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FAQ

  • Foires aux questions.

    • Généralités

    • Pigments / Colorants / Pâtes de Couleur

    • Médiums, Liants & Colles

    • Usinage

    • Nettoyage / Conservation

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      Qui est un utilisateur profesionel?

      Les utilisateurs professionel doivent lire et comprendre la fiche de sécurité et l´avertissement de danger avant d´ussage.

      Informations complémentaires:

      Recommandations de securité

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      Teintée avec les pigments?

      Ce n´ est pas possible de teindre des matières textiles avec les pigments. Parce que les pigments sont des petits morceaux qui ne se dissolvent pas. Pour cela, il faut utiliser les colorants, tels que le colorant cibacron ou des colorants naturels, tels que l´indgo, la garance ou le reseda. On peut cependant faire un colour avec les pigments et un liant pour peindre ou imprimer sur tissu.

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      Les problèmes en dissolvant du gomme-laque?

      Veuillez vérifier si vous avez utiliser le solvant approprié. Nous suggérons d´utiliser seulment l´alcool éthylique sans eau (99 %, #70800). L´isopropanol (#70820) n´est pas aussi bonne que l´alcool éthylique. La gomme-laque se dissout en partie dans l´alcohol aqueux. La solution sera trouble.
      La gomme-laque doit emplacement sec et frais. Autrement elle agglutine ou elle ne se dilue pas. Quelque sort de gomme-laque peuvent être insolubles quand superposés.

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      Le pigment ne se laisse pas mouiller?

      Certains pigment, en particulier les pigments synthétiques-organiques ou des couleurs fluorescentes, l´extrait de Cassel, ou le Bleu Milori sont difficile à mouiller avec de l´eau.
      En essayant des tramper ou des frotter ils flottent sur la surface comme de la graisse. À l´aide d´alcool (alcool éthylique #70800, isopropanol #70820) ou d´agents mouillants (p.ex. orotan #731 K # 78032) nous diminuons la tension superficielle et facilitons le traitement du pigment.

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      Pigment ou colorant?

      La confusion de pigments et colorants est très répondue. Les Pigments sont insoluble dans l´eau ou dans des solvants. Ils présentent des caractéristiques semblables que du sable fin coloré. Les colorants se diluent dans les solvants ou les liants comme du sucre dans le café. La distribution fine des pigments dans un liquide donne l´impression d´une turbidité. Des solutions avec un colorant sont transparentes. Vue que les colorants sont moins grand que les pigments, ils resistent moin bien à la lumière.

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      Des Pigments microgranulés

      La microgranulation de certains pigments particulièrement fins comme les pigments XSL, l´Orange Irgazine® et le Rouge Irgazine® evite la formation de poussière. Prills (granulés) sont des perles miniscules - semblable au poudre à laver. Les pigments XSL se dissolvent en entrant en contact avec de l´eau. Autres pigments ont besoin du râpage pour provoquer la rupture des granulés (p. ex. Jaune BRISTOL (#43101, #43111, #43131), Jaune bismuth (#43910, #43915, #43918, #43920) ou le noir d´os (morceaux d´os).

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      Natural and healthy?

      It is a common error to believe that everything which is of natural origin is healthy and that natural pigments can be used without any safety precautions. Unfortunately this is not the case. There are natural pigments which are very toxic, such as orpigment or galena. Even earth pigments may contain hazardous minerals like fine quartz or manganese oxide. Even pigments made from vegetable dyes may be hazardous and are not suitable for human consumption! Natural or synthetic origin do not determine a pigment´s toxicity. The decisive factors are the basic material, the degree of fineness and ? most importantly ? the handling and application area of a pigment.

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      Nettoyage de pinceau

      Après l´utilisation de liants ou peintures à l´huile nous conseillons de nettoyer des pinceaux avec du savon de Marseille en cube (#78045). Ce savon à base d´olives a un effet regraissant et nourrissant pour les cheveux naturels et les poils.
      Il est fortement conseillé de laver des pinceau immediatement après l´utilisation d´une dispersion acrylique. Il est possible de ramollir la couleur acrylique seche à l´aide du méthoxypropanol PM (#70920). Des utils qui servent à traiter du vernis de résines synthétiques ou naturelles contenant des solvants ne peut être nettoyé qu à l´aide d un solvant approprié.

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      Wooden Kitchen Countertops and Wooden Kitchen Utensils

      Hard-Drying Oil and Tung Oil Varnish or siccativated oils are generally unsuitable for the use on wooden kitchen countertops and wooden kitchen utensils. Countertop surfaces can chip and particles of the lacquer can end up in food. Linseed oil is not neutral in taste. Wooden countertops, cutting boards, etc. are best be treated with Walnut Oil (#73500) .

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      Données de pourcentage dans recettes

      Les données de pourcentage dans des recettes reflèttent le poids et rarement le volume. Le poids d une solution de Paraloid B 72 indiqué avec 15% se contitue de 15 de Paraloid et 85 de solvant.

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      Lightfastness

      Between 1910 and 1923/24 Hoechst developed a method to measure lightfastness by comparing the dyes with a indigo dyed standard. This method was originally developed for textiles. Lightfastness tests by comparison with the so-called wool standard are international practice today. This wool standard shows values from 1 (bad) to 8 (very good). The maximum value of 8 corresponds to the lightfastness of Indigo, therefore even if a substance is much more lightfast than Indigo it still has a lightfastness of 8 .

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      Nettoyage de mortiers, pierres à brayer et molettes

      Nous nettoyons nos propres mortiers, pierres à brayer et molettes soit avec de la crème à récurer ou avec un peu de poudre de marbre et de l´eau. Pour les taches tenaces (pigments organiques, Bleu Milori) le produit le plus efficace est le savon de Marseille et un tampon à récurer.

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      Removing Stains from Clothes

      Oil paints are best removed from garments by immediately removing the paint with a dry cloth, then washing it with water and soap - Olive Oil Soap (#78045, #78046, #78050), gall soap, Amytis (#78053); if possible wash in a washing machine as soon as possible. Commercially available stain removers can discolor some fabrics and textiles.
      Dried acrylic paints can be softened or dissolved with Methoxypropanol PM (#70920), but bear in mind that Methoxypropanol PM can also dissolve the dye of the fabric and/or cause another stain.

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      Est-ce qu´on peut manger Kremer Pigmente l´huile de noix ou l´huile de lin?

      Les produits de Kremer Pigmente sont impropre à la consommation! Non plus l´huile de noix ou l´huile de lin!

      Informations complémentaires:

      Recommandations de securité

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      La colle chaud / la colle animale

      La colle animale, la colle de peau, la colle de lapin, la gélatine et la colle de poisson sont des colles chaud. Celles-ci faut d abord gonfler dans l´eau (comme les oursons en gomme gelifiées dans l´eau) et ensuite réchauffer à l´eau. Il faut que la température n´est dépasse 60 degrés. Quand on bouilli la colle, elle perd son élasticité et la capacité de liaison. La colle devient gélatineux dur en refroidissant. En chauffant la colle se liquéfie nouvellement.
      La durabilité du colle peut être prolongée par être conservé au réfrigérateur. La combinaison avec l´eau bouillie ou l´adjonction de 0,5 % conservateur Biodocarb (#78744) peut amender la durabilité.
      Peinture murale avec la colle chaud reste en permanence gonflable à l´eau. Avant faire un nouveau revêtement on doit laver la peinture.

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      Kremer Pigmente pour les savons et les produits cosmétiques

      Notre produits sont prévu pour les restaurateurs, les artistes ou les artisans.
      Kremer Pigmente ne fait pas les produits pour des applications cosmétiques.
      Nous n avons pas les produits aux normes cosmétique. En plus quelques produits peuvent déclencher des allergies on utilise sur la peau.

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      Mettre les couleurs aquarelles dans les boîtes

      Nous proposons les boîtes aquarelles vide pour faire sa propre couleur. Pour remplir les boîtes aquarelles vide on besoin a 10ml seringue sans canule (pharmacie ou laboratoirres). La couleur devrait liquide comme cela on peut séparément facile dans une seringue. Ensuite on peut remplir les boîtes avec la seringue. On doit faire les couche pellicule pour assurer un temps de séchage suffisant.
      Quand la couleur d´aquarelle craquer pendant le temps de séchage (trop peu liant) ou ne séchage pas (trop-perçu liant) on peut modifier la recette.

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      How to get Oil Paint into a tube?

      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 self-made 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.

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      Fluorescent and Phosphorescent Colors

      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, #56500 - #56650.

      Fluorescent pigments or dyes start to glow when exposed to ultraviolet light. These include the Daylight Fluorescent Pigments, #56000 - #56450, the Fluorescent Colors, #94700 - #94739), the inorganic Fluorescent Pigments (not available any more) and also the Phosphorescent Pigments, #56500 - #56650 (phosphorescent and fluorescent).

      A transparent binding medium is essential for an ideal behaviour.
      Please take into account that UV-absorbers in your lacquer can reduce the fluorescent behaviour.

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      Storing Pigments

      Provided that pigments are kept dry and in a closed container they have no expiration date. If pigments become wet, they may agglomerate and will have to be ground before use.
      Most of our pigments are supplied in 100g or 1 kg plastic bags. We offer PVC jars, glass bottles, polyethylene and metal buckets for storage containers.

      We do pack pigments in jars (extra charge) on request .

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      Color Pastes

      Color Pastes are pigments dispersed in water.
      Some pigments, e. g. synthetic organic pigments, are difficult to grind with water. By grinding the pigment in a ball mill we can produce a much finer dispersion than by grinding the pigments by hand.
      Using a Color Paste is easier, and the formation of dust is avoided.

      The jars should always be well-closed in order to avoid the drying of the Color Paste. Color Pastes can only be used in water soluble binders; they are not suitable for solvent-based binders, oils or resins!

      Our Color Pastes are sold by weight. The solid content (pigment content) is specified in the catalog. The Color Paste Bismuth-Vanadate Yellow (#27160) contains an extremely heavy pigment, which settles during storage and has to be stirred before use .

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      Spontaneous Combustion of Linseed oil and other Drying Oils

      Drying oils dry by reaction with oxygen. If you absorb linseed oil with a cloth or paper, the surface is enlarged greatly. This will speed up the drying process, which leads to a heat build-up and at the worst to spontaneous combustion ! Therefore it is important to spread the cloth or paper soaked with linseed oil and let it dry in a safe place prior to disposal.
      If you want to reuse the oil-soaked rags, etc. they have to be stored in closed metal containers.
      Please bear in mind that spontaneous combustion is the main cause of fires in lacquer and paint factories, therefore do not underestimate the danger.

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      How Much Binder do I need?

      Each pigment needs a different amount of binder. In oil-based binders there can be differences up to 300%, depending on the total particle surface of the pigment.
      For example: Blanc Fix needs a very small amount of oil while Terra di Siena and Furnace Black need a lot of oil .

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      Acrylic paint and the hair dryer

      Any kind of paint will need a certain time to dry. Most paints will not dry at very low temperatures, but even too high temperatures can have effect on film formation. The drying time of acrylic paints depends on the type of dispersion, layer thickness and climatic conditions. A 1 mm thick paint layer may easily need a whole week until it is dried through, thicker paint layers will need even longer. Therefore, many artists nowadays use a hair dryer to accelerate drying. Warm, dry air will accelerate the drying process, but it is not advisable. The heat and fast drying will cause acrylic monomers, solvents and other additives to evaporate from the paint. This can cause the paint film to harden, get brittle and enhance yellowing. Exposure to these vapors can cause serious health damage, therefore we advise against the use of hair dryers or other heating equipment on acrylic paints!

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      How Much is 100 g Pigment?

      Kremer Pigmente sells pigments by weight, usually in bags of 100g and 1kg. Some products are even sold in smaller quantities.

      We are frequently asked: « 100 grams, how much is this?» 100g simply are 100g, but each pigment has a different volume per weight. 100g of Furnace Black (#47250) will have 5 times the volume of 100g Terra di Siena. Therefore 100g of Furnace Black is not packaged in 100g bags, but in 1kg bags.

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      Pets and Paints

      Some pets just cannot resist to eat egg tempera or other paints. Please try to keep your cat or dog away from paints and pigments. Even if the paint is non toxic for humans, some substances may be harmful, especially for cats .

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      Safety at Work

      Please be careful when handling binders and pigments. Do not eat, drink or smoke at work.

      Painting materials and food do not belong onto the same table and not into the same refrigerator; solvents should not be used in living rooms. You should neither put a brush in your mouth, nor touch the canvas with greasy fingers. Always wash your hands before eating.

      Boiled water and clean utensils help to improve the shelf life of your paints.
      Dust formation should be avoided, even with non-toxic pigments. If necessary use a respirator or dust mask.

      Particular caution is necessary when using needle-like, fibrous or toxic pigments.

      The exposure to large quantities of solvent can cause nausea, headache, and drowsiness.

      Hazard identification and safety advice on the product labels are abbreviated. Detailed information, tips on safety, handling and storage for each product can be found in the info sheets and material safety data sheets on our website .

      Informations complémentaires:

      Recommandations de securité

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      Pigment Suitability

      Not every pigment is suitable for every application.
      For example, Green Earth pigments are perfect for oil paints, for wall paints with glue, chalk or casein, but in acrylic dispersions or in silicates they will form lumps, coagulate or solidify.
      Ultramarine Blue is very lightfast, non-toxic and stable in most techniques, but outdoors it will be destroyed by acid rain.
      Synthetic organic pigments provide brilliant colors for many techniques, in mineral binders, however, they might be washed out by rain.
      Cadmium pigments are prohibited for construction or industrial purposes. They produce toxic fumes if burned.

      Please find a suitability list on our page Product information .

      Informations complémentaires:

      Information sur le produit

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      Pigment Color

      The color of the pigments shown on your screen may differ from the real color, depending on screen settings, on light conditions etc. It is also extremely difficult to print authentic colors. Therefore we have decided to offer hand-painted color charts rather than printed charts.

      The pigment color will also change in different binders. For example, most Green Earths make a very dark green oil color, while they remain relatively light in glue or watercolor.

      The hue of a pigment is further influenced by light. This light effect is called metamerism. It is particularly distinctive in blue, green and purple pigments. The mixing of paints containing highly metameric pigments can be very difficult.

      RAL or NCS color systems provide a good orientation, but give no information as to which pigments are present in these mixtures. Therefore we cannot assign and determine pigments to RAL colors .

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      Paint samples

      It is not easy to choose the appropriate pigment from a digital picture on a computer screen. If you are looking for a specific colour, it may be helpful to use RAL or NCS colour charts. We can compare the RAL or NCS-codes with our assortment. If you wish, you can also send us paintouts or small samples of the desired pigment. We will then recommend the closest match from our range. Please note that we do not have the possibility to conduct material analysis.
      In case you decide to send us a sample, please wrap such samples, especially pigments, thoroughly, for example in a ziploc bag. Folded paper or paper envelopes are not an appropriate packaging for fine powders! If your letter is unreadable because the pigment was not wrapped properly, we will not be able to process your request and will have to dispose of it.

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      Drying Oils

      Drying oils such as Linseed Oil, Walnut oil and Poppy Oil dry by oxidation, i.e. absorption of oxygen from the air. This process is slow and can last days, weeks, months or even take years, depending on the type of oil, additives, dilution, film thickness and temperature.
      The drying process is comparable with the cooling of freshly cooked pudding. A skin covers the surface while the pudding resp. the paint is still soft underneath. Thick paint may cause the skin to crack or wrinkle or may make the paint underneath to slide on vertical surfaces.

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      Tung oil for wood surfaces

      Very durable, fast drying oil laquers can be produced by boiling tung oil with linseed oil. For this purpose we offer tung oil. Tung oil accelerates drying of linseed oil. The addition of mor ethan 10% of tung oil leads to a fern frost pattern. In the past these so-called « ice flower laquers» were used for decorative coatings.
      Tung oil must not be confused with tung oil varnish. If pure tung oil gets cold, it turns milky and solidifies. This process can be reversed by heating the oil in a baign marie. The same thing will happen on a wood surface treated with tung oil, therefore we don´t recommend pure tung oil for wood treatment!

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      Oiling exotic woods?

      Kremer Pigments does not give recommendations for the treatment of exotic woods (Bangkirai, Merbau, Massaranduba etc.). Our oils are suitable for all common European woods, provided that resin pockets on larch etc. were treated properly.
      Some exotic woods, especially rubber trees and related plants, may contain substances that prevent the drying of oils. The oil will remain sticky, stain the surface and the oil may not dry and stay in the wood for years (e.g. on wooden floors).
      In such cases we definitely recommend preliminary tests on a sample board!

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      Iron Conservation with Cosmoloid H 80

      Cosmoloid H 80 (#62800) is a microcrystalline wax which is recommended for iron conservation.
      Solve 20 g Cosmoloid H 80 in one liter of Shellsol T (#70460). Dissolving the Cosmoloid H 80 can be accelerated by first melting the wax (at about 80 °C) and mixing it with the solvent afterwards. The solubility of Cosmoloid is improved by using aromatic solvents such as Shellsol A (#70520).
      The wax solution has a milky appearance. This milky substance may settle at the bottom of the container after a while. Stir the solution well before using it.
      The protection against corrosion is good, but the protective film is not resistant to abrasion.

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      Painter´s Gold Varnish or gold leaf?

      Painter´s Gold Varnish is a solvent based nitrocellulose laquer, which is pigmented with genuine gold particles. The shade and effect of fine gold pigment differs from the one of metal leaf. This is also the case for Painter´s Gold or Rosenoble Gold powder as well as for all kinds of pearlescent or glitter pigments. A small, flake shaped particle can be gold coloured, but it will always remain a small particle. Therefore surfaces coated with these pigments will always look different than genuine gold leaf.