Description
First introduced in 1965
Created using the semi-precious stone lapis lazuli, this is possibly the only pigment that has cost more than gold. It was mined in Afghanistan and reached Europe in the 13th century via the silk road. This rare and labour intensive mining produces the striking blue you see in this shade.
| Working Time | High |
| Drying Time | Slow. May vary on shades, application, medium, weather conditions, and surface |
| Shade | French Ultramarine |
| Shade Code | 144 |
| Series Number | 2 |
| Pigment Code | PB 29, PV 23 |
| Transparency | Transparent. See-through shades that are great for layering and glazing. |
| Permanency | B, Better Permanency can be achieved if used in Mass Tone or not used in Reduced and Wash Tone with shades that have a Permanency rating of B and C |
| Features | |
| 01 | Superior effects with high-quality pigments and greater pigment load |
| 02 | To be used on primed canvas/paper only |
| 03 | Must be used with Linseed Oil as primary medium |
| 04 | Can be used in impasto, glaze and wash techniques |
| 05 | Ideal for 'Wet in Wet' blending |
| 06 | '‘Fat Over Lean’ technique offers the best results and long life. The base coat should have a minimal amount of oil medium while the subsequent coats will gradually increase the ratio of oil to shade |