Origine of colours At the end of the 19th century, when he developed oil colours for his artist customers who would include immortal names like Cézanne, Gauguin and Picasso, Gustave Sennelier recognized the need for producing paints that only contained the highest quality pigments. In order to craft superior colours, Gustave verified that the origins of the pigments were from selected traditional sources, while precisely identifying their specific chemical characteristics. Ultimately, his great respect for these materials not only insured the permanence of works created with his paints, but also assured the production of an increasing array of unique colours of unsurpassed beauty and quality.
 nuancierpigment-FR.pdf Pdf de 424Ko
|
Since then, some pigments have disappeared, their natural resources depleted and others have been restricted due to their toxicity. But with recent innovations and research Sennelier offers a wide variety of synthetic pigments that perfectly match the performance of such ancient mineral pigments such as Lapis Lazuli and Cinnabar. Yet at the same time Sennelier still mines the earth for minerals and other natural elements from traditional sources - pigments like clays and iron oxides used in ochres and the preparation of ?burnt? earth colours from calcified soil. At the dawn of the 21st century, Sennelier still keeps a watchful eye on the pigments selected for its lines of artists' quality oils, oil sticks, watercolours, soft pastels and oil pastels. These very same pigments are available to artists wishing to master the preparation of their own colours. |
| | This range comprises 94 colours. 92 of them are presentedin 200 ml* plastic jars and 50 colours in 1 kg Kraft bags**. * For density reasons, certain colours are packaged in 100 ml jars. ** Lithopone white and Meudon white are exclusively available in 1kg Kraft bag. Plastic jar 200ml Code: N133001... | | | | This product contains egg, gum arabic, vegetable oil. When mixed with dry pigments, it provides a flexible consistency. The film obtained will be smoothed and cannot be reworked with water. It allows for applying colours one on top of the other. Ready to use. Thin with water. 200 ml bottle Code: | | | | This product contains gum arabic, honey, water, and a preservative. When mixed with dry pigments, it provides a smooth, water-soluble paste with a honey-like consistency.If paints are too thick, this ready-to-use medium can be used as a thinner. It will also maintain the watercolour's transparency and... | | | | Provides a matte, opaque paint that can later be reworked with water if desired. A ready-to-use product made from natural gum, glycerin, water, and a preservative. If the resulting paste is too thick, it can be thinned with small quantities of water without modifying the paint's opacity or matte finish.... | | | | A thick, non-yellowing vegetable oil specifically developed for grinding oil colours of optimum consistency. This ready-to-use binding medium is compatible with all the pigments traditionally used in oil paint. It includes a full, lead-free drying agent that permits normal drying time, both on the paint... | | | | Pure acrylic (acrylic polymer) resin, 46% dry extract. Its use is identical to that of caparol binding medium. Characteristics: Glossy, transparent product suitable for interior and exterior, better stability in water than the caparol-based product. The less methyl-cellulose binding medium used to... | | | | Caparol binding medium, which contains a high concentration of water-soluble polyvinyl acetate was developed specifically for use with dry pigments. This easy-to-use medium provides a completely permanent paint film that is smooth, matte, and uniform, very similar to that of gouache.Suitable for use... | | | | This binding medium is used with pigments, either : 250 ml jar Code: N133657 | | | | May be added in small proportions (0.1%) to all water-based preparations to avoid fermentation. Used for making gouaches, watercolours, acrylics, pastels, etc. Also allows the preservation of pastes or solutions. 60 ml jar Code: N133658.. | | | | Pure, dried and powdered egg yolk. Used, re-hydrated, as an agglutinating agent for making emulsion paints. Enters into old Tempera and primitive paint formulations. Add preservative. 80 g jar Code: N133536.. | |
|
| | Limited luxuary wooden boxes, reissue of old tubes and pastels, events in shops... Many events are planned this year to celebrate this anniversary |
Keep informed about Sennelier, joign Facebook Fan Page and follow Sennelier on Twitter : |
| You like Sennelier, share it with your friends : |
|
