Schmincke Soft Pastel - Cold Green 1 080B

Pigment Information

This color contains the following pigments:

PBk11-Mars Black

PG17-Chromium Oxide Green

PB29-Ultramarine [Blue]

PG19-Cobalt Green

Pigment Name

PBk11-Mars Black

Pigment Type

earth

Chemical Name

iron oxides

Chemical Formula

FeO or Fe2O3

Properties

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

Permanence

Mars Black is very lightfast with excellent permanence.

History

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

Pigment Name

PG17-Chromium Oxide Green

Pigment Type

inorganic

Chemical Name

chromium oxide

Chemical Formula

Cr2O3

Properties

Chromium Oxide Green is a dull, dense, willow or pale green color that is completely opaque. It has an average drying time and a low tinting strength. It is fairly flexible in oil form and is suitable for all purposes and mediums. This pigment is less versatile in mixtures than Viridian and Phthalocyanine Green, but mixes well with other colors without overpowering them.

Permanence

Chromium Oxide Green has excellent permanence, even at high temperatures.

Pigment Name

PB29-Ultramarine [Blue]

Pigment Type

inorganic

Chemical Name

complex silicate of sodium and aluminum with sulfur

Chemical Formula

Na8-10Al6Si6O24S2-4 or Na6-8Al6Si6O24S2-4

Properties

Ultramarine is the standard warm blue, a brilliant blue pigment that has the most purple and least green in its undertone. It has a moderate to high tinting strength and a beautiful transparency. Synthetic Ultramarine is not as vivid a blue as natural Ultramarine. Ultramarine dries slowly in oil and tends to produce clean, though granular, washes in watercolor. French Ultramarine mixes well with Alizarin colors in oil and watercolor form to create a range of purples and violets. It can dull when mixed with white in acrylic form, but mixes well with other colors. The shade varies based on manufacturer. Considered a great color for glazes, it is not suitable for frescoing.

Permanence

Ultramarine has excellent permanence, although synthetic Ultramarine is not as permanent as natural Ultramarine. It may discolor if exposed to acid because of its sulfuric content.

History

The name for this pigment comes from the Middle Latin ultra, meaning beyond, and mare, meaning sea, because it was imported from Asia to Europe by sea. It is a prominent component of lapis lazuli and was used on Asian temples starting in the 6th century. It was one of the most expensive pigments in 16th century Europe, worth twice its weight in gold, and so was used sparingly and when commissions were larger. Ultramarine is currently imitated by a process invented in France in 1826 by Jean Baptiste Guimet, making blue affordable to artists and extending the range of colors on their palettes.

Pigment Name

PG19-Cobalt Green

Chemical Name

cobalt(II)-oxide-zinc(II)-oxide

Chemical Formula

CoO • ZnO

Properties

Cobalt Green is a pure, fairly opaque, moderately bright bluish-green with a low tinting strength and limited hiding power. It makes valuable grays and muted, minimalistic greens when mixed with other pigments. However, it can brown at full strength and fade when mixed with lead based whites. It is quick drying in oil form and is not widely used because its hue can easily be matched by mixing green and blue pigments with superior painting properties. It is currently not in wide use.

Permanence

Cobalt Green is completely lightfast. Its permanence is excellent, so it can be used in all painting techniques.

History

Cobalt comes from the Middle High German word kobolt, an underground goblin, because miners thought cobalt harmed silver ores. In 1780, the Swedish chemist Sven Rinmann developed a process for making a compound of cobalt and zinc (zinc oxide). It was introduced as a pigment in 1835, but poor tinting strength and high cost kept it in limited use throughout the next centuries. It gained some popularity among 19th century landscape painters.