LCDQ Windows Jamie Bush + Co at Richard Shapiro.
We hand painted a limited number of color cards for the LCDQ event. If you would like one please fill out the email form on the contact page.
Tip Stir Paint
We worked in collaboration with Callaghan Innovation, New Zealand's Crown Reseach Institute, to develop and patent our technology.
“Colour in architecture – a means as powerful as the ground plan and section. Or better: polychromy, a component of the ground plan and the section itself.”
A pure and perfect blue.
Ultramarine is a blue pigment that has been used since antiquity. Ultramarine means “over the sea” in Latin, referencing its origins from the mineral lazurite (in the semi-precious stone lapis lazuli) mined in Ancient Persia, which is now northeastern Afghanistan.
Although Yves Klein is best known for his Ultramarine Blue Monochromes, he also used gold and Ultramarine Pink, which together with blue, he regarded as representing the theological mystery of the Trinity. For Klein, pink symbolized the body. Ultramarine Pink, as much literally as metaphorically, clarifies and reinforces the Ultramarine Blue. Ultramarines occupy a unique position in the colour space, making it impossible to achieve an exact match to this pink by blending together other pigments.
drikolor CTO Dr Cameron Tristram
A cool white pigment from an ancient sea. Ninety million years ago, the chalk of Europe was the bed of an ancient sea — the slow accumulation of marine life, debris and shells. Now calcified and raised by the movements of the planet’s crust, it stands as vast and monumental cliffs like the White Cliffs of Dover or Cap Blanc Nez, the French equivalent across the channel, or islands like Crete — which takes is name from the Latin word for chalk — or stands of rock like the Needles off the Isle of Wight.
In the Champagne region of France, chalk deposits underlie the fertile soils that nurture the vines. The chalk stores warmth and water and gives the sparkling wines of Champagne their distinctive tart and aromatic flavours. It also provides perfect, cool and airy cellaring spaces, sometimes in the workings of the ancient chalk mines of the region.
Easily mined and quarried, chalk has long been a source of white pigment. It is simply crushed and cleaned of impurities. In marked contrast to the usual sources of white pigment, like lead and titanium, chalk is non-toxic and readily incorporated into the liquid bases for paint. Champagne chalk has a dry and velvety texture and, unlike the wine with which it shares its name, is valued for the size of its pigment particles, not for the fineness of its bubbles. Like the wine, though, it has a slightly beige tint.
A black that roamed the prairies.
Almost as common a pigment as ochre from the earth, as a primary colour in human art, would have been the charcoal from the fire. Even more graphic than burnt wood were the residues of burnt bone. As civilisation progressed, bone char ground with gum formed the first paint. In 2650 BC it was used to colour the tomb of an Egyptian court official, Perneb. That tomb can be seen in New York’s Metropolitan Museum of Art. In the early 19th century as the new settlers moved west across the United States, they found themselves travelling across a sea of bones — remains of the vast herds of bison and buffalo that roamed the prairie.
To begin with the bones were a nuisance, but entrepreneurs soon found a variety of uses for them — as fertilisers and in the making of crystallised sugar or liquor or clarifying vinegars and, of course, black pigment.
Bone gathering became a profitable business. By 1884, four hundred trainloads of bones were shipped east every year. One ton of dried bones sold for $10.00. One enterprising processor offered farmers a sewing machine for forty tons. There was a thriving trade in bone sale receipts which were called Buffalo
Bone Money. Bone char dust known as bone black pigment was extensively used in paints and inks. Bones no longer come from the prairie, but burnt bone is still an important black pigment with the advantage over the more commonly used carbon black that it is nontoxic and sustainable. It also provides a variety of subtle velvety blacks.
The green that painted Paris.
If ever one colour marked the art of the 19th century and launched the radical art of the early 20th it was chrome green. Prior to its discovery in the early part of the century, green was a difficult and dangerous pigment.
On the artist’s palette green was an amalgam of yellow and blue, or a lethal pigment derived from arsenic.
Arsenic, by coincidence, was also the dangerous component in the green-coloured drink much favoured by the artists, who were liberated from its harm by Viridian — Absinthe.
Chrome green is a ghostly presence in the work of the Impressionists (whose subjects sometimes presided over a bottle or a glass of Absinthe ) the Fauves, the post-Impressionists and the early Cubists. Chrome green was a favourite colour of the young Picasso and a constant presence in the landscapes of Cézanne.
In nature chrome green is a relatively rare element found only in eskolaite — a mineral present in fragments of meteorite. Its synthetic manufacture is attributed to a Parisian colourist in 1858 and was named after him as Pannetier’s Green. But the pigment has been found in paintings, at least, three decades earlier, so other painters or colour makers must have stumbled across the process too.
Chrome green is a safe and stable pigment and since its discovery it has been used extensively by artists in paints, inks and for colouring pottery and glass. It is also used widely in cosmetics for blushers, eye shadows and eyeliners.