ultramarines

Are all soap safe ultramarines and oxides also lip safe?

Lipstick Making - Day One Anne-Marie 2008

His palette of hot oranges, shocking pinks, and boiling ultramarines perfectly suited the bold, Slavic rhythms of Igor Stravinsky's music and Michel Fokine's choreography.

From Shtetl to Château Dorment, Richard 2009

The perfect native and excellent artificial ultramarines, the good blues of cobalt, the fair Prussian blue, and the doubtful indigo, are the four varieties he has for years been in the habit of using, and is still mainly dependent on.

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists George Field

For the latter, cheap cobalts and ultramarines are preferably substituted, although they do not yield greens of like power and intensity.

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists George Field

Artificial ultramarines are said to be seldom entirely freed from all traces of the green modification, and are therefore less beautiful than the natural varieties, having a shade of green or grey.

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists George Field

Behind it, are the artificial ultramarines; and behind them again, cobalt and cerulian blue.

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists George Field

The blues of cobalt, on whatever base they may be prepared, are distinguished from native and artificial ultramarines by not being decolorised by acids.

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists George Field

In permanent blues the palette is very deficient, the list being exhausted when the native and artificial ultramarines and the cobalts have been mentioned.

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists George Field

With respect to permanence, the finer varieties of artificial ultramarines may, undoubtedly, be pronounced stable; but, like all other colours, these blues are apt to vary in quality, and inferior kinds are liable to lose their purity in a measure, and become grayer.

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists George Field

Experiments made with different samples of each, showed that native ultramarines offered greater resistance to acid than the artificial, taking longer to decolourise; and that the residues of the first were in general of a purer white than those of the last.

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists George Field