lightfastness

However, its lightfastness and air resistance is very low in other media.

It has a low lightfastness rating of about 4.

In artistic paint, heat stability is less important, while lightfastness and toxicity are greater concerns.

Unfortunately, paint manufacturer lightfastness ratings are not always trustworthy.

They have excellent coloring properties, again mainly in the yellow to red range, as well as lightfastness.

Because scholastic acrylics use dyes as well as pigments, lightfastness may be poor.

In artist's paints, it has been replaced by synthetic reds and is largely unavailable for purchase due to poor lightfastness.

These are similar in lightfastness to the cadmium colors and have the advantage of both being cheaper and non-toxic.

Using a pigment to approximate an ink colour in this way also ensures lightfastness of the 'ink'.

Another concern is the "lightfastness" of organic dyestuffs-some colors (reds and blues) are particularly prone to fading.

The disadvantages of these papers is the possible acidity of them and the possible lack of lightfastness of the colours used.

Artists' paint manufacturers have rated it one of the most satisfactory black pigments for acrylic paints with regard to opacity, lightfastness, and permanence.

The lightfastness depends not only on the properties of the organic azo compound, but also on the way they have been absorbed on the pigment carrier.

Traditionally this test was developed for the textiles industry but it has now been adopted by the printing industry as measure of lightfastness of ink colourants.

Natural pigments have the advantage of being well understood through centuries of use but synthetics have greatly increased the spectrum available, and many are tested well for their lightfastness.

In recent years, high lightfastness has become an issue of increasing importance to artists, and Cretacolor has been one of the first manufacturers launching ranges of lightfast color pencils with its AquaStick line.

Artists' Materials - Which, Why and How is a valuable attempt to log the suitability of currently available art materials to working in practice through comparative charts which give details such as lightfastness and binding agents used in each particular medium.

Carmine lakes appear frequently in European oil paintings from François Boucher to Raoul Dufy; in watercolours it has extremely poor lightfastness and has not been widely used since alizarin crimson became available in the late 19th century.

This is usually indicated as a numerical rating, from I (high lightfastness) to III or IV (low lightfastness), on the paint tube or in the paint technical information available from the manufacturer.