Ultramarine Blue (15ml Watercolours)

£7.95

Violet-Blue, Transparent

Ultramarine Blue is a transparent violet-blue. As we do not dilute our colours with filler the washes are particularly transparent. Gives very bright violets with our Quinacridone Violet, dull semi opaque greens with Cadmium Yellow Light and reasonably transparent mid greens with our Hansa Yellow. It will not fade on exposure.

 

 

 

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SKU: PW UBWC16 123725 Category: Tag:

Description

Ultramarine Blue, PB29 is a superb pigment, lightfast, transparent and with a useful range of values. An invaluable violet-blue. Manufactured since 1830, it has more than proven its worth. Rated ASTM 1 in all of our media, it is absolutely lightfast.

  • Possesses a high tinting strength with moderate covering power.
  • Valued for its transparency, giving very clear washes.
  • In hue, Ultramarine Blue leans towards violet. It is in fact the only violet blue really worth considering. Fast to alkali but very easily damaged by even weak acids. Non-metallic preservatives.

 

Additional information

Weight .035 kg
Dimensions 9 × 2 × 2 cm
Type of Paint

Artists Quality Watercolour Paint
Colour Type

Violet-Blue, Transparent
Common Name

Ultramarine Blue
Colour Index Name

PB29 (Pigment Blue 29)
Colour Index Number

77007
Chemical Class

Complex Silicate of Sodium and Aluminium with Sulpur
ASTM rating

Rated ASTM 1 in all of our media, it is absolutely lightfast.
Preservatives

Non-metallic
Tube Size

16ml

Our Paints

As any reader of my books will know, I suggest a limited palette of lightfast colors which will give the maximum possible range of mixes. I do not base any of my suggestions on romantic ideas from the past but solely on the qualities of the pigment used. We now have at our disposal the finest colorants of all time. Unfortunately, there are also many inferior or poorly labeled substances on the market.
As many artists have experienced difficulty in identifying suitable colors, which are also lightfast, I have introduced our own paints. They are intended only for those with a clear understanding of the thinking that is behind them. In other words, they are for use within the School by the discerning colorist requiring the best available materials.
I wanted a limited range of high quality, lightfast colors which would be compatible with each other and give the widest possible range of mixes. The paints are specially produced for the School in small, controlled batches. They are made to my specification and contain only high quality, lightfast, genuine pigments. Readers of my book ‘Blue and Yellow Don’t Make Green’ will have found that six colors are enough for a vast range of mixes. To these six – two reds, two yellows and two blues – I have added Phthalocyanine Green as a clear mid-green; Burnt Sienna to give a neutral transparent orange; Yellow Ochre as a neutral orange-yellow; Phthalocyanine Blue to provide a transparent green-blue; Raw Sienna for a semi-transparent neutral orange-yellow; and White.
I also wanted the same, carefully selected pigments to be used in each media. The same pure Cadmium Red (for example) to be used in the watercolors, oils, acrylics and artists gouache. Never before done.
The more we know about our colors the more versatile they become. I have examined and tested virtually every modern paint in the world as part of my research and genuinely feel that we offer the finest possible range of colors. There are only twelve colors in total. As these twelve can be mixed to give several million other hues, I feel they are more than enough..

Our Labels

The colour name on our labels might seem a little unusual at first. To label a colour as, say, ‘Cerulean Blue’ does not tell us very much. We label the same colour ‘GREEN-BLUE OPAQUE’, followed by the traditional name.

Also included is a colour mixing guide based on our palette. At a glance the user knows (in the case above), that a blue has been selected which can give bright greens and dull violets and will cover previous work well, being opaque..

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