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Mount Vision Handmade Pastel - Red Purple 573

Soft Pastel

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  • Blick Art Materials
    $4.84 USDShop
    Recorded Oct 22, 2026, 3:44 AM UTC

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Product details
Blick SKU
21949-6573
About this product range

The "feel" of a pastel — or how a pastel releases to paper — depends on the individual pigments used and the base they’re mixed with. Karl Kelly, owner of Mount Vision Pastel Company, understands that. By combining his technical expertise and artistic background, Kelly has translated the vivid color and unique density of individual pigments into high-quality, affordable pastels for the artist who sees beyond the expected when it comes to color.

Each hand-rolled stick contains a unique combination of traditional and synthetic pigments, combined to bring out their inherent beauty, enrich their undertones and make each color sing, both individually and together. Combined in varying degrees with marble dust, chalk and clay to assure a consistently smooth and buttery feel, colors lay down with minimal resistance, allowing several layers to accrue without becoming too thick.

Each stick measures 2-1/2" Long x 1/2" Dia. (64 mm × 13 mm).

Pigment information

General reference notes about pigments can describe other media (such as oil). They do not verify this product’s exact formulation or behavior.

Permanent Carmine

Pigment code
PR185
Type
organic, monoazo
Chemical formula
C27H24N6O6S
Properties
Permanent Carmine (HF4C) is a non-staining, transparent red pigment that is similar to natural carmine in its hue and other properties.
Permanence
Permanent Carmine (HF4C) has excellent lightfastness for a transparent red pigment.
Toxicity
Permanent Carmine (HF4C) has no acute toxicity.
History
Permanent Carmine (HF4C) has been developed as a replacement for Carmine, a transparent red derived from the cochineal insect. It is one of a large group of azo pigments that were discovered and developed by Hoechst in the 1950s and 1960s. In comparison with natural carmine derived from cochineal, it is far less expensive, and offers superior lightfastness.

Titanium White

Pigment code
PW6
Type
inorganic
Chemical name
titanium dioxide
Chemical formula
TiO2
Properties
Titanium White is the most brilliant of the white pigments. It is considered an all purpose oil color useful in all techniques and the best all around white. Its masstone is neither warm nor cool, placing it somewhere between Lead White and Zinc White. It is less prone to cracking and yellowing than Lead White, but it still yellows easily. Titanium White dries slowly in oil form, more slowly than Lead White but more quickly than Zinc White. It is opaque in oil and acrylic forms and semi-opaque in watercolor form. This pigment has good chemical stability, and its tinting strength is superior to both Lead White and Zinc White.
Permanence
Titanium White has excellent permanence and lightfastness.
Toxicity
Titanium dioxide is highly stable and is regarded as non-toxic.
History
Titanium is the ninth most abundant element in the Earth's crust, however mineral deposits that are economical to mine are less common. Titanium dioxide was first discovered in 1821, although it could not be mass produced until 1919. Widespread use of the pigment began in the 1940s. Since that time, it has become the most commonly used white pigment. The name comes from the Latin word Titan, the name for the elder brother of Kronos and ancestor of the Titans, and from the Greek word tito, meaning day or sun.

Ultramarine [Blue]

Pigment code
PB29
Type
inorganic
Chemical name
complex silicate of sodium and aluminum with sulfur
Chemical formula
Na8-10Al6Si6O24S2-4 or Na6-8Al6Si6O24S2-4
Properties
Ultramarine is the standard warm blue, a brilliant blue pigment that has the most purple and least green in its undertone. It has a moderate to high tinting strength and a beautiful transparency. Synthetic Ultramarine is not as vivid a blue as natural Ultramarine. Ultramarine dries slowly in oil and tends to produce clean, though granular, washes in watercolor. French Ultramarine mixes well with Alizarin colors in oil and watercolor form to create a range of purples and violets. It can dull when mixed with white in acrylic form, but mixes well with other colors. The shade varies based on manufacturer. Considered a great color for glazes, it is not suitable for frescoing.
Permanence
Ultramarine has excellent permanence, although synthetic Ultramarine is not as permanent as natural Ultramarine. It may discolor if exposed to acid because of its sulfuric content.
Toxicity
Ultramarine has no significant hazards.
History
The name for this pigment comes from the Middle Latin ultra, meaning beyond, and mare, meaning sea, because it was imported from Asia to Europe by sea. It is a prominent component of lapis lazuli and was used on Asian temples starting in the 6th century. It was one of the most expensive pigments in 16th century Europe, worth twice its weight in gold, and so was used sparingly and when commissions were larger. Ultramarine is currently imitated by a process invented in France in 1826 by Jean Baptiste Guimet, making blue affordable to artists and extending the range of colors on their palettes.
Description
Artificial Ultramarine, French Blue, French Ultramarine, Gmelin's Blue, Guimet's Blue, Permanent Blue, Royal Blue, Synthetic Ultramarine. New Blue describes particular shades of Ultramarine. Armenian Blue and Lazuline Blue are names for genuine Lapiz Ultramarine. Sky Blue is a pale tone of Ultramarine.

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