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Newsletter 03-2019

Kremer Pigmente

Gouache

The main difference between gouache and watercolor is that all gouache is opaque. To achieve a higher hiding power, the gouache needs a higher viscosity and an increased layer/coat thickness. Since gouache usually contains more fillers the dry color appears lighter than the wet color. Gouache is less flexible and contain less binding medium than watercolors.

METHOD
Grind pigment and binding medium with a muller until a soft paste is achieved. If you grind the pigments only with Polyvinyl Alcohol (#67710) without additional water, it should be possible to achieve a thick, viscous paint with a good long-term stability. If the paint is not sufficiently opaque, it helps to add some Chalk from Champagne (#58000) and/or Titanium White (#46200).

NOTE
Almost all pigments are suitable for use in gouache paint. Only very coarse pigments, sands and Verdigris are not recommended. Some pigments can settle during storage. If the pigments do not mix well with the Polyvinyl Alcohol, it may help to add a small amount of 1–2 % Orotan (#78032) as a wetting agent.

Since pigments vary as to the amount of binding medium they need to make a workable paint, it is always necessary to first apply the paint on a small area or to apply a test coat: If the paint shows chalking (that is the formation of fine powder on the surface of the paint film) when it is dry, it is necessary to add more binding medium. When you are ready to paint, add water as needed.

 

NEW: Cobalt Green PG 50

Co-Ni-Zn-Titanate - no labeling

The pigment is well suited for aqueous techniques such as watercolor, egg tempera or casein. The behavior in acrylic can be very different. In Disperison K 52, Primal® AC 35 or Dispersion K 498, the pigment can be worked easily. The pigment can be used in lime and silicate. Because the pigment dries very slowly the use of a siccativated oil or a linseed oil varnish is recommended.

Available with order number #44101
in 100 g, 500 g, 1 kg and 10 kg.

 

NEW: Cobalt Green PG 50

slightly bluish,
Co-Li-Zn-Titanate - chromium- and nickel-free

The pigment is ideal for watercolor, egg tempera and casein. It is also easy to process in acrylic dispersions such as the K 9, K 52, K 498 or Primal® AC 35 dispersion. The cobalt green is lime-resistant and silicate-compatible. It disperses well in linseed oil. It is recommended to use a siccativated linseed oil, as the color has a relatively long drying time.

Available with order number #44105
in 100 g, 500 g, 1 kg and 10 kg.

 

NEW: Comb Brush

sawtooth brush tip

Hair mixture of different fiber thickness for optimized elasticity and paint holding capacity. Very good shape retention. For perfect defined brush strokes e.g. grass or fur effects.

Application: water color, gouache, tempera, acrylic and oil painting.

Available with order number:

#8508210 size 1/4, width: 7,2 mm, length of hair: 11,5 mm
#8508211 size 3/8, width: 9,7 mm, length of hair: 14 mm
#8508212 size 1/2, width: 12,5 mm, length of hair: 18 mm
#8508213 size 3/4, width: 19,6 mm, length of hair: 25 mm

 

Is it possible to tin wall paint with pigments?

Ready-to-use wall paints already contain pigments. Generally, white pigments and fillers are contained in white wall paints. To keep the pigments on the wall, the paint also contains a binder. Which binder is included, determines the type of color (silicate, emulsion paint, etc.).

Pigments and binders are in a balanced mixing ratio. When more pigment is added, the mixing ratio is no longer correct. This does not necessarily have an immediate effect on the color, but it comes to the point where the contained binder is no longer sufficient that the pigments stick on the wall and the color begins to chalk.

You can try tinting the color with a small amount of pigment. Corresponding sample spreads are absolutely necessary to check whether the color still adheres. To avoid lumping it is recommended to soak the pigment in water the day before use. In addition, the pigment must be suitable for the binder contained in the wall paint.

Since a white color already contains white pigments, at most pastel shades are possible. For example, a white color and a red pigment will only make a pink color, but not a red one!

 

Kremer Pigmente at international fairs

Salon Chamonix

18. - 21. April 2019
Chamonix Mont-Blanc, France
24 èmes Rencontres Internationales des Peintres Décorateurs.

Monument / Renovation 's-Hertogenbosch

14. - 16. May 2019, 's-HertogenboschNetherlands

Renovation & Transformation brings together contractors, installers and specialist renovation companies and of course designers, consultants and other prescribers and provides them with the opportunity to gain practical knowledge and experience the latest products and techniques.

AIC's Meeting

13. - 17. May 2019, Uncasville, USA

American Institute for Conservation of historic and Artistic Works. AIC's 47th Annual Meeting.
"New Tools, Techniques, and Tactics in Conservation and Collection Care".

Urban Sketchers Symposium

24. - 27. July 2019, Amsterdam, Netherlands

The International Urban Sketching Symposium is an annual educational event organized by Urban Sketchers (USk), a nonprofit dedicated to fostering the practice of on-location observational sketching. The goal of the Symposium is to celebrate and practice the art of on-location sketching in the host city. The event offers valuable field-sketching instruction and opportunities for participants to network and socialize. Following our spirit of “sharing the world, one drawing at a time,” we aim to bring the Symposium to new cities and countries every year.