Primary Colors

Primary Colors

This unique range of primaries was especially developed for the Sennelier range of dry pigments. Each of these hues was formulated to offer exactly the same tinting strength, so in mixtures, they allow you to create medium hue secondary colours :
1 part yellow + 1 part red = medium orange hue.
1 part red + 1 part blue = medium purple hue.
1 part yellow + 1 part blue = medium green hue.

As a result of the equal intensity of these three primaries, the progressive mixtures of hues, mixed, remain distinct. Therefore, it is not necessary to add white to maintain the purity of these mixtures. All three have excellent lightfastness.

Primary Blue

Phthalocyanine pigment and extenders. Very lightfast. Good tinting strength. Suitable for all techniques, including oil, gouache, watercolour, tempera and acrylic.

Blues

Cerulean Blue Substitute
Cerulean Blue Substitute is based on barium sulfate and
phthalocyanine blue. This hue, an imitation of genuine
cerulean blue, provides remarkable lightfastness. Very high
tinting strength. Suitable for all techniques.

Cerulean Blue
Cobalt stannate. Invented around 1850, under the name
celestial blue. Derived from cobalt blue, in a harmonious,
blue-green hue. Opaque, very lightfast, stable in mixtures.
Suitable for all techniques. Very precious pigment.

Cobalt Blue
Cobalt aluminate. In the 19th century, the French chemist
Thénard successfully obtained this pigment from a natural
mineral. A very pure blue shade. Excellent lightfastness,
very stable in mixtures. Suitable for all techniques

Ultramarine Blue Light
Silico aluminate of sodium polysulfides. In 1828, the
chemist Guillemet synthetically reproduced the natural
colour of Lapis Lazuli, which had been in use since
antiquity. Variations in the hue result from the size of its
microparticles. The preparation of ultramarine blue is
quite complex, and varies according to the desired
individual shade. Luminous, intense blue that approaches
the appearance of cobalt blue, and provides bright,
pleasant effects in shading. Mixes well with other pigments,
but, since it contains sulfur, should not be mixed with flake
White or chrome based pigments. Suitable for all
techniques.

Ultramarine Blue Deep
Silico aluminate of sodium polysulfides. Preparation
identical to that of Ultramarine Blue light. A deep, very
intense shade, more purple than Ultramarine Blue light.
Very lightfast. An important colour on most artists’ palettes.
Suitable for fresco.

Prussian Blue
Ferric ferrocyanide. Discovered in Prussia at the beginning
of the 18th century. Difficult to grind and moisten. Very
high tinting strength. Good lightfastness (contrary to its
reputation) except in oil colours, where it tends to darken.
Strong, transparent tone. Dries out oily binders. Not
suitable for fresco.

Indigo Blue
Indanthrone blue. Synthetic organic pigment. Reproduction
of true indigo, which comes from an Indian plant. Very
high tinting strength. Remarkable lightfastness. Provides a
semi-opaque film. A deep, intense blue suitable for all
binders, except fresco.

Azure (Hue)
Formerly produced in the form of Manganese Blue
Genuine until the dangers of its manufacture led to its
disappearance. Azure is made from synthetic organic
pigments phthalocyanine blue and barium sulfate. Very
lightfast. Suitable for all techniques, except fresco. Provides
a bright, luminous, turquoise blue shade.

Cobalt Blue Deep
Cobalt aluminate. The varying temperatures at which it is
calcinated (cooked) accounts for the many different shades
of Cobalt Blue). Bright, deep blue with excellent lightfast
properties that mixes very well with other pigments.
Suitable for all techniques.

Cobalt Turquoise
Cobalt aluminate. A unique turquoise hue whose
brightness cannot be matched in other mixtures. Excellent
lightfastness. To retain its unique vividness in oil painting,
use it with a non-yellowing oil (safflower).

Phthalocyanine Blue
Pure synthetic organic pigment with exceptionally high
tinting strength. Very good lightfastness. Suitable for all
techniques (except fresco). Because of its powerful tinting
strength, use it with discretion. A transparent hue wellsuited to glazing techniques. Provides a blue palette
ranging from pale sky blue to dark, somber tones similar to
Prussian blue. In mixtures, use it to create an infinite
range of greens.

Primary Yellow

Nitrogenous “azo” pigment and extenders. Very lightfast. Good tinting strength. Can be used in all techniques : oil, gouache, watercolour, tempera and acrylic.

Yellows

Bright Yellow
A mixture of zinc oxide, mononitrogenous “azo” yellow,
and modified arylide. A warm yellow with a good
lightfastness, compatible with any binder except fresco.

Cadmium Yellow Substitute
Cadmium colours, discovered in Germany in 1817 by
Stromeyer, were quickly adopted by artits, who appreciated
their intensity and high tinting strength.
All dry pigments designated as substitutes are made from a
combination of synthetic organic pigments that reproduce
the genuine pigment colour, but at a much lower price.
Cadmium yellow substitute is a stable compound of inert,
mononitrogenous “azo” pigments and extenders. Very
lightfast, it is stable in all binders : oil, acrylic, watercolour,
gouache. For fresco use only genuine cadmium colours.

Cadmium Yellow
Cadmium sulfide. Mineral pigment providing an opaque
intense yellow with good tinting strength and lightfastness.
Suitable for all techniques. Do not mix with flake white or
chrome yellows.

Chrome Yellow
Lead chromate. This pigment, predecessor of the cadmiums,
provides excellent tinting strength and a solid, durable
film. However, these pigments present certain negative
aspects : in addition to their toxicity and poor lightfastness,
they tend to darken over time. Unsuitable for fresco. Still
used primarily because of its reasonable price, and as part
of painting tradition. When used to mix greens, provides
very deep, dense shades.

Lemon Yellow
Formerly used in the form of zinc yellow, whose weaknesses
led to the formulation of lemon yellow from synthetic
organic mononitrogenous “azo” pigments. Very good
lightfastness. Suitable for use in all binders, and provides
very stable mixtures. Good tinting strength. Not
recommended for fresco.

Indian Yellow Substitute
Composition of nitrogenous “azo” pigments that reproduce
the genuine Indian Yellow shade. Luminous, very lightfast,
transparent pigment. Frequently employed for warming up
hues. Suitable for all techniques except fresco.

Mars Yellow
Nitrogenous “azo” pigment and natural earth. At one
time, this pigment was obtained from a concentrate of
animal urine from India, but for more than 50 years, it
has been reproduced with modern pigments. Transparent,
very lightfast pigment. High tinting strength. Suitable for
all techniques except fresco.

Naples Yellow Substitute
Documented by Cennino Cennini, the appearance of
Naples Yellow has not been clearly established ; true Naples
Yellow is a lead antimonate that was frequently employed
in past centuries. Its properties have now been rediscovered.
But since genuine Naples Yellow is toxic, this colour is a
substitute based on zinc oxide, titanium dioxide, and
mononitrogenous “azo” yellow. A luminous, very lightfast
colour, this yellow yields a rich, beautiful, dense paste.
Suitable in all binders, including oil, watercolour, tempera
and acrylic. Not suitable for fresco.

Nickel Yellow
Nickel-titanate yellow. A vibrant yellow with a slightgreenish hue. Very good tinting strength, excellent lightfastness in mixtures and shades. Can be mixed with all pigments and suitable in any binder, including fresco.

Primary Red
Quinacridone pigment and extenders. Very lightfast. Good tinting strength. Suitable for all techniques, including oil,
gouache, watercolour, tempera and acrylic.

Reds
Cadmium Red Substitutes (Light, Deep, Purple, and Orange) Nitrogenous “azo” pigments, zinc oxide, extenders. As with cadmium yellow substitutes, cadmium red substitutes are composed of several pigments reproducing the genuine cadmium shade. These colours offer :

• good lightfastness
• stability in mixtures in any binder
  Suitable for oil, gouache, watercolour, and acrylic, but not
  recommended for fresco.
  

Cadmium Red Genuine (Light, Purple, Orange and Deep) Sulfoselenide of cadmium. Opaque mineral pigment with
excellent covering power. Completely lightfast and stable in mixtures in any binder. Suitable for all techniques, including fresco.
Do not mix with flake white.

Permanent Red Deep
Calcium lake and extenders. Synthetic organic red that imparts bright, intense carmine red shades. Good tinting
strength, average lightfastness. Used mainly for decorative purposes. Not suitable for fresco.

Helios Red
Toluidine red. A brilliant organic red, extremely intense and luminous. High tinting strength, average lightfastness.
Suitable for all techniques, including oil, gouache, watercolour, tempera and acrylic. Not suitable for fresco.

Mars Red
Iron oxide. Dark, rich brownish red. Provides a transparent film with an excellent tinting strength. Very lightfast and
stable in mixtures. Suitable for all techniques, including fresco.