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
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.