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Minnesota Pipestone, for example, is the real thing. Today, at pipestone Minnesota there is a national monument where the stone is still quarried in small amounts and made into pipes and other objects by native carvers. Some of this stone (mined outside of the park) was purchased and converted into pigment through DANIEL SMITH's proprietary slow grinding process. Minnesota Pipestone has intriguing layers of granular texture. Radiant pink overtones accentuate an underlying golden glow that adds a new dimension to artwork.
Vivianite, named after the English mineralogist F.G.Vivian, is a rare mineral of secondary origin that exhibits an intense dark blue masstone with a slight reddish blue undertone. Vivianite has been identified in medieval paintings in Germany and in English medieval plychromy. The school of Cologne used it to depict skies in the 13th and 14th century.
Lapis Lazuli has been prized for its beauty, its mystical and healing properties, and its perfection as a pigment. Ancient civilizations believed that the veins of glittering pyrite found in the Lapis were actual gold, driving up its value. The stone’s expense today, as in the ancient world, results from its hardness, which makes extraction difficult, and it is only mined during the warmest months of the year.
Sleeping Beauty Turquoise, a unique and vibrant blue; it comes from the slumbering Sleeping Beauty Mountain in Arizona. Lightfast and permanent, with none of the transient color fade that plagues most turquoise, this is truly an extraordinary color. As a mineral, turquoise has a unique molecular structure. In watercolor, its porous nature encourages interaction with other pigments and produces granular washes like no other paint. From the very first test, artists feel its powers. Juicy washes flow easily from the brush, while drybrush work has the intense texture found only in a mineral pigment. Washed alongside a warm, staining pigment, it is almost three-dimensional.
Click here for a List of available PrimaTek Colors.
