Merchandise that is worn, used, or altered will not be accepted for return or exchange.
Returns
If you are not satisfied with any purchase from Natural Pigments, you may receive a replacement or refund. Simply contact Customer Service at Contact Us within 30 days of receipt so we can arrange an exchange, refund or store credit to your satisfaction. That’s our shopping guarantee!
Your item must be in its original unused condition to be returned, unless there is a manufacturer defect. You must return the item within 30 days of receipt. Please note that you are responsible for the cost of shipping the item and insurance. We recommend insuring the item otherwise if it is lost or damaged in transit you may not receive a refund or exchange.
- Please contact Customer Service at Contact Us to request a Return Merchandise Authorization (RMA) number.
- Mail your returned item to:
Natural Pigments
Returns Department RMA #
Beyerberger Str. 1
91596 Burk
Germany - Include in your package a note stating the reason for your return and the original or copy of the packing list.
Merchandise returned because of a customer order error is subject to a 20% restocking charge. In some instances, we may accept items returned after 30 days of receipt. In those cases, returned items are subject to a 20% restocking fee, which will be deducted from your refund or store credit. We also do not refund the original shipping and handling that you paid on the order.
Note:
- Returns will not be accepted unless accompanied by Return Merchandise Authorization number.
- Shipping charges are not refundable.
- Returns made to Natural Pigments will be refunded in the form of the original payment method.
- Bulk or distributor orders are not returnable to Natural Pigments without prior authorization.
Returns Policy—General Terms
All products sold by Natural Pigments are brand new and are manufactured to meet the highest industry standards. All prices and specifications are subject to change without notice. Products are shipped F.O.B. (Freight On Board) and become the sole property of the customer upon delivery.
For shipping damage, customers should file a claim with the carrier immediately. Any discrepancy, including wrong or missing items, should be reported to Natural Pigments within twenty-four (24) hours of receipt. All packages will usually be shipped the following business day, unless noted in the online catalog.
All order changes or cancellations must be reported prior to shipping by email.
All returned items may be subject to a quality review by Natural Pigments. Non-defective items may be subject to a 20% restocking fee.
Natural Pigments reserves the right to replace defective products or issue a refund as Natural Pigments sees more fit.
All refunds after one week from the time item is received will be of the original value.
There will be no refund for shipping unless the error is ours.
All products, unless otherwise stated, are covered by their respective manufacturer’s warranties. Within thirty (30) days, we will replace, at our sole discretion, any product that is deemed defective. After 30 days, the manufacturer’s warranty process must be followed.
All returns require prior authorization and must be returned in the original packing, and a copy of original packing list. To request a Return Merchandise Authorization, call (888-361-5900), obtain an RMA number, and clearly write the number on both the packing list enclosed with the returned merchandise and on the outside of the packaging. Please keep the RMA number and reference it when calling to check on the status of your return. All calls requesting RMA should be in the time designed for them (9:00 a.m. to 5:00 p.m. Monday through Friday, excluding holidays). Incomplete or unauthorized returns will be refused and may be returned to you.
What This Warranty Does Not Cover
This warranty does not cover conditions resulting from consumer mishandling such as improper misuse, abuse, accident, or alteration.
Limits and Exclusions
There are no expressed or implied warranties except as listed above. Natural Pigments shall not be liable for special, incidental, consequential or punitive damages, including, without limitation, direct or indirect damages for personal injury, loss of goodwill, profits or revenue, loss of use from this product or any associated product, cost of substitute product, downtime cost, or any other losses, or claims of any party dealing with buyers from such damages, resulting from the use of or inability to use this product or arising from breach of warranty or contract, negligence, or any other legal theory. All expressed and implied warranties, including the warranties of merchantability and fitness for a particular purpose, are limited to the applicable warranty period set forth above.
THE HISTORY OF THE PIGMENTS
We will get acquainted with the history of some pigments especially important for watercolour, from which in the old days artists made their colours until synthetic pigments of a new epoch appeared in their palette.
Organic black pigments are the oldest and most light resistant, perfectly preserved for centuries and even thousand of years. Soot and coal were obtained as a result of the burning of plant or animal material. Coal of vines, grape bones, burning bone, soot of wax candles had different gum and tar contents, so they gave a variety of shades of black paints. One of the most valuable colours in the history of watercolour was Chinese ink, it amazingly easy laid on the paper or silk. The ancient secrets of its manufacture were kept secret. It is assumed that it was made from soot from the combustion of vegetable oil: sesame, possibly also linen or hemp. The source of mineral black pigments could be dark lands, but they were used in watercolours very rarely. The source of mineral black pigments could be dark lands, but they were used in watercolours very rarely.
WHITES.
Almost all white pigments are mineral and were synthesized. Since the formation of watercolour as an independent kind of art, artists began to appreciate the transparency of the picturesque layer, and since the use of whitewash leads to opaque painting, watercolour artists gradually refuse to use them. However, over the centuries, white was widely used in decorating books, painting engravings, etc., and played their important role in the visual arts, so we pay them some attention.
White lead is one of the first artificially created pigments in history. It was obtained by oxidizing lead plates which were poured with grape vinegar and then buried in earth or dung, thereby forming a white powder of acetic lead salt. Beautiful, pure in colour white paint based on lead pigment has been popular in Europe since IV century BC, however, it was extremely poisonous. In watercolours, already at the end of the XVIII century, lead white was gradually abandoned, because they were replaced by new ones – zinc white.
YELLOWS.
Yellow pigments are unusually numerous in nature.
But, in fact, the only yellow paint in early ancient painting is yellow ocher. All natural ochers are compounds of alumina, silica and lime with an impurity of iron, their shades can be red, brown, purple, brown and even black tones. The colour depends on the oxidation state, the action of high temperature, impurities of foreign substances. The light-resistant, beautiful in colour natural ochers as earthen pigments had muted tonality and relative opacity, but the particles of their substance were finely ground, and therefore the paints from natural lands were successfully used in watercolour painting – transparent and opaque. The natural Siena land with a high iron content was especially high in quality.
Massycote is lead oxide with low colouristic features possessed all the disadvantages of lead pigments. In addition, the paint from this pigment was opaque and was suitable only for book miniatures and painting with whitewash.
Auripigment and realgar are two varieties of arsenic sulfur compounds, were found in nature. Carrot-coloured pigment, from fiery red to orange yellow, was known in Greece, and widely used in Rome under the name “sandarac”. The application of beautiful bright lemon-yellow, golden, orange auripigment in medieval manuscripts is also confirmed. However, indications of its insufficient lightfastness, chemical interaction with lead whitewash, copper paints and poisonousness have already appeared in the Middle Ages.
Neapolitan yellow is a paint that was made of natural volcanic pigment of various tints from light yellow to yellow-orange. Under the name giallolino (giallorino), Cennino Cennini recommended it to replace the auripigment. At the moment, we have this colour in our assortment, it has a high lightfastness and is called “Neapolitan yellow,” an imitation of the colour of natural pigment is obtained by mixing zinc whitewash with various yellow and orange pigments.
