Sennelier Watercolour S3 French Ochre (565) 21 ml

Sennelier Watercolour S3 French Ochre (565)

French Ochre (565) This Hansa yellow is a transparent yellow. It has excellent brightness and tinting strength, and its drying time ranges from average to slow. Nickel Azo Yellow is a transparent, moderately staining yellow pigment with high tinting strength. It is considered a good colour match in botanical and landscape painting for natural gamboge (NY24), a historic yellow pigment with fair to poor lightfastness. Raw Umber is a cool, transparent brown ranging from yellowish brown to greenish brown. It has surprisingly good tinting strength and a high level of opacity and mixes well with greens. Van Dyke Brown properties: n/a

PY3—Hansa Yellow 10G is a transparent yellow. It has excellent brightness and tinting strength, and its drying time ranges from average to slow. Hansa Yellow makes more intense tints and cleaner secondaries than Cadmium Yellows, especially when mixed with other organic or modern colours like Phthalo Blue and Green. Because they are more transparent, they have great value as glazing colours.

Permanence: This Hansa Yellow has fair to good permanence, particularly in the lighter shades.

Toxicity: Hansa Yellow has no significant acute hazards, though its chronic hazards have not been well studied.

History: Hansa Yellows were first made in Germany just before WW1 from a series of synthetic dyestuffs called Pigment Yellow. They were intended to be a synthetic replacement for Cadmium Yellow.

Alternate Names: Arylamide Yellow, Arylide, Arylide Yellow, Azo, Brilliant Yellow, Monoazo, Monolite Yellow, Permanent Yellow.

PY150—Nickel Azo Yellow is a transparent, moderately staining yellow pigment with high tinting strength. It is considered a good colour match in botanical and landscape painting for natural gamboge (NY24), a historic yellow pigment with fair to poor lightfastness. Chemical Name: nickel azomethine yellow. Chemical Name: nickel azomethine yellow.

Permanence: Nickel azomethine yellow has excellent lightfastness.

Toxicity: Nickel azo yellow pigment is mildly toxic and often labelled hazardous. Avoid respiratory and skin exposure to pigment dust. It should be disposed of properly with other hazardous wastes, not washed down the sink. However, the contribution of artist pigments to levels of nickel metal complexes in the environment is almost insignificant. Nickel is often present in the environment naturally. Nickel is used heavily in steelmaking and many industrial processes and products.

History: Nickel azomethine yellow has been developed as an artist's pigment because it is closely matched to gamboge, a historic yellow.

Alternate Names: Gamboge Hue, New Gamboge.

PBr7—Raw Umber is a cool, transparent brown ranging from yellowish brown to greenish brown. It has surprisingly good tinting strength and a high opacity level that mixes well with greens and quickly dries in oil form. It has excellent colour properties and can create a variety of subtle, clear tints when combined with white. It grays when mixed with blue and white. Raw Umber can tend towards chalkiness in dark mixes in oil form. Chemical Name: hydrated iron oxide.

Permanence: Raw Umber has excellent permanence.

Toxicity: Raw Umber itself is considered non-toxic. If contaminated by manganese compounds, it may be highly toxic if inhaled and moderately toxic if ingested.

History: This pigment comes from the Latin word umbra, meaning shadow or shade. Its full name is terra di ombra, meaning earth of shadow/shade, due to its original extraction from Umbria, Italy. It has been used as a pigment since prehistoric times. Currently, the finest umber comes from Cyprus.

Alternate Names: Chestnut Brown, Euchrome, Jacaranda Brown, Mars Brown, Raw Brown, Sicilian Brown. Cyprus Umber, Turkey Brown, and Turkey Umber are the best quality umbers.

PBr23—Van Dyke Brown - Properties: n/a

History: This organic pigment has been called Van Dyke Brown because it is similar to the brown used by Flemish painter Anthony van Dyck, although it is a modern synthetic pigment. In addition to its use in art, it has been used as a pigment for colouring plastics and synthetic fibres.

Alternate Names: Cromophtal Brown, Microlith Brown