GERSTAECKER METAL EFFECT PIGMENTS
Gerstaecker metal effect pigments are composed of muscovite-pigments which offer many advantages compared to the metal powders currently on the market. The nuances of these pigments are finer, most importantly they are perfectly light and weather fast and will tolerate all binding methods. They can be simply worked into the binder and tend not to separate.
Gerstaecker metal effect pigments can be mixed with each other and also with all normal pigments (which is not the case with metal powders) so that every conceivable nuance is achievable.
Colours with Gerstaecker metal effect pigments are more economical than one would think because, due to the volume/concentration of the pigments; only 15% weight is required in the mixing to achieve a satisfactory result.
Price per pot.
Please scroll to the bottom of this page for the key.
Description/Grouping Artists pigments are generally defined by their material content. Gerstaecker’s finest artists pigments are predominantly mono-pigments and the name of the pigment describes its material constitution (e.g. Iron oxide, Ultramarine, Sulphur indigo, Phthalo cyan, etc.) Pigments additionally labeled ‘pure’ are practically all inorganic, are presented in completely pure form and, as experience has shown, can be processed in this form without problem. Pigments that can hardly be properly processed in pure form (organic pigments, soot) have been prepared with a minimum of inorganic substrata so as to make contact with the binder relatively easy.
Next to the mono-pigments we have the classic mixed pigments, e.g. Lithopone, Gold ochre, English red, Hooker’s green, Deep purple, etc. Moreover, in the green area where there are only a few mono-pigments, we have always fallen back on mixed pigments. We naturally produce the earth colour mixed pigments that are by nature virtually made of colour components mixed with substrata earths.
The SYNUS∗ range is a rather modern species of mixed pigments that heads every colour tone sector. Here you find the valuable opaque Cadmium and Cobalt pigments joined with the most brilliant organic pigments so that highly brilliant, opaque pigments result, without the addition of White, which possess the colourfastness of the inorganic basic pigment. This is a technique applied to valuable lacquers that was previously not available for artists’ colours. The recipes for the SYNUS∗ variety have been developed exclusively for Gerstaecker, the name deriving from ‘Synergy’. The individual shades correspond to the primary, or secondary colours and are therefore fully intermixable.
Lightfastness, Weather resistance
8 = maximum
7 = very good
6 = good
8/8 = maximum lightfastness and maximum weather resistance
Values according to the international wool scale from 1-8, whereby the strictest of scales is applied to artistic applications. All pigments valued here with a 7 – 8 are, according to industry standards, actually verified as having a value of 8.
Opacity/Transparency
L = transparent
LL = highly transparent (intended for glazing techniques)
D = opaque
HD = highly opaque
L + D = stands for pigments that may either be used for glazing or as opaque Processing
<> = indicates that the Pigment may be mixed by simply stirring. This
only applies in as far as the binder allows for stirring. ¥ = Indicates pigments that, according to tradition, should be processed
by ‘milling’ (ie with Pestle and mortar or slab)
When milling is not possible, the pigment can be stirred in if a wetting agent is used. ¥¥ = Indicates pigments to which dispersion by stirring is important. If these pigments are to be stirred in, it is recommended that they be allowed to stand for a few hours with a wetting medium. The fact that some pigments, especially the most expensive types, only take up the binder with difficulty is not due to a lack of quality but a material peculiarity - virtually a ‘characteristic’ of the pigment, which with highly concentrated or pure artists pigments is not to be considered as an inferior feature.
These tips regarding processing can only be rough guidelines, in the end it always comes back to the type of binder used and the method of processing the colour.
Suitability
öl = intended for oil and resin oil colours. The pigments designated for oil are completely solvent resistant and can tolerate current resins and waxes that can be mixed with oil colours. Tem = suitable for tempera colours, as long as there is tolerance to the individual components of the tempera (Take care with Casein tempera).
Aq = intended for (aqueous) water colours. The pigments thus designated possess the required glazing ability and lightfastness. Possible acid sensitivity (Ultramarine!) is, however, not taken into account; it is taken for granted that the watercolour binder is neutral. For gouache colours (colours with a gum Arabic basis or other gums lightened with White) one need not limit oneself to colours designated Aq. Practically all pigments designated for ‘Lei’ can be used. However, no Zinc white should be used for lightening.
Lei= intended for plant-based size (Glutolin, etc.)
Acr = for acrylic binders (pure acrylic emulsion).
Lac = solvent resistant, may be used with Alkyd colours, and UP-, EP-, MMA-, PUR-casting resin. Transparent or glazing pigments can be made opaque by the addition of opaque pigments (obtain advice). The SYNUS∗ variety is ideal for use as lacquer, but of those pigments, Yellow, Orange and Red may only be used for artistic purposes due to the Cadmium content. (Lacquers with Cadmium pigments for other consumer applications are illegal.)
Kal = lime-fast, may be used without reservation for all indoor applications. For outdoor use, take weather resistance and possible special conditions into account. The lime-fast designation includes suitability for Casein colours and all casein applications.
Z = Cement-fast. These pigments are resistant to building materials and modeling masses containing cement. Due to the frequently strong colour of some types of cement, special pigments may be better suited, in this case please enquire.
Si = Resitant to silicate potassium. These pigments are resistant to the particularly aggressive chemical reaction of silicate potassium. The ‘water glass’ technique has even more vagaries meaning that pre-trials are indispensable.
Technical processing instructions, recommendations and advice are given to the best of our knowledge but are not binding. The suitability for any particular application should be ascertained by the user’s own trials.
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