Art Graphic

 

Ar t & Graphic A r t i s t s´ p r o d u c t s a n d t h e i r u s e s

 

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A newsupply forest project in Colombia livelihoodsprotection of small farmers and the wood for Faber-Castell – asecures unique the environment programme, certifed by the UN. With a socially exemplary a nd sustainable reforestation project in Colomb Colombia, ia, Faber-Castell continues to reinforce its leading role as a climate-neutral company. On almost 2,000 hectares of gra ssland along the Rio Magdalena in Colombia, small farmers are planting t ree seedlings for future futu re  pencil  pen cil prod product uction. ion. The fast fast-gr -growi owing ng fores fo rests ts not only prov provide ide excel excellent lent ero erosion sion prot protect ect ion for this t his region plagued by overgrazing and f looding, they are also a reliable source of income for the farmers living in modest circumstances, circu mstances, who are paid for forest maintenance and benefit f rom the proceeds from the ti mber. The environmental project was one of the first in the world to be certified cert ified for the UN “Clean Development Mechanism” (CDM) (CDM) programme. T his is because becau se Faber-Castell makes an active contribution to climate protect ion and is one of the first private companies worldwide that is permitted to sell emission certificates from forestry. As the of world‘ s leading manufacturer manufactu of certif wood-cased pe ncils, Faber-Castell Faber-Castell uses 100% sustainable wood, oworld‘s f which more than 95% is rer 95% FSC FSC ied.

Ecological Manager of the Year 2008 (WWF Germany and Capital)

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Faber-Castell Fa ber-Castell stands for quality Faber-Castell is one of the world‘s Faber-Castell world‘s leading ma nufacturers and marketers of quality qualit y products for writing, drawing a nd creative design – the bra nd name is world-famous. world-famous. In the c ore area of woodcased pencils, the group is the most important a nd oldest manufacturer in the world with a  product  prod uction ion capa c apacit city y of more mor e than th an 2 bill b ill ion penc p encils ils a nd colour col oured ed penc p encils ils.. Its Art & G raphic range allows Faber-Castell Faber-Castell to enjoy a great reputation among ar tists and hobby  pai nters.  painte rs. Prest P rest igio igious us crea c reative tive mi minds nds have h ave recog re cognis nised ed this t his exp exper ertis tisee since si nce t ime im immem memori orial al – f rom Vincent van Gogh to Karl Lagerfeld. High quality artists‘ pigments ensure light resistance and thus brilliance and colour intensity inten sity for decades. All products are based on the same colour system, enabling reliable mixing techniques of a rtists‘ pencils, whether water-soluble water-soluble or indelible.

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Contents

 

Pitt Ar Artist tist Pen India Ink Pen

6–11 6–1 1   Polychromos Pol ychromos Ar tists’ Colour Pencils Pencils   12–13

 

Albrecht Dürer Ar Artists’ tists’ Watercolour Pencils

14–15

 

Polychromos Ar Artist tists’ s’ Pastels

16–17

 

Pittt Past Pit Pastel el Pencils

18–19

  Pitt Monochrome Ar Artists’ tists’ Pencils And Crayons

20–21

 

Pitt Charcoal

22–23

 

Pitt Graphite

24–27

 

Graphite Aquarelle

28–29

 

Lithography Lithogr aphy / Mixed Media

30–31

 

Artt & Graphic Accessories Ar

32–33 32– 33

 

Information Infor mation on use / Colour Char Chartt

34–35

Product Illustrations

Professor Doo-Sh Doo-Shik ik L ee ( PhD), 1947 - 2013 2013,, was one of South Korea’s most important and inuential ar tists. Born in Yeongju, Yeongju,

Doo-Shik Lee studied ar t at Hongik University in Seoul i n the 1960s.  Nume rou rouss exhib ex hibitio itions ns and a nd cu rat ratoorial activities in Asia, the United States and Europe gave him an internat ional prole. His work was rst shown in Germany at a group g roup exhibition in t he 1990s. Lee was the Head of the Art Faculty at the internationally renowned Hongik University. The high demand for his artistic ski ll was attested to by his  position  posi tion as an a n ofcia of ciall repres rep resent entati ative ve of his h is coun co un-try’s art for the South Korean Ministry Min istry of Foreign Affairs.

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Pitt Artist Ar tist Pen Pen India ink pen

New 

Wooden case with wengé stain, varn ished on the inside and outside and with a high-quality nish, containing 90 Pitt Ar tist Pens  present  pre sented ed in i n two t wo tiers. tie rs. Art. No. 16 74 00

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Pitt Artist Ar tist Pen Pen ing power of ink, along with its permanence and ability to be combined with many other painting painti ng techniques, have ensured that this medium has consistently sparked the interest of artists and graphic designers. Faber-Castell has now brought together all of the advantages of drawing in Indian ink in a moder n and uncomplicated disposable pen  – the th e Pit t Ar tis tistt Pen. The high-quality br ush point will continue to function even when bent, and will not break under u nder these conditions. The light colours are transpare nt, and thus well suited to varnishing te chniques, while the dark c olours have good covering qualities. Pitt Artist Pens have unsur passed light-fastlight-fastness, and the individual colours are marked with an aster isk isk-based -based code.

Ink drawings have a very long artistic tradition in many countr ies. The expressiveness and cover-

Pitt Artist Art ist Pen Nib variety Pitt Artist Pen M Available in 3 colours

0.7

Pitt Artist Pen F Available in 3 colours

0.5

Pitt Artist Pen S Available in 11 colours

0.3

Pitt Artist Pen XS Available in black 

0.1

Pitt Art ist Pen SB Available in black 

Pitt Artist Pen SC Available in black 

Pitt Art ist Pen 1.5 1.5 mm

1.5

Available in black 

Pitt Artist Pen big brush Available in black 

Pitt Artist Pen 2.5 mm Available in white

 

New  2. 5

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Pitt Artist Art ist Pen Fineliner India ink pen with metal-cased nib in classical eart h tones, black, sepia and sanguine. sang uine. Available Available in the following nib widths …   XS ≈ 0.1 mm S ≈ 0.3 mm F ≈ 0.5 mm M ≈ 0.7 mm 16 71 02 ... as well as in various 4/6/8ct. 4/6/8 ct. wallet assor tments.

16 71 01

16 71 0 0

16 71 15

New 

16 71 39

16 71 37

16 71 16

Pitt Artist Art ist Pen brush The inherently stable brush bru sh tip  prov ides not only  provides on ly an a n excel lent in ink k ow and an even colour laydown  but also a lso glide g lide s smooth smo othly ly over  paper.  pap er. The brush brush version  version is available in 60 individual colours and various wallets.

brush

New 

N ew

N ew  

16 71 62

16 71 63

16 71 64

16 71 05

16 71 06

16 71 03

Pitt Artist Pen brush  Wallets of 6 6 assorted colours with exible brush tip. brush  tip. „Basic“, Art. Ar t. No. 16 71 71 03 „Shades of grey“, Art. No. 16 71 04 „Landscape“, Art. No. 16 71 05

„Terra“, Art. No. 16 71 06 „Ski n Tones“, Tones“, Art. Art . No. 16 71 71 62 „Pastel“, „Past el“, Art. No. 16 71 63 „Shades „Sha des of blue“, Art. No. 16 71 71 64

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16 71 04

 

Pitt Artist Pen gift box 12 Pitt Artist Pen, Art. No. 24 Pitt Artist Pen, Art. No. 48 Pitt Artist Pen, Art. No. 60 Pitt Artist Pen, Art. No.

16 71 46 16 71 47 16 71 48 16 71 50

16 71 46

New  167150

16 71 47

16 71 50 16 71 48

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New 

Pitt Artist Art ist Pen neon neon

  India ink pen with tre ndy and lightfast neon colours. The inherently in herently stable brush tip provides not only a n excellent ink ow and an even colour laydown but also glides smoothly over paper. Art. Ar t. No. 56 74 ..

brush

Pitt Artist Ar tist Pen Fineliner India ink pen with metal-ca sed tip. Ideal for writing and craft ing of greeting and invitation cards. Available in 8 br illiant individual colours with line width S ≈ 0.3 mm as well as in var ious wallets. Art. Ar t. No. 16 70 0.

0.3

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Pitt Art ist Pen Calligraphy Calligraphy   India ink in k pen with chisel nib. Ideal for calligraphic writing and drawing. Available in 3 individual c olours. Art. No. 16 75 ..

2. 5

Pitt Artist Art ist Pen Metallic Metallic High also on  pap  paper. er.covering Odo urle power Odourle ss, water wa terbas based eddark i nk.. ink  No sha ki king, ng, no pum pumpin ping g necessary. Available individually i n 6 colours, line width 1.5 mm. Art. Ar t. No. 16 73 ..

1.5

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Pitt Artist Art ist Pen The lighter the colour of the Pitt Artist Pen india ink in k pen, the more transparent tran sparent it is. The darker the colour, the more covering covering it naturally nat urally is. This pen p en also offers interesting possibilities for mixed techniques, e.g. with Albrecht Dürer Düre r art ist’ ist’ss watercolour pencils. Example of use: (A) Compressing Colour depth, rich colours and different light intensities can be created by repeate d laydowns of the same colour.

(A)

(E) (B) Mixing The waterbased ink w ith watercolour characteristics al lows it to create brilliant colour mixtures and bright colour shades by i nterfering areas with each other.

(B)

(F) (C) Dissolving The India ink of the Pitt Artist Pen develops a dynamic owaowa bility  bil ity in wet we t area ar eas. s. Onc e dr y, the colour is waterproof, permanent and can be painted over.

(C)

(G) (D) Layering The dry Pitt Ar tist Pen can be worked over with a water-soluble Albrecht Dürer pencil or watercolour without dissolving again. The luminance a nd colour depth remains intensive inten sive and stable.

(D)

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(E-G) Nib varieties The Pitt Ar tist Pen is available in various line widths. Th is way the artist may select f rom a range of ne nibs to brush tip, depending on the type of nib that is needed for creating the art work. By varying t he angles of holding holding the  brush  br ush t ip, one can cre create ate man ifold line widths and areas.

 

Polychromos Artists’ Colour Pencils Polychromos ar tists’ colour pencils are valued for Polychromos their peerless quality qualit y by professional professional artists artist s around the world. Their high standard ensur es that PolychroPolychromos artists’ artist s’ colour colour pencils are a re ideal for use in the graphic ar ts, for free artistic arti stic expression, and for the  precis  pre cisee colour col our in ing g of plan pl ans. s. Faber-Castell’s Faber -Castell’s quality standard s are applied consistently throughout the manufacturing process. Top-qual op-quality ity materials, materia ls, combined with our long experience, ensure that Polychromos artists’ colour pencils have extremely break-resistant leads, maximum light-fastness, the most vivid colours and optimal optim al  painta  pai ntabil bilit ity, y, along alon g with wi th many m any oth other er adva a dvanta ntages ges valu valued ed  by profess pr ofessiona ionall art a rt ist ists. s.

Polychromos Artists’ Colour Pencils 120 vivid colours, available individually from good spe cialist shops. Lead diameter: 3.8 mm Round cross-section, varnished in the same colour as the lead. Art. Ar t. No. 11 0. ..

Set of 36 pencils in a metal tin or studio box Art. No. 11 00 36 Art. No. 11 00 38

Erhältlich in verschiedenen Etuisortierungen.

Set of 60 pencils in a metal ti n Art. No. 11 00 60

Set of 12 pencils in a metal tin Art. Ar t. No. 11 11 00 12

Set of 120 pencils in a metal tin Complete range of Polychromos

Set of 24 pencils in a metal ti n Art. Ar t. No. 11 11 00 24

artists’ in threecolour tiers. pencils, presented Art. No. 11 00 11

Set of 120 pencils in a wooden case Wooden case with wengé stain, stain ,varnished on the inside and outside and with a high-quality nish, contai ning 120 Polychromos artists’ colour pencils presented in two tiers. Art. No. 11 00 13

Set of 72 pencils in a wooden case Art. No. 11 00 72

(Wooden (W ooden case of 120 pencils) 12

 

Polychromos Artists’ Colour Pencils Polychromos ar tists’ colour penPolychromos cils have especially soft leads,

(A)

which are non-smudge and waterproof. They are characterised  by their th eir unp unpar arall alleled eled l ight-f ight-fastastness and break-resis break-resistance. tance. Examples of use: (A) Blocks of rich colour To create blocks of intense colour, hold the pencil in an a lmost vertical position and press down hard on the pape r. (F) (B) Shading To colour an a n area evenly, hold

(B)

(C)

the pencil at a very shallow angle, and only press down lightly on the paper. The structu re of the paper will be visible, while individual strokes will not. (C) Hatching and crosshatching Drawing many line s alongside each other will create an area of colour, which can be intensied inten sied  by repea re peated tedly ly overlay over laying ing lin lines es at different angles.   (D) From light to dark 

Light colours colours are t ransparent, while dark colours provide coverage. Superimposing layers of colour colour increases t he brilliance and vividness of the colours.

(D)

(E)

(E) Brush painting To create even areas of colour,  pai nt over the str strokes okes made m ade wit with h Polychromos artists’ colour  pencil  pen cilss using usi ng a bri b ristle stle bru b rush sh and an d  par af afn n oi l (baby (b aby oil oi l or salad sa lad oil). Oil paints also dissolve the artists’ colour pencils, which is why they are often used to draw

 pre par ato  prepar atory ry sket s ketches ches for oil  pai nti ntings. ngs. T he line l iness subseq sub sequent uently ly dissolve when when they are painted over. 13

(G) (F) Painting onto coloured backgrounds A coloured background can result in very attra ctive changes to the character of a colour. (G) Working on different surfaces Polychromos Pol ychromos colour pencils adhere to many rough surfaces, such as  paper,  pap er, ca rdbo rdboard ard,, wood, wood , stone, sto ne, leather and metal. Fixing Polychromos Pol ychromos ar tists’ colour pencils are permanent, adhere rmly

to their background, a nd do not require xi ng. Fixing could cause lower layers of colour to bleed through to the surface.

 

Albrecht Dürer  Artists’ Watercolour Pencils Albrecht Dürer ar tists’ watercolour watercolour pencils  provide  prov ide a rt rtist istss with wit h great gr eat vers v ersati ati lit lity y of ex-

 pre ssion when dr  pression drawi awing, ng, shad sh ading ing and pai nti ng in watercolours. High-quality materials, combined with Faber-Castell’s experience, have resulted in pencils that produce unsur passed watercolour effects. The coloured surface can be transformed t ransformed with only a few ne or broad brushstrokes to reveal the full and unique power p ower of the colours. colours. Depending on the paper bei ng used, the pigments can be completely dissolved, and will then behave in the same way as classic watercolour watercolour paints. The paint becomes per manent when dry, enabling other layers of colour to be superimposed without causing it to dissolve again. For this reason, many watercolour artists choose to use the pencils for the ne details in t heir watercolour paintings, as well as for watercolour sketches while travelling.

Albrecht Dürer Artists’ Watercolour Pencils 120 vivid colours available individually from good specialist shops. Lead diameter: 3.8 mm Hexagonal cross-section, varnished in the same colour as the lead. Art. No. 11 7. ..

Set of 72 pencils in a wooden case Art. Ar t. No. 11 75 72 Set of 120 pencils in a wooden case

side and with a highquality nish, containing 120 Albrecht Dürer artists’ watercolour  pencil  pen cilss present pre sent ed in in two tiers.

Set of 12 pencils in a metal tin Art. No. 11 75 12

W ooden case withi nside wengé stai n, varnished on the and out-

Art. No. 11 75 13

Set of 24 pencils in a metal ti n Art. Ar t. No. 11 11 75 24 Set of 36 pencils in a metal tin or studio box Art. No. 11 75 36 / Item 11 75 38 Set of 60 pencils in a metal ti n Art. Ar t. No. 11 11 75 60 Set of 120 pencils in a metal tin Complete range of Albrecht

Dürer ar tists’ watercolour watercolour pencils, presented in three tiers. Art. No. 11 75 11

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(Wooden (W ooden case of 72 pencils)

 

Albrecht Dürer Artists’ Watercolour Pencils The leads in Albrecht Dürer artists’ watercolour pencils can  be t ra ransfor nsfor med complete comp letely ly into in ato watercolour paints, and have high level of light-fastness and  break-re  bre ak-resist sistanc ance. e. (A)

(F) Examples of use: (A) Blocks of rich colour To create blocks of intense colour, hold the pencil in an almost vertical position and press down hard on the paper. (B) Shading To colour an a n area evenly, hold the

(B)

(C)

(C) From light to dark  Light colours colours are t ransparent, while dark colours provide coverage. Superimposing layers of colour increases the brilliance and vividness of the colours.   (D) Running and dissolving with water

Paint over surface the  paper with aacoloured damp brush. Theon more often the surface is painted over, the more the strokes will dissolve.

(D)

(E)

(G)

 pen  pencil a t press at a ver ydown sha llow shallow a ngle, angle and cil only lightly on, the  paper.  pap er. The Th e stru st ruct cture ure of the pap paper er will be visible, while individual strokes will not.

(E) Hatching and cross-hatching Drawing many line s alongside each other will create an area of colour, which can be intensied inten sied  by repea re peated tedly ly overlay over laying ing lin lines es at different angles.

(H) (G) Drawing on wet paper The ar tists’ watercolour watercolour pencils

release a great deal ofned pigment when used on dampe paper. The pencil tips become very soft, and glide smoothly across t he  paper.  pap er. (H) Glazing technique Areas that have been painted over completely with water will dry per manently into the paper, and can subsequently be painted over again without run ning.

(F) Dissolvi ng the colour with a spray bottle Spraying the coloured surface

Fixing Albrecht Dürer ar tists’ waterwater-

with waterthe from a spray b ottle bottle will make colours especially intense and cause them to merge into interesting tra nsitions, based on the structu re of the paper. paper.

colour pencils adhere to the paper and do notrmly require xing. “UV sprays” will also only enhance their permanence in rare cases.

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Polychromos Artists’ Pastels Polychromos artists’ pastels contai n a high Polychromos level of of pigment, and are free of lubricants and wax. The crayons can be smudged to create ne transitions of colour. Harder than the soft pastel crayons, Polychromos Polychromos crayons are also well suited to drawing. The square cross-section assists in the drawing d rawing of very ne details, as well as the shading shadi ng of larger areas. Polychromos Polychromos art ists’ pastels are characterised by their stable consistency, economy of use and excellent adherence to paper, cardboard, wood and stone. stone. Only minimal xing x ing is required, ensuri ng that the pastel drawings retain their vividness of colour. Polychromos artists’ pastel crayons can be ground grou nd into a ne pigment powder using sandpaper, and then mixed m ixed with oil, resin or an acrylic medium to form paint.

Polychromos Artists’ Pastels 60 vivid colours available individually from good specialist shops. Square-cross section, L / W / H: 82 / 7.3 7.3 / 7.3 7.3 mm Art. Ar t. No. 12 8 ..

Set of 36 crayons in a cardboard or studio box Art.. No. 12 85 36 / Item 12 85 37 Art

Set of 12 crayons in a cardboard case

Set of 60 in a metal tin Art. No. 12 85 60

Art. Ar t. No. 12 85 12 12 Set of 24 crayons in a cardboard case Art. Ar t. No. 12 85 24

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Polychromos Artists’ Pastels

(A)

The square cross-section of the Polychromos Poly chromos artists’ ar tists’ pastels makes them perfectly suited both to drawing lines and shading areas. They can be smudged by ngers, and thus thu s require light xing.

(F)

Examples of use: (A + B) Basic techniques We recommend using u sing the edges of the art ists’ pastels for shading. shading. This will a chieve more even and dened stroke widths, which adadhere better to their background.

(B)

(C)

(D)

(C) Variations Variations in colour intensity i ntensity The level of pressure exerted will determi ne the amount of pigmenpigmentation the crayons deposit onto the  paper.  pap er. The Th e ar tis tistt has ha s a wide wid e range ra nge of possibilities, from delicate, ne lines through to impulsive splashes of colour. (D) Blending colours Colours can be blended by vigorously superimposing different layers, causing the individual strokes of colour to merge softly into one another. (E) Sanding technique Pastel pigment can be gr ated off the crayon using sandpaper. If the surface has be en sprayed with a xative, the coloured pigments will bind to the background. Damp acrylic paints were used in this example. (F) Transitions Adjacent lines of colour can easily  be smudg sm udged ed with wi th a ng nger er to t o cre ate an even surface with a delicate transition of colour.

(E)

(G) Brush painting To create even areas of colour,  paint over the strokes made with Polychromos Poly chromos artists’ ar tists’ pastels using a

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(G)

(H)

 bristle brush and parafn paraf n oil (baby oil or salad oil). This technique is ideal for colouring paper and creating backgrounds and bases. (H) Corrections Pastel colours can be completely removed from smooth, smooth, rm t ypes of paper using a vi nyl eraser. Dab bing  bin g with wit h an a rt e ra raser ser will w ill lig lighte hten n the colours. Fixing Every xing process alters the vividness of the colours. The softer the pastel crayon, the greater the need to x the colour onto the  paper.  pap er. Polychromo Polych romoss ar tis tists’ ts’ pastel pa stel crayons are relatively hard and adhere well to the structure structu re of the  paper,  pap er, mean me aning ing tha thatt only on ly mi ni nimal mal xing is required.

 

Pitt Pastel Pencils Pencils Pitt artists’ pastel pencils, with their oil-free pastel leads, are used by art ists not only as the perfect complement to pastel crayons for elaborating ne details, but also on their own. Many artists art ists who enjoy pastel techniques a nd their versatil ity,  but not no t the th e di rt y hands ha nds a nd colour col oured ed dust d ust t hat accompany them, have opted to use these special  pencil  pen cils. s. Pit t pastel pa stel pen pencil cilss have a ver y comcom  pactt lead,  pac lea d, which wh ich is eco econom nomical ical to use. u se. The T he lead le ad contains a very high h igh level of of pigment, making the  pencil  pen cilss idea lly suit s uited ed both b oth to draw d rawing ing li lines nes a nd shading, as well as blending and merging into delicate colour transitions. The colour selection in this range places a par ticular emphasis on the muted shades and earth tones that are especially importa nt for pastel drawing.

Pitt Pastel Pencils 60 vivid colours, available individually from good specialist shops. Lead diameter: 4.3 mm Round cross-section, with a dipped cap in the same c olour as the lead. Art. Ar t. No. 11 11 2 .. Set of 60 pencils in a metal tin Assortment of colours featuring extensive shades for landscapes,  por tr trait aits, s, design de sign etc., pres p resent ented ed in in two tiers. Art. No. 11 21 60

Set of 12 pencils in a metal tin Art. No. 11 21 12 Set of 24 pencils in a metal ti n Art. Ar t. No. 11 21 21 24 Set of 36 pencils in a metal tin Art. No. 11 21 36

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Pitt Pastel Pencils Pitt pastel pencils a re ideal for drawing lines and shading surfaces, as well as for small pastel

(A)

drawings and pleme picturentdetails. They  pe  perfe rfectly ctly com compleme th e Polythe chromos ar tists’ pastel crayons. Pitt pastel pencils can be smudged  by nger  nger s, and an d thus thu s requi req uire re light l ight xing.

(F)

Examples of use: (A) Variations Variations in i n colour intensity The level of pressure exerted will determi ne the amount of  pigment  pig ment ati ation on the t he pa stel penc p encils ils deposit onto the paper. The ar tist has a wide range of possibilities, (B)

(G)

from delicate, ne lines th rough to through impulsive splashes of colour. (B) Blending colours This blending technique i nvol nvolves ves working the lighter colour into the t he darker one, thereby immediately creating a new shade. The lines merge and become very diffuse, and can disappear entirely if coloured over repeatedly. rep eatedly.

(C)

(H) (C) Blending colours Adjacent areas of colour can be transformed into powerful mix-

ture tures s of colour when smudged with a nger. The lines remai remain n visible.

(D)

(E)

(D) Intensifying Whole areas of colour can be created using individual dabs of colour, which can be gently merged by rubbing them softly with the palm of your hand. Different nuances of expression can  be achie a chieved ved in i n this th is way.

(G) Brush painting

T o create even areas colour, over the strokes madeofwith Pitt paint pastel pencils using a bristle brush and  parafn  paraf n oil (baby oil oil or salad oil). oil). (H) Corrections Pastel colours can be completely removed from smooth, rm types of paper using a vinyl vi nyl eraser. Dab bing  bin g with wit h an ar t erase er aserr wil l lighte lig hten n the colours.

(E+F) Transitions Adjacent lines or areas of colour can easily be smudged with a nger to

Fixing Every xing process alters the vivvividness of pastel colours. Pitt pastel

create a distinct disti block or more a delicate transition tran sition of nct colour. colour. The often the area is coloured over, the greater the intensity inten sity of the colour.

 pen  pencil cilsspaper, ad here adher e well to t o that th e stru the stonly ruct ctur uree of the meaning minimal minim al xing with a xing spray is required.

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Pitt Monoc Monochrome hrome Artists’ Ar tists’ Pencils Pencils and Crayons The monochrome colours of sanguine and sepia can be found in life drawing classes at almost every art a cademy. Enhanced with white, and with the shadows deepened with black, they t hey lend vitality, liveliness and expression to the drawings. This old tradition of gure drawing dates d ates back to the Renaissance. Pitt Monochrome crayons hark back to this t his long tradition of gure drawing, which is why the crayons designed for sketching are harder than th an conventional pastel crayons. For this reason, the lines do not disappear c ompletel ompletely y when smudged. The sanguine a nd sepia crayons are supplementsupplemented by oil-free and oil-based dr awing pencils for sketching details and lines.

Pitt Monochrome Artists’ Pencils and Crayons Oil-free artists’ pencils Pitt Monochrome With a dipped cap in the same colour as the lead Pitt pastel pencil i n white, medium / white, soft / sanguine / light sepia / dark sepia Art. Ar t. No. 11 11 20 .. Oil-based artists’ pencils Pitt Monochrome With a cap in t he same colour as the lead Pitt Oil Base black, extra soft / black, soft / black, medium /  black,  blac k, hard h ard / blac black, k, extr ex traa hard ha rd Art. Ar t. No. 11 11 26 ..

Sanguine Art. Ar t. No. 11 11 29 20

New 

Artist s’ crayons Pitt Monochrome L/W/H: 82/6.3/6.3 mm (Burnt black crayon: 5 mm) Crayon with square cross-s cross-section ection Pitt white crayon medium / soft Pitt sanguine crayon unburnt dark / unburnt light / bur nt / Pitt sepia crayon Roman / medium / Pitt artists’ crayons Bister / va n Dyck / burnt umber / Pitt black artists’ crayons burnt medium / burnt soft / unburnt soft Art.. No. 12 .. .. Art Pitt Monochrome Set Small 12-piece assortment of graphite, charcoal, ar tists’ pencils and artists’ crayons in a metal tin. Art. No. 11 29 75 Pitt Monochrome Set Medium 21-piece assortment of graphite, charcoal, ar tists’ pencils and artists’ crayons in a metal tin. Art.. No. 11 29 76 Art

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Pitt Monochrome Set Large 33-piece assortment of graphite, charcoal, artists’ pencils and ar tists’ crayons in a metal tin. Art.. No. 11 Art 11 29 77 Pitt Monochrome Wooden case Wooden case with wenge stain, varnished on the inside in side and outside and with a high-quality nish, containi ng the complete range of Pitt Monochrome artists’ products and accessories,  present  pre sent ed in i n two t ier iers. s. Art.. No. 11 Art 11 29 70

 

Pitt Monochrome Artists’ Pencils and Crayons This assortment assort ment of highly pigpigmented art ists’ pencils and cray-

(A)

ons in aisr ange of monochrome shades primarily designed for gure drawing. The oil-free  pencil  pen cilss and an d crayon cr ayonss can ca n be used u sed for line drawings and shading surfaces, and can be combined with one another.

(E)

Examples of use: (A) Oil Base pencils Unlike the oil-free pencils a nd crayons, the pencils marked a s Oil Base adhere rmly to the  backg  bac kgrou round nd and a nd are a re smudge smu dge a nd

(B)

(C)

waterproof.  pen  pencil cil c omesThe in 5black grade gr adedrawing s of hardness, offering a wide range of drawing and sketching possip ossi bilitie  bil ities. s.

(F)

(B) Oil-free pastel pencils and artists’ crayons These pencils and crayons in a variety of earth tones can be easily smudged with a nger to create coloured areas and delicate colour transitions, and require light xing to preserve the drawing.

(E) Lightening with white The different earth tones only display their full and un ique character when lightened with white. Depending on the individual pigment, the shades also take on either warm or cool nuances.

(C) Basic technique We recommend using the edges of the ar tists’ pastel crayons for shading. This will achieve more even and dened st roke widths, which adhere better to their  backg  bac kgrou round. nd.

White is not only usedon to capply highlights (especially oloured  paper),  pap er), but also a lso for fo r smudgi smud ging ng and a nd  blending  blend ing.. Two Two diffe di fferent rent gr grade adess of hardness facilitate the various shading techniques.

(D) Drawing lines and areas The ar tists’ pencils are ideal for drawing details, while the a rtists’ crayons are better suited to la rge or broad lines and areas.

(D)

21

(F) Blending with white

Fixing The products adhere ad here so well to textured backgrounds that only minimal xing is required. The colours are unaffected by exposure to sunlight.

 

Pitt Charcoal  Nat ural  Natur al char ch arcoa coall is the t he olde st sketch ske tching ing and dr drawi awing ng material in the world. The greyish-blue shade glides softly across the paper, pap er, rubs and smudges easily, easily, and can be erased without difculty and repeatedly repeated ly overlaid. Many Many art st udents are taught to r st make sketches in natural cha rcoal, even when working working on canvas, before further elaborating t he details of the picture. Faber-Castell has developed two further furt her  produc  pro ducts ts ba sed on o n this th is cla ssic draw d rawing ing mat mater erial, ial, namely pressed charcoal sticks and pressed charcoal  pencil  pen cils. s. Groun Gr ound d nat ur ural al charc ch arcoal oal is i s enric en riched hed with w ith  black  blac k pigment pig ment , and the n compre com pressed ssed wit with h clay to form a crayon. This results in a signicantly blacker shade, which is available in 5 different gra des of hardness.

Pitt Charcoal

11 29 .. 11 74 .. 12 91 ..

Pitt pressed charcoal pencil in 3 grades of hardness Soft / medium / hard Round cross-section, unsharpened, with brown varnish. Art. Ar t. No. 11 11 29 ..

12 91 .. 12 99 ..

Pitt natural charcoal pencil in 3 grades of hardness Soft / medium / hard Round cross-section,

Pitt charcoal Set in a metal tin 24-piece set containing a selectionof natural and pressed charcoal crayons and

unsharpened, with black varnish. Art. No. 11 74 ..

charcoal pencils in different grades of hardness, with accessories. Art. Ar t. No. 11 11 29 78

Natural charcoal sticks in 4 diameters Ø ca. 3 – 6 mm m m / 5 – 8 mm / 7 – 12 mm / 9 – 15 mm Stick length: 83 mm  Natur  Nat ural al bra b ranch nch shape sh ape.. Art. Ar t. No. 12 91 .. Pitt pressed charcoal sticks in 5 grades of hardness Extra soft / soft / medium / hard / extra hard

Stick length: 83 mm Ø 7.8 mm, round cross-section. Art. Ar t. No. 12 99 ..

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New 

 

Pitt Charcoal The pressed and natural charcoals in pencil and crayon form are a tried and tested traditional art material, as are the natural charcoal sticks. All of the charcoal products in the Art & G raphic range have a high level of light-fastness. (A)

(B)

Examples of use: (A) Pressed and natural charcoal sticks The pressed charcoal sticks are made of charcoal, which has been enriched with additional add itional pigment and then pressed together with clay to form crayons of different grades of hard ness. It leaves strokes of deep black, which can be smudged with a nger to create an even area of intense  black  blac k colou r. Pressed Pre ssed cha charco rcoal al is ideally suited to larger areas, as it is somewhat softer. Natural charcoal is harder, and thus perfect for drawing outlines and details. (B) Brush painting Due to its high level of pigmentation, pressed charcoal can be  pai nte nted d over usi using ng a bri b ristle stle bru b rush sh and paraf n oil (baby oil or salad oil) to create areas of intense colour.

(C)

(C) Transitions Pressed charcoal produces a very intense colour. Transitions Transitions enable its full range of shades, from  pitch  pitc h black bla ck to lig light ht grey, g rey, to be be shown to best advantage. (D) Natural charcoal  Natur  Nat ural al charc ch arcoal oal is i s made ma de by charr ing willow twigs in the absence of oxygen. The strokes ca n  be easil e asily y smudge smu dged d with wit h a nger  nger to create a grey surface.

(D)

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(E)

(F)

(E) Corrections  Natu ral cha charco rcoal al is avai available lable in a range of diameters. The colour deposit and character of the charcoal sticks is uniform. The strokes are very easy to era se. Fixing is required to preser ve the drawings. (F) Transitions  Natu ral cha charco rcoal al has h as a ve ry limited i ntensity of colour. Its delicate greyish-blue hue is shown to advantage in very ne colour tra nsitions. Fixing Charcoal drawings smudge very easily,, and thus requi re xing. easily

 

Pitt Graphite The Pitt Graphite Progra mme provides all creative artists with a n extensive range of pencils and cray-

ons in different grade s of hardness for sketching, graphic design and shading work. The “green  pen cil fro  pencil from m Faber”, Fabe r”, which whic h was a lre lready ady bei ng mentioned with approval by van Gogh and Goethe, has now become part of everyday life. The 16 different grades of hardness ra nge from a delicate grey hue to a deep gr aphite black, and offer artists a wide range of possibilities. The Graphite Pure Pu re leads are ideal for creating contrasts a nd shading extended areas. These pencils offer unparalleled  possibil  pos sibilitie itie s for spont sp ontane aneous ous expr e xpressio ession, n, crea c reati ting ng different effects based on the pressure applied and grade of hardness. The pencils are sharpened in the same way as a normal lead pencil. The graphite g raphite crayons are an ideal and very economical medium mediu m for working working on ver y large sketches and area s.

Pitt Graphite   Castell 9000 Pencil Castell 9000 in 14 grades of hardness, hexagonal cross-section 8B / 7B / 6B / 5B / 4B / 3B / 2B / B / HB / F / H / 2H / 3H / 4H / 5H / 6H Ø 6H to 2B = 2.0 mm Ø 3B to 8B = 2.8 mm Art. Ar t. No. 11 11 90 ..

New

New  

Castell 9000 Jumbo in 5 grades of hardness,  hexagonal cross-section 8B / 6B / 4B / 2B / HB Ø 5.25 mm Art. Ar t. No. 11 11 93 0. Castell 9000 tin of 6 6 Castell 9000 in a r ange of softer grades of hardness for art work 8B / 6B / 4B / 2B / B / HB. Art. Ar t. No. 11 11 90 63 Castell 900 0 Jumbo tin of 5 5 Castell 9000 Jumbos in a ra nge of softer grades of hardness hard ness for artt work 8B / 6B / 4B / 2B / HB. ar HB.   Art. Ar t. No. 11 11 93 05

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Castell 9000 Art Set in a metal tin 12 Castell 9000 pencils in a range of softer grades of hardness for art work. Art. Ar t. No. 11 11 90 65

Castell 9000 Design Set in a metal tin 12 Castell 9000 pencils in a range of harder grades of hardness for graphic design. Art. Ar t. No. 11 11 90 64

Pitt Graphite Pure Graphite Pure in 4 grades of hardness HB / 3B / 6B / 9B Length: Leng th: 174 mm, Ø 7.7 7.7 mm Round cross-section with a  protect  prot ect ive ca sing sing.. Art. Ar t. No. 11 11 73 .. Pitt Monochrome Graphite Crayons Graphite crayons in 4 grades of hardness Hexagonal cross-section

2B / 4B / 123 6B / 9B Length: mm, Ø 11.5 mm Art. Ar t. No. 12 99 ..

25

 

New 

New 

Pitt Graphite Set in a tin, small A combination of 2 Castell 9000 and 2 Castell 9000 Jumbo pencils, 2 Graphite Aquarelle pencils, 2 Pitt Graphite Pure Pu re pencils, 1 Pitt Graphite crayon and accessories. Art. Ar t. No. 11 11 29 72 Pitt Graphite Set in a tin, medium A combination of 3 Castell 9000 and 3 Castell 9000 Jumbo pencils, 3 Graphite Aquarelle pencils, 3 Pitt Graphite Pure pencils, 2 Pitt Graphite crayon and accessories. Art. Ar t. No. 11 11 29 73

New 

Pitt Graphite Set in a tin , large A combination of 7 Castell 9000 and 3 Castell 9000 Jumbo pencils, 3 Graphite Aquarelle pencils, 3 Pitt Graphite Pure pencils, 3 Pitt Graphite crayon and accessories. Art. No. 11 29 74

22 26

 

Pitt Graphite

(A)

Very nely  nely ground graphite and clay are the base mater ials for the range. The pencils used to draw  precise  pre cise li lines nes a nd ne  ne deta de tails ils (A), Graphite Pure, a thick graphite lead used to d raw expressive contrasts (B) , and the crayons used to shade larger areas (C) are all available in different grades of hardness, based on the t he proportion of the two components in the mixture.

(F)

Examples of use:

(B)

(D) Lines and areas Different line widths and areas can be created by holding the crayon at various angles and using different edges.

(G)

(C)

(E) Hatching Hatching involves creating areas from lines. A very even effect can be produced by repeatedly superimposing lines at different angles. These areas can range in colour from delicate grey to deepest black, depending on the grade of hardness and the pressure of the stroke.

(H)

(D)

(F) Shading To create an area of even colour in which the individual strokes are no longer visible, hold the  pencil  pen cil at a very ve ry shal low angle an gle and only press down lightly on the paper. Particularly good results can be obtained with this th is technique using a Graphite Pure  pencil  pen cil.. (G) Brush painting Particularly large areas can be easily shaded using graphite crayons. Painting the area with  paraf  par afn n oil o il (sala d or baby b aby oil) oi l) and a bristle brush will enhance the intensity of the g raphite layer.

(E)

27

(H) Rubbing Graphite products are ideally suited to the rubbing techniques so popular with children (the struct ure of an object beneath the paper comes through when it is rubbed over). The crayons in  par tic ticula ula r can ca n be used u sed i n limitli mitless artistic applications of this technique.

 

Graphite Aquarelle Being able to brush over drawings w ith water is not only an immensely im mensely popular feature for colourcoloured pencils, but also that gives classic as graphite pencils exta ra extra edge.medium such A whole new world of unique effects is opened up for the artist by this new feature, giving givi ng the art work a special dynamic quality. As the watwatersoluble pencil is ideal for classic, monochrome watercolour drawings, sketches for silk, oil or acrylic painting and for mixed media techniques, it can be used in a var iety of applications and forge its way way ahead in the ar t scene in the years to come.

Illustration: Alexander Vethers

Graphite Aquarelle Graphite Aquarelle in 5 grades of hardness, hexagonal cross-section HB / 2B / 4B / 6B / 8B Ø 3.3 mm Art. Ar t. No. 11 11 78 0.

HB

2B

4B

6B

Graphite Aquarelle tin of 5 5 Graphite Aquarelle pencils in a range of softer grades of hardness for watercolour art work.

HB / 2B / 4B / 6B / 8B Art. Ar t. No. 11 11 78 05

New 

Blister card Graphite Aquarelle Art. Ar t. No. 11 11 78 97

28

8B

 

 HB

Graphite Aquarelle Examples of use:

The different degrees of hardness allow you to achieve strong contrasts of light and dark washes. When applying a wet brush to the graphite, the inte nsity of the shades of grey can be controlled  by addi a ddi ng more mo re or less l ess water. wa ter.

 2B (A) Exact lines Precisely drawn lines and struct ures completely dissolve dissolve to  bec ome wate wa tercolo rcolorr effe cts cts.. The rm li ne becomes softer, and also changes its grey scale. (B) Technique

 4B

 6B

Try new techniques, techn iques, e.g. be the character of the line can changed by drawing on wet  paper.  pap er. Tips and tricks · As the lines dissolve dissolve very very easily when wet, ideal for usage with silk painting. · Can be dissolved with a wet  pai nt-br ush or o r sponge. spo nge. · For delicate washes, washes, grind graphite off the pencil with sandpaper and gently pick up again with wet brush bru sh to apply. apply.

(A)

· Can be pencil sharpe ned sharpe with an artists’ sharpener.

(B)

 8B

29

 

Lithography Lithography was discovered as a printing method almost 200 years ago, and is still an impor tant artistic discipline d iscipline today. today. This graphic tech nique exploits the fact that water and oil do not mix. m ix. The drawings and pr ints are done on a at, even surface. Even today we still use li mestone from the Solnhofen quarries in the Altmühl valley in Germany. Manufactu Manufactured red aluminium and tin  plates  plat es are, a re, however, h owever, also a lso suit s uitable able for fo r lit hog hograp raphy. hy. The exceptional ar tistic avenues offered by this at printing technique techn ique were appreciated appreciated very early on and it is now a form that has been used  by all al l notewor not eworthy thy a rt rtist ists. s. Its popu p opular lar ity is on the rise. Lithographic techniques mean that a large number of copies can be made using simple and  prima  pr ima ri rily ly enviro env ironme nme nta ntally lly f rie riendl ndly y mater mat erial ials. s.

Lithography The drawing is made using materials that contain oil on a pre pared  pa red l ime imeston stonee or meta me tall plat e. Then the plate has to be prepa red so that only the drawing itself will accept printi ng ink, while no colour adheres to the other area s. The drawing mater ial is washed out using an oil-based solvent, and the lines of the drawing a re  pre pared  prepar ed so th that at they t hey a re ready re ady for printing. The printing in k is applied and the drawing is printed.

Polychromos artists’ Polychromos colour pencils The special wax-oil mixture in the Polychromos lead ensures

Multi-surface pencil The lead of the multi-surface  pencil  pen cil cont ai ains ns speci sp ecial al adhe a dhe sive waxes, waxes, giving a ver y high

very good adhesion to the stone  plat e. The  plate. Th e pencil pe ncil is also al so very ve ry easy to sharpen so that it can be used to draw ne li nes. Colour: black  Art. Ar t. No. 11 11 01 99

 prop ortio  propor tion n of wax, wax , essent ess ential ial for fo r adhesion to stone in l ithography techniques. Colour: black  Art.. No. 11 Art 11 59 99 Wax marking crayons 2253 The wax marking crayon’s high level of wax makes it ideal for lithography – just as with the multi-surface pencils, it gives an excellent adhesion to the stone plate. Colour: black Art. No. 12 22 99

30

 

Mixed Media tech niques effects. The combined use of several techniques in one work of art creates a dynamic dynam ic of its own, opening up u nexpected new ways of expression for the artist.

Every artist ha s their own preferences for specic materials and techniques, but often cannot be conned to one medium med ium only. To To give creativity f ree rein, the combination of various media med ia is often an attra ctive alternative and can produce unique

Albrecht Dürer & Pitt Artist Pen · The vibrancy of watercolour watercolour  pencil  pen cilss really rea lly come c omess into int o its own when the drawing is  brushe  br ushe d with wit h water. wat er. They Th ey comc om binee ver y well with  bin w ith wate w aterp rproof roof India ink pens. · Albrecht Dürer – as a classic

colour pencil – br ushed over with water. · Waterproof Pitt artist pen overlaid with Albrecht Dürer. Art. Ar t. No. 11 11 75 40

Polychromos Castell 9000 & · Artists’ pencils can be applied lightly or intensely intensely,, showing off their vibrant colours. They are perfectly combined with graphite pencil. · Polychromos – classic cross hatching – soft colour transitions. · Castell 9000 – a range of grey shades achieved with crosshatching. Art. No. 11 00 40

31

 

Art & Graphic Accessories Art & Graphic Accessories Accessories   Perfection Eraser Pencils The soft red eraser accurately accu rately removes lead and coloured pencil marks, while the hard white eraser removes ink, Indian ink and ballpoint pens. Art. No. 18 57 12 Art. Ar t. No. 18 18 58 00 Paper Wiper / Blender Used to blend or correct pastel crayon, Pitt crayon and pressed and natural charcoal strokes.

Ar t. No. 12 27 80 Art. Water pot Water pot with practical folding mechanism for storage and transport. · Perfect for pencil-shavings pencil-shavings · Easy to clean clean · Not suitable for solvents   (e (e.g. .g. tur pentine) Art. Ar t. No. 18 15 15 20

Art. No. 18 57 12 Art. No. 18 58 00

Art. No. 12 27 80 Art Eraser Used to correct or lighten charcoal and pastel strokes. Can a lso  be used u sed to clean cle an t ran ranspa sparen rencies cies and for ne drawings. Art. Ar t. No. 12 72 20 Synthetic Eraser Cleanly erases lead and coloured  pencil  pen cil str s trokes. okes. Art. No. 18 81 21

Art. No. 12 72 20

Art. No. 18 81 21

Dust-Free Eraser Eraser that leaves no shavings. Art. Ar t. No. 18 71 71 20 Art Eraser Dust-Free Eraser that leaves no shavings. Art. Ar t. No. 58 71 71 22

Art. No. 58 71 22

Art. No. 18 71 20

32

 

Art & Graphic Accessories Art & Graphic Accessories Accessories Metal Sharpener Sharpener for lead and colour  pencils.  penci ls. Art. Ar t. No. 18 31 31 00 Dual Metal Sharpener Sharpener with a shar p and a  blunt  blu nt blade, bla de, espe e special cial ly design de signed ed for artists’ colour pencils (including those with a thicker wooden casing). Art. No. 18 57 10

Pencil Sharpening Machines For all pencils with round, triangular triang ular or hexagonal cross-sections of up to 12 mm Ø. Point setting: long and pointed, or short and blunt; with desk clamp. Art. Ar t. No. 18 18 09 63 Art. No. 18 14 63 Double-hole Sharpening box Castell 9000 Double-holee shar pening box for Double-hol

standard and jumbo titanium plated knifepencils with Art. No. 58 28 00

Eraser Knife Hand-worked Hand-wo rked multipurpose k nife for very ne graphic corrections and the sharpening sharpen ing of artists’  pencil  pen cils. s. Art. Ar t. No. 18 13 13 98 Sandpaper Block  2 strips of ne and coarsegrained sa ndpaper for the most delicate sharpening functions. Also suited to grinding pastel  powders.  powde rs. Art. Ar t. No. 18 51 51 00 Brush Made of wood, with the bristles composed of a mixture of soft white goat hair arranged in 3 rows. Art. Ar t. No. 17 80 16

33

 

Information on use Polychromos Pencils

Polychromos Crayons

Albrecht Dürer Pencils

Pitt Pastel Pencils

 Number of colours

120 colours

60 colours

120 colours

60 colours

60 colours in the  brush point point format format

Techniques

Drawing, hatching,  blending techniqu techniques es e.g. with Albrecht Dürer coloured  pencils and and pastel crayons

Drawing, sketching, dry painting

Drawing, hatching, shading and watercolour painting, washing, blending technique e.g. with Polychromos coloured pencils,  pastel crayons crayons and Pitt Artist Pens

Drawing, sketching, fne lines and hatching, smudging, dry painting, details (e.g. on portraits), also ideally complements the pastel crayons

Drawing (including large areas), sketching, calligraphy, ideal for plans and layouts,  blending  blendin g technique technique e.g. with Polychromos  pastel crayons crayons and and Albrecht Dürer artists’ watercolour pencils

From sketch paper to Heavy paper with

Watercolour paper

Paper, board with a

Sketch and drawing

high-quality drawing a coarse-grained  paper, drawing  paper, surface, coloured cardboard, coloured  paper  paper,, board, brown brown  paper (including (including dark dark  paper  paper,, ock paper, paper, shades and black), sandpaper, wood, transparent paper, canvas (prepared) cardboard, brown pa per, wood; wood; the paper paper should be acid-free

with a smooth fairly coarse surface surface for drawing, (including coloured with a coarse surface  board), ock paper paper,, (including torchon sandpaper, wood,  paper) if most most of the canvas (prepared) surface is to be painted in watercolours,  prepared canvas, canvas, sketch and drawing  paper for “dry” “dry” work, (see Polychromos)

 Recommended  surfaces

 Accessories

Scalpel for removing Paper wiper, art Watercolour brush, colours eraser, fxative, pastel colour shaper  eraser,  base, sandpaper sandpaper block for grinding loose pigment for backgrounds

Special features

Particularly soft waterproof oil-based crayon lead, excellent light-fastness

Excellent light-fastness, stable consistency and thus economical to use. Only minimal fxing is required due to outstanding adhesive qualities

Pitt Artist Pen

 paper, transparent  paper, transparent  paper,, layout paper  paper paper,,  board with with a smooth smooth surface, canvas; the paper should be acid-free

Paper wiper, brush, art eraser, fxative, pastel  base, sandpaper sandpaper block, block, sharpening knife (see  below)

Unlimited waterEasily smudged like colour use, endless  pastel crayons, crayons, lead lead  blending possibi possibilili- diameter of 4.3 mm ties, excellent light- ensures high break-refastness sistance, ideal for travel. Pastel pencils should be sharpened with a sharpening knife (rather than a sharpener) to prevent the relatively soft lead from breaking

34

Excellent light-fastness, especially suited to artists, designers, architects and graphic designers

 

Colour Chart ∗ ∗∗ ∗∗∗

reasonable light-fastness high light-fastness maximum light-fastness

   s    l    i    c    n    e    P    r    u    o    l    o    c    r    e    t    a    W    r    e    r     ü    D    t    h    c    e    r    b    l    A

101 103 102 104 10 4

wh itit e ivo ry ry cr ea eam light lig ht yel yellow low glaz glazee

205 205 105 10 5 106 10 6 107 10 7 108 10 8 114 11 4 116 11 6 109 10 9 111 11 1 113 11 3 115 117 11 7 118 11 8 121 12 1 219 21 9 22 3 217

cadmium yell cadmium yellow ow lemon lemon lightt cadmiu ligh cadmium m yello yellow w lightt chrome ligh chrome yel yellow low cadmiu cad mium m yell yellow ow dark cadm cadmium ium yell yellow ow   ligh li ghtt ski skinn   medi me dium um skin skin dark chro chrome me yel yellow low cadmiu cad mium m orang orangee orange ora nge gla glaze ze dark cadm cadmium ium orang orangee light li ght cadm cadmiu ium m red scar sc arle lett red red palee gerani pal geranium um lake lake deepp scarl dee scarlet et red red d ee ee p r ed ed middle midd le cadm cadmium ium red

126 126 225 133 1 42 42 226 22 6 127 12 7 124 12 4 123 125 12 5 128 12 8 129 12 9 119 11 9 135 13 5 194 19 4 134 239 160 16 0 138 136 13 6 137 13 7 249 141 14 1

permanent perman ent carmi carmine ne d ar ar k r ed ed m ag ag en en ta ta m ad ad de de r alizar ali zarin in crimso crimsonn pinkk car pin carmin minee rosee car ros carmi mine ne f uc uc hs hs ia ia middle midd le purpl purplee pink  pink  light lig ht purpl purplee pink  pink  pinkk madde pin madderr lake lake light lig ht mage magenta nta light lig ht red-vio red-violet let redre d-vi viol olet et c riri ms ms on on   lil ac ac mangan man ganese ese viole violett v io io le le t purple pur ple vio violet let blue bl ue vio violet let ma uv uve delft de lft blu bluee

 

   l    e    t    s    a    P    s    o    m    o    r    h    c    y    l    o    P

   n    e    P    t    s    i    t    r    A    t    t    i    P

   l    e    t    s    a    P    t    t    i    P

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Your local partner:

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W. Faber-Castell Vert A. W. ertrieb rieb GmbH D-90546 Stein/Nürnberg · Germany Phone: +49-911-9965-0 · Fax: +49-911-9965-5760 www.Faber-Castell.com

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