Warenkorb 0.00 USD*

Newsletter 02-2017



Kremer Pigmente

Wall Paint

These solvent-free, water-soluble wall paints are obtained from natural raw materials and are available in eight different shades. Our raw materials and pigments are processed observing highest quality standards and create silk-matt and high-coverage paint. The wall paint is fast drying, diffusible, breathable and conditionally abrasion resistant. It can be used on all interior wall surfaces (the application of a transparent binder might be necessary). The raw pigments are natural earths, historical cobalt pigments and carbonic pigments. These pigments are characterized by their very high light fastness and their compatibility with almost all binders. 

#19901 French Ochre light-yellow
This light french Ochre results in a very warm reserved yellow shade.

#19902 French Ochre, orange
This earth pigment represents a warm but rich orange nuance with a slight hint of red.

#19903 Burnt Umber
This natural earth from Cyprus reminds of chocolate. The shade is very stable and deep, however light and velvety.

#19904 English Red Light
The warm earthy red shade with a nuance from orange originating from a mixture of different burnt earths.

#19905 Bottle Green
This black-green cobalt pigment, similar to a pine green, impresses through its depth effect in the green range.

#19906 Lagoon Blue
An intense and captivating blue shade creating a sense of 3D-depth.

#19907 Gray from Burgundy
This gray shade is characterized by its reserved elegance. Minimalistic and modern puristic.

#19908 Raw Umber brown
A soft loamy umber nuance, light and clear, like all earths from Cyprus.

#19910 Titanium White Rutile

- sorry, not available at Kremer Pigments Inc. -

 

Thulit

pink-skin-colored, finer 63 µ

Very lightfast pigment and stable in binding agent. Thulit is a pink-red Zoisit specialty from Norway. The shade is suitable for incarnate for skin illustration together with Kremer White.

#11312 Thulit is available in: 20 g, 100 g and 1 kg

- sorry not available at Kremer Pigments Inc. -

 

NAMTA

05. – 07. March 2017, Salt Lake City, USA

The International Art Materials Association - NAMTA® is dedicated to promoting the art/creative materials industry.

We look forward to meeting you.
 

Restauro

22. – 24. March 2017, Ferrara, Italy

The 24th Fair of the conservation, technology and promotion of cultural and environmental heritage.

We look forward to meeting you in hall 4, stand C8.

 

Kremer Courses

The knowledge of pigments, of their use and application is a foundation of painting and restoration. In our courses the experienced teachers will show you a wide range of pigments and binders and you have the opportunity to work with selected materials according to historic recipes. The teaching language is German.

Appointments in April:

19. April 2017 Kurs rund um das Thema „Aquarellfarbe“

20. April 2017 Kurs rund um das Thema „Ölfarbe“

21. April 2017 Kurs rund um das Thema „Acrylfarbe“


Contact and Registration by
Phone 07565-914480 or e-Mail info@kremer-pigmente.com



Michael Price: Renaissance Mysteries

The two volumes are an in-depth examination of a lost painting tradition. The books examine how the physical properties of natural and mineral pigments such as azurite, lapis lazuli, malachite, or cinnabar used by artists of the European Renaissance shaped a painting process in which each painting required a thorough plan or composition which began with the geometry of the format (i.e. the proportion of height to width of a rectangle).

#992312 Volume I: Natural Colour

Volume I presents the artist as a painter-craftsman with the preparation of natural colour from rocks and crystals and their application in appropriate binding mediums. The difference in colour quality between natural mineral pigments and modern synthetic paint is examined. Chapters include comprehensive step-by-step instruction for the contemporary artist and conservation scientist on how to prepare and paint with the incomparably luminous colours of the Renaissance palette, as well as the preparation of historical painting supports and grounds.

#992313 Volume II: Proportion and Composition

Volume II, the artist as a creative intellectual, links the painter’s craft with the creative process and elucidates the degree of compositional planning starting with the painting’s rectangular format. The demonstrated evidence for the application of Euclidean geometry is based upon exact measurements of painted surfaces on panels, X-radiographs, and infrared images from paintings. The final chapter concludes with the reasons for the demise of this painting tradition and how industrialization and the standardization of art materials led to a new painting tradition from the nineteenth century.