š 4-6 š 5-6 š š š š 6-7 š 6-7 š

Zinc Dust Copper Powder Bronze Powder Studio Pigment Yellow Studio Pigment Egg Yolk Yellow Studio Pigment Yellow Sun Gold Studio Pigment Orange Studio Pigment Light Red Studio Pigment Dark Red Studio Pigment Bordeaux Studio Pigment Pink Studio Pigment Sky Blue Studio Pigment Dark Blue Studio Pigment Light Green

56650 58000 58010 58100 58150 58158 58162 58180 58190 58191 58200 58250

PW 17.77169 PM 5.77860

Metal Powders, var.

55700

56600

PBk 10.77265 NW 1.75170 NW 1.75170

8 8 8 8 8 8 8 8

š š š š š š š š š š š š š š š š

Lime / Fresco

PW 20.77019 PW 20.77019 PW 20.77019 PW 20.77019 PW 20.77019 PW 20.77019 PW 20.77019 PW 20.77019 PW 20.77019

Watercolor / Gouache

Colorindex

Muscovite Mica Flakes, fine Muscovite Mica Flakes, standard Muskovite Mica Flakes, coarse Mica White Mica Fine Phlogopite Mica Amber Phlogopite Mica Silver-Gray Biotite, fine Biotite, coarse Vermiculite Mica Graphite Fish Silver Fish Silver Powder Bismuth Bismuth White Pewter Powder

Tempera

Pigment

53020 53025 53030 53050 53100 53185 53210 53220 53221 53240 53250 53500 53501 54000 54100 54500 5460054660 54700 54850 54881 55100 55125 55140 55200 55300 55400 55450 55470 55500 55600

Acrylics

No.

Oil

General Information

Lightfastness

11

š š š š š š š š š š š š

š š š š š š š š š š š š

š š

š š š š š š š

For further information and prices please visit us at www.kremerpigments.com

Acrylics

Tempera

PW 25.77231 PW 25.77231 PW 25.77231 PW 26.77718 PW 26.77718 PW 18.77220 PW 18.77220 PW 18.77220 PW 18.77220 PW 18.77220 PW 18.77220 PW 27.77811 PW 27.77811 PW 27.77811

š š š š š š š š š š š š š š

š š š š š š š š š š š š š š

š š š š š š š š š š š š š š

Quartz Powder, var.

PW 27.77811

š

š

Quartz Sand, light gray 0 - 0.3 mm

PW 27.77811

š

š

Quartz Sand, light gray, var.

PW 27.77811

š

š

58740 5875058760 58804 5880658808 58814 5881658818 58824 5882658828 58844 5884658848 5885058852 5897158978 5900159002 5910159102 5920159204 5930159304 5940159403

Quartzite Orange 0 - 0.3 mm

š

š

Quartzite Orange, var.

š

š

Cristobalite Powder, approx. 8 µ Cristobalite Powder, 0.01 - 0.1 mm

š š

š š

š

š

š š

š š š š š š š š š

š š

š š

š

š š š š š š š š š š š

š š š

š

š

š

š

š

š

š

š

š

š

š

š š

š š

š š

š

š

š

š š

š š

š š

š

š

š

š

š

š

Carborundum, var.

š

š

š

š

š

Granite Gray, 0 - 0.1 mm

š

š

š

š

š

š

Granite Gray, var.

š

š

š

š

Gneis Green, 0 - 0.3 mm

š

š

š

š

Gneis Green, var.

š

š

Blanc Fixe Calcite Dolomite, pure white, 10 µ

PW 21.77120 PW 18.77220 PW 18:1.77220:1, 77713:1

š

š

š

š

Granite Yellow, 0 - 0.3 mm

š

š

š

š

Granite Red, 0 - 0.1 mm

š

š

š

š

Granite Red, var.

š

š

š

š

š

š

š

š

š

š

š

Cristobalite, var.

š

š

š

š

š

š

š

š

Veronese White, var.

š

Mori Yellow, var.

š

š

š

Prugna Brownish Red, var.

š

š

š

Alpine Green, var.

š

š

š

Coral Pink, var.

š

š

š

For further information and prices please visit us at www.kremerpigments.com

š

š

š

Granite Yellow, var.

Travertine Sand, var.

š

š š š

š š š

Cristobalite Sand, var.

11

Cement / Tadelakt Silicate binder / Waterglas

Colorindex

Terra Alba Anhydrite Plaster Alabaster Plaster, Italian Talcum White, fine Talcum White, very fine Calcium Carbonate Marble Dust, extra white Marble Dust, extra Marble Dust, medium Marble Dust, coarse Marble Dust, very coarse Quartz Powder, medium Quartz Powder, coarse Quartz Powder, 0.04 - 0.15 mm

Lime / Fresco

Pigment

58300 58320 58340 58400 58420 58490 58500 58520 58540 58560 58580 58610 58620 58630 5864058660 58675 5867658678 58685 5868658688 58689 58690 5869258694 58700 58720

Watercolor / Gouache

No.

Oil

Lightfastness

General Information

Pigment-suitability list

11

105

Lime / Fresco

š

š

š

š

š

š

White Marble Dust Carrara, var.

š

š

š

San Ambrogio, brownish, var.

š

š

š

š š š š š š š š

š š š š š š š š

š

š

No.

Pigment

59501 59502 59503 59600 5960159654 59602 5961059615 5965159654 59800 59821 59822 59825 59830 59831 59832 59835 5985089852

Black Marble, 0 - 0.6 mm Black Marble, 0.7 - 1.2 mm Black Marble, 1.2 - 1.8 mm Carrara White Fine, 0 - 120 µ

š š š š

Carrara White, 0 - 0.6 mm Carrara White, 0 - 3 mm

Glass Beads Glass Powder in Beads Glass Powder in Beads, fine Glass Powder in Beads, very fine Glass Beads, coarser Glass Beads, fine Glass Beads, very fine Glass Beads, coarse

š š š š š š š

š š š š š š š š

Glass Flakes, var.

š

š

Tempera

š š š š

Acrylics

š š

š š š š

Colorindex

Oil

Watercolor / Gouache

Cement / Tadelakt Silicate binder / Waterglas

General Information

Lightfastness

11

š š

š

š

11

106

Pigment-suitability list

For further information and prices please visit us at www.kremerpigments.com

š š š

š

General Information

11

COURSES

Making your own paint can be fun and addictive. It is much easier than it seems. Similar to cookbooks you read today, one should not take these steps so literally – you can come up with new “flavors” if you experiment a little. The courses will provide historical processes and some modern ones as well. They are meant to provide you with a firm grasp on the materials, so you can then manipulate paint the way you want – for your own personal aesthetic. All classes will be approximately an hour and half long, with Q&A relevant to the topic. Seating is limited to 20 per class; first come first serve basis, no fee. Reservation is required. All classes will be held on the third Saturdays of the month at 2 pm. Please visit our website, call or email. You can find our Kremer Tech Blog on our website, follow updates, news, recipes, tips and conversation on Facebook, Twitter, Instagram and LinkedIn.

HOW TO FIND US

Our store is located in Manhattan on 247 West 29th Street between 7th and 8th Ave. Parking

Parking Garage across the street. Public parking by meter only. Nearest Transit Station:

28 St. (1) 34 St. - Penn Station (1, 2, 3) 34 St. - Penn Station (A, C, E) Herald Square 34th St. - (D, B, N, Q, R)

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For further information and prices please visit us at www.kremerpigments.com

Courses & How to find us

107

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General Information

TERMS OF TRADE & SHIPPING

The Kremer Pigments Inc. Name The Kremer Pigments Inc. Name Brand and the Kremer Pigments Inc. Logo are trademarks of Kremer Pigments Inc. and may not be used without permission.

Privacy Policy Kremer Pigments Inc. collects personal information from customers for the sole purpose of: fulfilling mail orders, sending requested product information and keeping interested parties apprised of product and pricing updates. Kremer Pigments Inc. does not share this information with any other parties.

Online Catalogue The online catalogue is provided for the benefit of Kremer Pigments Inc.’s customers. The published text, html scripting and pictures may not be reproduced, reused, or republished, without the permission of Kremer Pigments Inc..

Ordering Information Please refer to the ordering page in the online catalogue for further information. All orders may be placed verbally, by phone or they may be mailed, faxed or e-mailed to Kremer Pigments Inc.. Unless Purchase Order Numbers have been pre-approved, payment is expected to be accompanied by all orders.

Prices and tax Prices and availability of products are subject to change without prior notice. Due to differing updating schedules, prices published on the Kremer Pigments Inc. will always apply. Online-prices are listed in US dollars without shipping charges and sales tax. Sales Tax is not applicable to shipments going outside of New York City. Sales Tax will be charged on orders that are shipped from the same state as the shipping address of the order. New York City Sales Tax is 8.875%. For International customers, local customs duties will be charged by your local authorities.

Methods of payment Cash, Credit Card (Visa, Master Card, American Express and Discover), direct debit (in $US, drawn on a US account).

Special orders Not all products are regularly stocked, due to the fact that most of our products are imported from Europe, Kremer Pigments Inc. can only approximate an arrival date on ordered items. A deposit may be required. We can not guarantee or be held accountable for arrival dates on special order items.

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108

Terms of Trade & Shipping

For further information and prices please visit us at www.kremerpigments.com

General Information

11

Returns Items can be returned within 30 days of the invoice date if they are unopened and unused. No returns for books or gold & composition leaf. Please send all returns prepaid freight. Please contact us in case of a return or visit our website.

Shipping Rates Rates apply to all UPS ground shipments within the contiguous United States. * All orders under 10 kilograms (23lbs): $10 shipping - regardless of how much you order.

Orders weighing over 10 kg will be charged a reduced cost based on weight. We will contact you regarding the exact shipping cost. Lower rates for our customers in NY, NJ, PA and CT! If your actual shipping cost is more than our flat-rate, your fee will be reduced. * excludes Puerto Rico, Hawaii and Alaska. Additional restrictions apply; including fees for expedited service. For domestic customers, unless otherwise requested, all shipments will be sent by UPS Ground Service. Overnight, second day air or three day select services are available with UPS.

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For further information and prices please visit us at www.kremerpigments.com

Terms of Trade & Shipping

109

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General Information

Index /// A Abies Alba Resin 45 AC 35, acrylic emulsion 44 Accaroid, gum 32 Acematt® HK 125 44 Acronal®, acrylic 44 Acrylic Dispersions 43-44 Acrylic Glasses 25 Adhesive Resin, transparent 51 Aegirine 7 Agar Agar 43 Agate Burnishers & Brushes 81 Agate peach 28 AKA-Products 55 Alabaster 12 Alabaster Plaster 38 Alba Albula 11 Albumine, egg-white powder 42 Albuminous Glues 42 ALCHEMIST Products 48 Alchinol / Hydrol 54 Aldehyde Resin Dry, Laropal A 81 46 Algae Glue 43 Alizarine Carmine, dye 33 Alizarine Crimson 17 Alizarine pure, dye 33 Alizarine Violet 19 Alizarine Yellow, dye 33 Alkanet 32 Alkyd Resin AH 50 Alkyd Resin Oil 47 Alpine Green, marble 36 Aluminium-di/tri-stearate 39 Aluminum Glitter Black 24 Aluminum Hydroxide Fine 38 Aluminum Powder 26 Aluminum Tubes 75 Amazonite Hakusui-Matsu 28 Amber 45 Amber Colophony 45 Amber Varnish, ALCHEMIST 48 Amber Varnish, genuine 50 Amberg Yellow 13 Ammonium Carbonate 55 Ammonium Hydrogen Carbonate 55 Amytis® Washing and Cleaning Agent 54 Andeer Green 8 Angular Brush 70,73 Anhydrite Plaster 38 Aniline Black 20 Annatto Seeds 32 Antimony 12 Antimony Red 18 Aquazol® 43

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110

Index

Aragonite Arbocel® Archäocoll 2000 Arches Bütten Armicel Artist Inks Asphaltum Asphaltum Lacquer Assortments Atacamite Atramentum Attapulgite Azurite Azurite Gunjyou

12 38 51 67 38 59 21 50 29-30 7 12 39 9 28

/// B Badger Blender 71 Balsams & Waxes 45-46 Basalt, black 21 Bavarian Green Earth 7 Beechwood Tar 50 Beeswax 46 Benecel™ A4C 43 Bentonite 39 Benzoin 45 Berlin Blue 19 BEVA®Products 51-52 Bianco San Giovanni 12 Bideford Black 12 Binders, mediums 42 ff Biodocarb, fungicide 54 Biotite 25 Birch Leaves 33 Bismuth, Metal Powder 26 Bismuth-Vanadate Yellow 18 Bistre 12 Bitumen 50 Black Drawing Chalk 13 Black Earth, from Andalusia 12 Black Marble 36 Black Mirror 80 Black Oil, Claude Yvel 48 Black Tourmaline 29 Black, carbonic 12 Blacksmith Powder 26 Blanc Fixe 38 Blender 71-72 Blue 807 Dye 33 Blue Bice 9 Blue Verditer 9 Bluish Green Earth, Cyprus 8 Bohemian Green Earth 14 Bole, red 5,14 Bone Ash 38 Bone Black 20 Bone Folder 80 Bone Glue 42 Bookbinder Glue 42 Books 83 f Borax-Casein 42

Bottle Green, Cobalt 18 Bottles, Glass 75 Bottles, PE 75 Brass Lacquer 50 Brazilwood, extract 32 Brenn Polish 50 Brilliant Yellow 18 Brimisvellir Green 8 Bristol Yellow 18 Bronze Powder 26 Brown Earth, from Otranto 12 Brown Ochre, from Andalusia 12 Brown Ochre, German 15 Brown-Red Slate 12 Brushes 70 ff Buckthorn Berries 32 Buff Titanium 20 Burgundy Gray 12 Burgundy Ochre, Red 4 Burgundy Ochre, Yellow 6 Burgundy Resin 45 Burnt Green Earth 14 Burnt Iron Oxide Red, IWA Enogu® 29 Burnt Sienna 14 Burnt Umber 14 Button-Lac 45

/// C C à grain Cadmium Pigments, green Cadmium Pigments, orange Cadmium Pigments, red Cadmium Pigments, yellow Cajeput Oil Calcite Calcium Carbonate Calco Stuc 1, stucco mortar Calix Blanca NHL 3.5 Camphor Canada Balsam Canvas Canvas Pliers Caput Mortuum Caput Mortuum, synthetic Carbonic Black Carbopol® EZ 2 Carborundum Carmine Naccarat Carnauba Wax Carrara White, marble Casein Casein Binding Medium Cassel Brown Cassel Earth Casting Resin Cast-Iron Powder Castor Oil Castor Stand Oil Catalyzer for MBlue

For further information and prices please visit us at www.kremerpigments.com

67 19 16 16 17 48 36 36 39 39 54 46 67 79 15 15 12 43 40 5 46 36 42 42 15 15 51 26 47 47 51

General Information Catechu 32 Cavansite 10 Cedar Wood Oil 47 Celadonite 8 Cellulose Derivates & Glues 43 Cellulose Glue 43 Cellulose Thickener 43 Cement Black 21 Ceramic Glue 51 Cere-Stucco Soap 49 Chalk & Marble Fillers 36-37 Chalk from Belgium 12, 36 Chalk from Bologna 38 Chalk from Champagne 36 Chalk from Ruegen 36 Chalk, black 13 Chalk, drawing 63-64 Chamotte 39 Charcoal 21 Chemicals 55 Cherry Black 12 Cherry Gum 42 China Clay 37 Chiqueteur Brush 72 Chrome Oxide Green 18-19 Chromite 14 Chrysocolla 7 Cibacron® 33 Cinnabar 4 Cinnabar Shinsya 28 Cinquasia®Chestnut Brown 20 Cinquasia®Gold, red-gold 17 Cinquasia®Violet RT 201 D 19 Claude Yvel, Black Oil 48 Claw Oil 47 Cleaning & Wetting Agents 54 Clove Oil 47 Cobalt Blue 20 Cobalt Bottle Green 18 Cobalt Cerulean Blue 20 Cobalt Green 18 Cobalt Oxide Green Blue 18 Cobalt Violet 20 Cobalt Yellow 18 Cochenille 32 Colophony 45 Color Charts 84 Color Pastes, Kremer 59-60 Colored Glass Flakes 25 Conichalcite 7 Copaiba Balsam 45 Copal Varnish 50 Copal, Manila 45 Copper Blue 19 Copper Powder 26 Copper Resinate 8 Coral Pink, marble 36 Cork Powder 38 Cosmoloid H 80 46 Côte d’Azur Violet 10

Cotton Canvas CPT- Red CPT Scarlet Red Cremnitz White Cristobalite Crocoite Culminal®MHPC 20000 Cyclododecane

67 16 16 12 37 5 43 52

/// D Dammar 45 Dammar Varnish 49 Dark Burnt Sienna 14 Dark Ochre 13 Daylight Fluorescent Pigments 26 Defoamer 54 Dextrine 42 Diamond Powder 11 Diamond Powder, green-yellow 5 Dioptase Copper Silicate 7 Dioxazine Violet 19 Disperse Aid 44, 54 Dispersion, acrylic 43-44 Dispersion, Gilding 62 Dolomite 36 DPP- Red 16 Dragger, Flogger 72 Dragon’s Blood 32 Dralon Fibres 38 Drying Oils 47 Durolith®Bioclean L 44 Dusting Brush 71-72 Dyes & Vegetable Color Paints 32 ff Dyes, synthetic 33-34

11

/// F Fan Blender 72 Fast Green FCF 33 Fawn Ochre 13 Feldmann’s Egg Tempera 49 Files 79 Fillers & Building Materials 36 ff Fillers made of glass 38 Fine Colored Glass Pigments 27 Fir Cone Oil 47 Fish Glue 42 Fish Silver 25 Fixative, Pastel 49 Flat Wide Brush 73 Flatbrush 71 Flogger, Dragger 72 Florentine Green 8 Fluorescent Colorants 34 Fluorescent Pigments 26 Foam Dispenser 81 Foils 68 Folium Cloth Blue 11 Fra-Angelico Blue 10 Frangulae Cortex 33 Franklin Hide Glue 42 French Ochre, red 13 French Ochre, yellow 13 Fresco Brush 70-71 Fuchsin 33 Fuchsite 8 Fu-Nori 43 Furnace Black 20 Furniture Varnish Regalite® 49 Furniture Varnish Regalrez® 49 Fustic 32

/// G /// E Earth & Iron Oxide Pigments 13 ff EDTA 55 Egg Tempera, Felmann’s 49 Eggshell White 11 Egyptian Blue 9 Egyptian Green 6 Elba Brown Ochre 12 Elemi, Gum 45 English Red 14 Epidote 8 Epidote, IWA Enogu® 28 EPO-TEK® Resin 51 Epoxy Resins 51 Ercolano, Terra 14 Essential Oils 47-48 Ethomeen® 54 Ethylcellulose ET 200 43 Ethylenediamintetraacetic acid disodium salt 55 Eucalyptus Oil 48 Extract of Brazilwood 32 Extract of Fustic 32

For further information and prices please visit us at www.kremerpigments.com

Galena Gallnuts Gamboge Garnet Kicha Golden Garnet Powder Garnet Sakura-Nezumi Gelatine, technical Gel-Painting Medium, Claude Yvel Genuine Green Earths Gesso, Kremer Gilder Tip Gilding Brush Gilding Dispersion Gilding Materials Gilding Tools Glass Beads Glass Bottles Glass Fillers Glass Flakes, colored Glass Flakes, filler Glass Mullers Glass Pigments

12 32 32 27 17 27 42 48 14 62 71-72 71-72 62 62-63 63 38 75 38 25 38 80 27

Index

11

111

11

General Information Glass Powder 38 Glass Primer TSP 51 Glimmer 16, 25 Glitter Pigments 24 Glue Plates 42 Glue Pots 81 Glue, Cellulose 43 Glues, albuminous 42 Glycerol 55 Gneis 37 Gofun Hakurei Primer 62 Gold & Gilding Materials 62-63 Gold Glitter Pigments 24 Gold Leaves 62 Gold Ochre 6,12,13 Gold Powder 63 Goldpoints 62 Gouges 78-79 Graining Comb Set 72 Granite 37 Grape Black 12 Graphite Powder Black 21 Graphite Powder Silver 21 Graphite, in pieces 13 Grassello 39 Gray from Burgundy 12 Gray from Mels 12 Green Buckthorn Berries 32 Green Earth Pigments 7, 8, 14 Green Earth, Cyprus 8 Green Jasper 8 Green Quartz 8 Groom Stick® 54 Gubbio Red 16 Gum Accaroid 32 Gum Arabic 42 Gum Copal 45 Gum Elemi 45 Gum Picea Excelsa 45 Gums & Starches 42-43 Gussow Oil Painting Brush 70 Gypsum 38

/// H Haematite 15-16 Haematite, spanish 16 Haematite-Chrome Oxide, Spinel 21 HAN-Blue 9 HAN-Purple 9 Harddrying Oil 49 Heat Seal Adhesives 51 Heliogen Blue 19 Hemp Canvas 67 Henna 32 Heydalsvegur Yellow 6 Hide Glue 42 Historic Mortar 39 Holographic Glitter, Silver & Gold 25

11

112

Index

Hooks 77, 79 Hooks, wall 79 Horsetail, Scouring Rush 40 Hostaperm® Pink E 16 Hostaperm® Red 17 Hostaperm®Pink, transparent 16 Hostaphan Foil 68 HXTAL NYL-1, epoxid glue 51 Hydroxypropyl Cellulose 43

/// I Incra-Lac 54 Indanthren® Blue 19 Indian Yellow, imitation 17 Indigo, synth. 19 Indigo, various 11 Indigotin Blue, dye 33 Ingres 90 67 Injection 75 Injection & Special Mortars 39 Ink Diluter 59 Ink Solvent 59 Ink Stone 12 Inks, artist 59 Instacoll Gilding, Starter Set 62 Intensive Yellow 18 Irgazine® Orange DPP RA 16 Irgazine® Red DPP BO 16 Irgazine® Ruby DPP-TR 16 Irgazine® Scarlet DPP EK 16 Irgazine® Yellow 17, 18 Irish Moss 33 Iron Filings 26 Iron Glimmer 16 Iron Oxide Orange, IWA Enogu® 28 Iron Oxide Pigments 13, 15, 16 Iron Powder 26 Iron(II)Sulphate 55 Iseo Brown 12 Isoindole Yellow 17 Isoindolinon Yellow 18 Isoindolol Orange 17 Ital B 2 Leit 01, mortar 39 Ivory Black JU 20 Ivory Black, genuine 12 IWA Enogu® Glass Pigments 27 IWA Enogu® Mineral Pigments 27-29

/// J Jade Japanese Paper Japanese Wheat Glue Jarosite Jars, PVC Jasper, green Jasper, red Jasper, yellow JunFunori®

8 67 43 5, 6 75 8 4 27 43

/// K K 19, dispersion 44 K 360, dispersion 44 K 52, dispersion 44 K 9, dispersion 44 Kamala 32 Kaolin 37 Kermes Lice 32 King’s Yellow 5 Klucel®, Hydroxypropyl cellulose 43 Knife 75 Kremenit 51 Kremer Color Pastes 59-60 Kremer Fine Artist Ink 59 Kremer Gesso 62 Kremer Oil Colors 60-61 Kremer Oil Paint Medium 48 Kremer Retouching Colors, various 61-62 Kremer Water Color Medium 49 Kremer Watercolors 57-58 Kremer White 20

/// L La Maison du Pastel, Pastels Lac Dye Lacquer and Gesso Brush Lacquers LACSCAUX® Glues Lake, Reseda Lanolin DAB 9 Lapis Lazuli Laponite® RD Larch Turpentine Laropal® Resin LASCAUX® Silicone Paper LASCAUX® Textile Welding Powder LASCAUX®-Products Latex Milk Lavender Oil Lead Tin Yellow Lead White Ledan®, mortar Limasol, Silicate Binder Limes Linen Linen, Paper & Foils Liner Liner Brush Liner, Sword-Shaped Linseed Oil Linseed Oil Varnish Litharge, Massicot Lithium Waterglass Lithopone Lizard Stone Logwood Lycopodium

63-64 32 71 50 51 6 54 10 39 45 46 65 51 64-65 44 47 5 12 39 44 39-40 67 67-68 70-71 72 71 47 47 6 44 20 28 32 32

For further information and prices please visit us at www.kremerpigments.com

General Information /// M

/// N

Macrolex® Violet 33 Madder Lake 5 Madder Roots 32 Magnesium Oxide 40 Magnetite 16 Malachite Matsuba-Rokusyou 28 Malachite, synth. 19 Malachite, various 7 Mallow Blossom 33 Manganese Black 21 Manganese Brown 14 Manganese Gray 21 Manganese Violet 19 Manila Copal 45 Marabout Dusting Brush 72 Marble Dust 36 Marbles, fillers 36-37 Marlipal® 1618/25 54 Marmorino 40 Maroon 20 Marseille Soap 54 Massicot, Litharge 6 Mastic 45 Mastic Varnish 49 Mastic Varnish and Black Oil Set 48 Maya Blue 11 MBlue, Silicone Mold Material 51 Mediums 42 ff Menthol 52 Metal Powders 26 Metal Restoration 54 Metal Tools 79 Methocel A4M 43 Methyl Cellulose 43 Methyl-HydroxyPropylcellulose 43 Mica 25 Mica Graphite 25 Mica Plates, historic 25 Microwax 46 Milori Blue 19 Mineral Fillers 36 ff Minium 5 Mixtion LeFranc 62 Modelit 51 Mold Material, MBlue 51 Monte Amiata, Cinnabar 4 Mori Yellow 36 Moroccan Ochres 4-6 Mortars 39 Mortars & Pestles 80 Mottler 72 MS2A Resin 46 MS2-A-Varnish 49 Muccino 72 Muscovite Mica 25

Na-Carboxymethyl Cellulose 43 Nano F - Black 20 Naples Yellow 5 Natural Glues 42-43 Natural Organic Dyes 32-33 Natural Resins 45 Natural Siena, Monte Amiata 6 Nero Bernino 12 Nickel-Titanium Yellow 18 Nicosia Green 14 Nigrosin 33 Novacron® 33

/// O Oak Apples 32 Obsidian Black 12 Ochre, satin 13 Ochre, Taunus 5 Ochres, brown 12,15 Ochres, red 4, 5 Ochres, yellow 5-6, 13 Oil Colors, Kremer 60-61 Oil Paint Medium, Kremer 48 Oil Paint Medium, Scumble Glaze 48 Oil Painting Brushes 70 Oil Varnishes 49-50 Oilpainting Medium 48 Oils 47 ff Old Holland Classic Oil Colours 63 Olibanum 45 Olive Oil Soap 54 Onyx Black 12 Orange Madder 33 Orasol®-Colorants 33 Organic Dyes 32-33 Organic Pigments, synth. blue 19 Organic Pigments, synth. brown / black 20 Organic Pigments, synth. green 18-19 Organic Pigments, synth. orange- red 16-17 Organic Pigments, synth. yellow 17-18 Orotan 731 K 44 Orpiment 5 Orpiment, red 5 Osage 6 Owatrol Oil 48 Ox Gall 54 Ozokerite 46

/// P Packaging 75 Paint Brushes 70 ff Paint Glue, Na-Carboxymethyl Cellulose 43

For further information and prices please visit us at www.kremerpigments.com

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Paint Thinner for Archäocoll 2000 51 Painter’s Gold 62-63 Palette Knife 79 Paliochrome 25 Paliogen®Maroon 17, 20 Paliogen®Maroon 17, 20 Paliogen®Orange 17 Paliotol®Orange 17 Paliotol®Yellow 18 Paper & Sketch Books 67 Paper Stomp 80 Paraffin 46 Paraffin Oil 47 Paraloid™ 46 Parchment Glue 42 Pastel Fixative 49 Pastel Green, Victoria Green 18 Pastels, La Maison du Pastel 63-64 PE / PVC Materials 75 Peach Black 12 Pearl Luster, Pigments 21 ff Pearlescent Pigments 21 ff Pencil Clay 15 Pentagonite 10 Perilla Oil 47 Permabond 2011, Glue 51 Permanent Green 19 Permanent Red 16 Permanent Yellow 17 Peru Balsam 45 Pestles & Mortars 80 Petersburg Lacquer 50 Pewter Powder 26 Phenolic Resin Beads 38 Phlogopite Mica 25 Phosphorescent Pigments 26 Phthalo Blue 19 Phthalo Green 18 Picea Excelsa Gum 45 Picture Cleaner, Windsor & Newton 54 Picture Varnish, Regalite® 49 Picture Varnish, Regalrez® 49 Pine-Needle Oil 47 Pinkcolor 4 Pipe Grainer 72 Pit Lime 39 Plaster 38 Plaster Tools 77 Plastorit® 38 Plexigum® 46 Plexisol® 46 Plextol®, acrylic 44 PLM Injection Mortars 39 Ploss Blue 9 Polishing Oil for Shellac Finish 50 Polishing Paste, LeFranc® 63 11

Index

113

11

General Information Polishing Powders Polishing Wax, Renaissance Polyglykol Polypropylene Fibres Polyurethane Dispersion Polyvinyl Acetate Polyvinyl Alcohol Polyvinyl Butyral Pompeii Red Ponceau S extra Poppy Oil Poster Paint Brush Potash Potash Alum Potassium Carbonate Potassium Silicate 28/30° Powdered Stains Pozzuolana Red Earth Pozzuoli, Terra Praseodym Yellow Pre-Lim Surface Cleaner Preventol® ON extra Primal®, acrylic emulsion Primer for Grassello and Marmorino Primer, Glass Primer, Gofun Hakurei Priming Brush Propolis Propolis Soap Prugna, marble Prussian Blue LUX Pumice Powder Purple Red Purpurissum PVA Pyramid Yellow Pyranthrone Orange Pyrite Powder

40 46 43 38 44 46 43 46 14 33 47 70 55 55 55 44 33 39 14 18 54 54 44 40 54 62 71 46 50 36 19 40 16 11 43 18 17 12

/// Q Quartz & Granite Quartz Powder Quartz Sand Quartz, green Quartzite Quindo®Pink D Quindo®Red R6713

/// S 37 37 37 8 37 16 16

/// R Rabbit Skin Glue Rasps Rathania Roots Raw Sienna Raw Umber Ready-Made Colors Realgar Red Bole Red Dye, woodstain Red Earth Pigments

11

114

Index

Red Jasper 4 Red Lead, Minium 5 Red Ochres 4-5, 13-14 Regalite® Furniture Varnish 49 Regalite® Picture Varnish 49 Regalite® Resin 46 Regalrez® Furniture Varnish 49 Regalrez® Resin 46 Regalrez®Picture Varnish 49 Renaissance Metal De-Corroder 54 Renaissance Polishing Wax 46 Reseda Luteola 32 Reseda, Lake 6 Resin, Abies Alba 45 Resin, Burgundy 45 Resina Kamala 32 Resins, natural 45 Resins, synthetic 46 Retouching Brushes 70 Retouching Colors 61-62 Rhodamine B 33 Rhodochrosite 11 Rhodorsil RTV 3221 51 Rice Starch 42 Ripe Buckthorn Berries 32 Rock Crystal 11 Rohagit® SD 15 44 Roman Cement 39 Roman Lime 39 Roman Pit Lime 39 Rosemary Oil 47 Rosenoble Gold 62-63 Rosin Oil, Turpentine 50 Rosso Sartorius 14 Rotten Stone 40 Round Brush 73 Rubio Mineral Ground 50 Russian Green Earth 7

42 78-79 32 13 14 57 ff 5 5,14 33 13-14

Saffron 32 San Ambrogio, marble 36-37 Sandalwood 32 Sandarac 45 Sap Green 8 Sarti Chalk 37 Satin Ochre 13 Savonniere Rock, powder 36 Scagliola, plaster 38 Scalpel knife 75 Scarlet Red 16 Schmincke Casein Binder 42 Scotchlite™ 38 Scouring Rush, horsetail 40 Scrapers 77 Script Liner 70 Scumble Glaze 48 Scumbling Brush 71 Seed Lac 45

Selenite, Marienglas 12 Selenite, Terra Alba 38 Semi-Oil 49 Sepia 13 Sepiolite 37 Sgraffito Tools 79 Shellac 45 Shellac Ink Diluter 59 Shellac Ink Solvent 59 Shellac Inks 59 Shellac Polish 50 Shellac Powder 45 Shellac Wax 45 Shellsol®T 54 Shofu Jin Nori, Japanese Wheat Glue 43 Shungit 12 Siccative No. 203 54 Sienna, burnt 14 Sienna, Natural, Monta Amiata 6 Sienna, raw 13 Sieves 80 Silicade 8 44 Silicate Binder 44 Silicone Casting Materials 51 Silver Fir Needle Oil 47 Silver Fir Turpentine Balsam 45 Silver Glitter Pigments 24 Silver Leaves 62 Silverpoints 62 Sinter Lime Water 39 Sketch Books 67 Slate Green, from Mels 8 Slate, Brown-Red 12 Slate, Gray 15 Slate, Nero Bernino 12 Smalt 9 Snaefellsjoekull Red 4 Sodalite 10 Sodalite Shiun-Matsu 28 Softening Agent 46 Solvents 54 Solvent-soluble Binders 45-46 Spanish Haematite 16 Spanish Ochre, Red 4 Spatulas 76-77 Special Gum G 1650 46 Spike Lavender Oil 48 Spinel Pigments 21 Sponges 80 Squirrel Mop 72 Stand Oil, Castor 47 Stand Oil, Linseed Oil 47 Starch, Rice 42 Starch, Wheat 42 Starter Set Instacoll Gilding 62 Starter Set Water Gilding 62 Stearin 46 Steel Powder 26 Stick-Lac 45

For further information and prices please visit us at www.kremerpigments.com

General Information Stil de Grain 6 Stippler 72 Stirrers, wooden 80 Stone Chalk 15, 36 Stucco Mortar 39 Stucco Tools 75, 76 Studio Pigment Blue 20 Studio Pigment Bordeaux 17 Studio Pigment Green 19 Studio Pigment Orange 17 Studio Pigment Pink 17 Studio Pigment Red 17 Studio Pigment Violet 20 Studio Pigment Yellow 18 Studio Red 17 Studio Yellow 18 Sudan® Black 33 Sugar Dolomite 11 Supplies 81 Surfynol®61 54 Sword-Shaped Liner 71 Synthetic Dyes 33 Synthetic Resins, water-soluble 43 Syton® 44

/// T Talcum White 37 Tannin 33 Tartrazine 33 Taunus Ochre 5 Technical Gelatine, plates 42 Temperone 49 Terra Alba 38 Terra Ercolano 14 Terra Pozzuoli 14 Texanol® 54 Textile Adhesion Powder 52 Textile Welding Powder 51-52 Thickener for Dispersion 44 Thickeners 39 Thioindigo Red 19 Tide Bond, Franklin 42 Tiger Eye 29 Tin Foil 68 Tinovetin® JUN HC 54 Tinuvin® 54 Titanium Buff 20 Titanium Orange 18 Titanium White Rutile 20 Tixogel® VZ 39 Tolubalsam 46 Tools 75 ff Translucent Orange-Red 15 Translucent Red medium 15 Trass Powder 39 Travertine Sand 36 Travertine stucco mortar 39 Tripoli, Rotten Stone 40 Triton®X-100 54

Tubes Tung Oil Tung Oil Varnish Turmeric Turpentine Balsam, Silver Fir Turpentine Rosin Oil Turpentine, Larch Turpentine, Venetian Turpentines Turquoise Tween® 20 Tyrian Purple Tyrolean Dwarf Pine Oil Tyvek®

75 47 49 32 45 50 45 45 45 10 54 11 47 68

/// U Ultramarine Ash Ultramarine Blue Ultramarine Red Ultramarine Violet Umbers Universal Brush Uranine

10 19 17 19 13-14 71 33

/// V Vagone Green Earth, enhanced 14 Van Dyck Brown 15 Varnish Brushes 71 Varnish, Violins 50 Varnishes 48 ff Vaseline Oil 47 Vegetable Color Paints 32 f Venetian Red 14 Venetian Turpentine 45 Verdigris, synthetic 8 Vermiculite 25 Vermilion 5 Verona Green Earth 7 Verona Green Earth, enhanced 14 Verona Green Earth, imitation 14 Veronese White 36 Vesuvianite 10 Victoria Green, Pastel Green 18 Vienna Lime 40 Vine Black 20 Violin Makers, Products 50 Violin Varnish 50 Viridian Green 19 Vivianite 10 Volcano Ash 38 Volkonskoite 7 Vulpex Liquid Soap 54

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Walnut Oil 47 Water Color Medium, Kremer 49 Water Gilding, Starter Set 62 Water, demineralized 55 Watercolor Binders 42-43 Watercolor Boxes, empty 58 Watercolor Brushes 70 Watercolor Pans, empty 58 Water-dilutable Binders 42 ff Waterglass 44 Wax Dye 33 Wax-Paint Medium 48 Wax-Translucent Wall Paint Medium 48 Wenzhou, Japanese Paper 67 Wetting Agent PM 54 Wheat Glue, Japanese 43 Wheat Starch Powder 42 White Chalk, from Belgium 12 White Earth, Natural 36 White Marble Dust, Carrara 36 White Oil 47 Wild Saffron 32 Winsor & Newton, Picture Cleaner 54 Wood Stains 15, 33 Wooden Boxes, empty 75 Wooden Stirrers 80 Woodstain, Red Dye 33 Woodstain, Yellow Dye 33 Woody Paste 51

/// X Xanthan XSL-Pigments

42 26

/// Y Yellow Dye, woodstain Yellow Earth Pigments Yellow Jasper Yellow Moroccan Ochre Yellow Ochre Yellow Wood Yellow Zircon

33 13 27 6 5-6, 13 32 18

/// Z Zapon Lacquer Zinc Dust Zinc Sulphide Zinc White Zinc-Iron Brown Zinc-Iron Chrome Brown Zirconium Cerulean Blue Zirconium Red

50 26 20 20 21 21 19 17

/// W Wall Hooks Wall Paint Binder Wall Paint Medium, Wax-Translucent Walnut Hulls

For further information and prices please visit us at www.kremerpigments.com

79 48 48 32

11

Index

115

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General Information

HAZARD WARNINGS / ACMI

GENERAL PROCEDURES FOR ART MATERIALS AND HAZARDOUS SUBSTANCES š š š

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