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.

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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.

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
This binding medium is used with pigments, either : 250 ml jar Code: N133657
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..
(with sodium carbonate). Used diluted to 20-30% in water. Can be mixed with pigments for making indelible gouaches. Used in various background coats. 100 g jar Code: N133531 1 kg Kraft bag Code: N133533
A bleached wax of animal origin. May be mixed with oil paints and varnishes. Basic binder for encaustic paint. Dilute in Turpentine or Petroleum. 100 g Kraft bag Code: N133526
Fossil resin soluble in white spirit or turpentine to 40% maximum. Used in many varnishes and for engraving. 100 g jar Code: N133554
A bleached and de-waxed gum of animal origin. Dilute in alcohol for preparing fixatives, stop-out varnishes, etc. 100 g jar Code: N133516
Natural water-soluble gum crystals. Used for making binding mediums for gouache, watercolours, etc. Dilute to 10-35% according to use. Requires shaking for 2 hours. Provides a waterreversible film. Add preservative. 100 g jar Code: N133506