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Restauro and pigments - Pigmenti Puri Artisti

Basics, these fine powders are what gives colour to a painting. Extremely tiny particles of natural or artificial, organic or inorganic origin, colours have always been subject to groupings or classifications, from the time of the great Greek philosophers to the present day. So many possibilities of extreme opposites have been linked to thinking about colour. However, because they are the basis of everything, it is not easy to create excellent pigments. The powders have to be pure, their particle size fine and always identical, devoid of lumps, brilliant in tone and impalpably soft. They encompass a world of quality. A world that requires experience and knowledge because human history also lies in colour, its mediums and reproducibility.

Tone

Available formats

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Degree of lightfastness

Highest degree of lightfastness

Symbol GHS (Globalisation Harmonisation System)

Hazardous to thea quatic environment

Cmr1, Stot1 Aspiration hazard

Skin irritation

Flammable liquids

Explosives

Compressed gases

Oxidizing Liquids

Acute toxicity

Skin corrosion

First application: 100% Maimeri Puro colour: Maimeri Puro tints are highly concentrated so some colours appear very dark when used in their pure form.

Second application: 50% Maimeri Puro colour + 50% Colourless Medium, i.e. a neutral unpigmented paste. This medium is used for thinning the tints, enhancing the flow and emphasizing the depth of the thinned colour.

Third application: 10% Maimeri Puro colour + 90% Glazing Medium to emphasize the sheen of the tint and the different degree of opaqueness between the colours.

Fourth application: 50% Maimeri Puro colour + 50% Titanium White, to emphasize the undertone of the tint and highlight the concentration.