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Newsletter 04-2019



Kremer Pigmente

Oilcolor

Oil is the most common binder in painting. The preparation of paints from dry pigments, pastes and binding medium used to be an important part of a painter’s education.

Pigments are small particles, which often stick together like tiny magnets. If you just mix the pigment with linseed oil (the most common plant oil used as binding medium for artists’ paint), lumps will remain in the paste, which can lead to chalking. For the stability of oil paint it is crucial, that each pigment particle is thoroughly wetted by the oil liquid. Therefore, pigments have to be ground most carefully and thoroughly whilst being mixed with the oil to form a homogeneous and lump-free paste.

The basic rule for the preparation of oil paint from dry pigments is as follows: The least possible amount of oil is the best amount. You should only use as much oil so that each pigment particle is wetted by the liquid. The more oil you use, the more time the paint takes to dry (linseed-oil-based paint will never harden completely, in fact), and the more it might turn yellow later on.

Since pigments vary as to the amount of oil they need, it is not possible to give the exact recipe for every pigment. The amount of oil needed depends on grain size, grain shape and surface of the pigment. Thus, you may need 1 liter of linseed oil for 2–2.5 kilograms of iron oxide pigment, whereas you need the same amount of oil for just 0.5 kilogram of synthetic-organic pigment.

 

NEW: Phthalo Blue

Cyan Blue, transparent, PB 15:4

This new phthalo blue is, especially in aqueous techniques, more transparent than our other varieties. It is therefore ideal for water color or translucent paint applications with dispersion K 52. The pigment binds well in water color, egg tempera, casein and acrylic. Due to its high transparency, it appears very dark in oil, and reddish with opaque paint.

As with all phthalocyanine pigments, this pigment must be handled with particular care. The extremely fine and strong color pigment is distributed with careless handling like everywhere and can be removed only with difficulty. 

Available with order number #23065
in 20 g, 100 g and 1 kg.

 

NEW: Alizarine Crimson medium

shining red

The pigment is well suited for aqueous techniques such as watercolor, egg tempera or casein. When used in acrylic, the addition of a wetting agent may be necessary. Its full luminosity unfolds this pigment in dispersion K 9 or Primal AC 35. In dispersion K 52 or dispersion K 498 it is more translucent and less easy to process.

In oil, a thorough rubbing of the paint is necessary. Typical for madder paint, it appears very dark here and shows its special color depth only with translucent paint application.

Available with order number #23614
in 20 g, 100 g and 1 kg.

 

Brushes as Tools

a lecture on May 24, 2019 in Aichstetten
by Andres Latorre (in English)

The lecture will look at the basic physical and structural characteristics of brushes and analyze their history. There is a classification of the brush type, in which the historical and modern applications are examined. Brushes as Tools focuses on the different types of hair and materials that are used to make brushes and influence the painting behavior.

  • Learn how bristle types affect quality, handling, and use. Each hair type has certain characteristics, strengths and weaknesses.

  • You will get to know the different brush shapes and how to use the respective best brush type (brush stroke options). So you can choose the right brush for your painting technique. A good brush adapts the needs of the painter and fuses with his hand.

  • You learn what needs to be taken into account in the care of the brush, during and after the painting. No brush is expensive if it can be used for a long time.

The contents are clearly presented in a lecture form (English).
There are 30 seats available.

Registration per e-Mail to bartenschlager@kremer-pigmente.de.

Find more information at Kurse & Seminare/ Kremer Pigmente in Aichstetten.

 

NEW: Feather brush, for marbling

The marbling feather is a popular tool which creates a natural stroke unlike that of a brush stroke. The feather brush often finds application in watercolor painting and marbling.

Available with order number #850824

 

Kremer Pigmente at international fairs

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.