This is part 2 to my review of Solar Color Dust's Chameleon pigments I purchased in January. This will be another long post full of pictures covering the remaining 11- the pigments on paper, dry on finger tips ala TKB Trading, and finally, the polishes swatched on black nails and white nails, photographed many times to capture the color shift- the right lighting made a lot of difference for that.
The pigments you'll see today are: Gold/Blue Violet (603), Blue/Green (611), Red/Green (592), Red/Blue Green (606), Cyan/Blue/Purple/Red (599), Orange/Blue (609), Violet/Blue Green (612), Red/Blue Violet (610), Blue/Purple/Red/Orange (600), Orange Yellow/Violet Blue (601), Indigo/Purple/Red/Orange (596).
As a reminder, the numbers in parentheses correspond to that number polish in my franken book and are there because the pigment names are far too long to write on any label.
The picture below is of the pigments on paper- captured on double-sided tape and sealed with another piece of transparent tape. Unlike just looking at pigment dry, this has the effect of smoothing the surface and bringing out interference colors. This set was photographed with a combination of Ottlite and daylight.
I like finger shots, its always interesting to see how different pigments look in dry form but the color play doesn't always display well this way. This time the pigments are not in number order but in a loose color order, as much of one as is possible anyway.
Here the polishes are done over a white (closer to a natural color, really). You can see these are quite pigmented and look different over white, particularly striking are the colored powders. Photographed under the Ottlite & partial daylight.
But of course, as is true with most duochromes, the real beauty comes out when they are layered over black. First I'll show you a side shot of each pigment and after, composition shots to show off the color transition. Individual pictures here photographed in daylight, pairs with a combination of Ottlite and daylight.
611 & 603
Just like Part 1, the composition photos are broken into 4 columns for each set of nails- there was enough color variation depending on the lighting used that I included them all; it wouldn't really be an accurate presentation without including them all. Each comp has 4 columns, each column is one type of lighting. I can't remember the exact lighting for the first column, I didn't leave myself a note but it was afternoon. Column 2 is a combination of Ottlite and daylight. Column 3 is afternoon daylight. Column 4 is night time and under the Ottlite.
Cyan/Blue/Purple/Red (599) & Orange/Blue (609)
I haven't yet tried to mix these pigments up with other colors so that they don't have to be layered over black and without diminishing the color transition but I assume it's possible.
If you haven't already, check out Solar Color Dust Chameleons: Part 1. -MK
The pigments you'll see today are: Gold/Blue Violet (603), Blue/Green (611), Red/Green (592), Red/Blue Green (606), Cyan/Blue/Purple/Red (599), Orange/Blue (609), Violet/Blue Green (612), Red/Blue Violet (610), Blue/Purple/Red/Orange (600), Orange Yellow/Violet Blue (601), Indigo/Purple/Red/Orange (596).
Here's your teaser pic again. Although you cannot see all those numbers, the nail sticks are in numerical order from right to left.
As a reminder, the numbers in parentheses correspond to that number polish in my franken book and are there because the pigment names are far too long to write on any label.
Two more shots:
The picture below is of the pigments on paper- captured on double-sided tape and sealed with another piece of transparent tape. Unlike just looking at pigment dry, this has the effect of smoothing the surface and bringing out interference colors. This set was photographed with a combination of Ottlite and daylight.
I like finger shots, its always interesting to see how different pigments look in dry form but the color play doesn't always display well this way. This time the pigments are not in number order but in a loose color order, as much of one as is possible anyway.
Gold/Kelly/Green/Blue (595) & Blue Violet/Olive (607) seen in Part 1... and Gold/Blue Violet (603) and Blue/Green (611)
Red/Green (592), Red/Blue Green (606), Cyan/Blue/Purple/Red (599), Orange/Blue (609)
Violet/Blue Green (612), Red/Blue Violet (610), Blue/Purple/Red/Orange (600), Orange Yellow/Violet Blue (601)
Indigo/Purple/Red/Orange (596)
The bottle shot of the last 11 pigments used in polish.
Here the polishes are done over a white (closer to a natural color, really). You can see these are quite pigmented and look different over white, particularly striking are the colored powders. Photographed under the Ottlite & partial daylight.
Red/Blue Violet (610), Violet/Blue Green (612), Orange/Blue (609), Cyan/Blue/Purple/Red (599), Red/Blue Green (606), Red/Green (592)
Blue/Green (611), Gold/Blue Violet (603), Indigo/Purple/Red/Orange (596), Orange Yellow/Violet Blue (601), Blue/Purple/Red/Orange (600)
Because the angle you view a duochrome changes the color, I also photographed them in pairs, a more direct perspective.
Gold/Blue Violet (603) & Blue/Green (611)
Red/Green (592) & Red/Blue Green
(606)
Cyan/Blue/Purple/Red (599) &
Orange/Blue (609). The bumps in 609 are a reflection of my painting and apparently, a not-quite-clean bottle... or I dropped it while wet, also entirely possible.
Violet/Blue Green (612) & Red/Blue
Violet (610)
Blue/Purple/Red/Orange (600) &
Orange Yellow/Violet Blue (601)
Indigo/Purple/Red/Orange (596)
But of course, as is true with most duochromes, the real beauty comes out when they are layered over black. First I'll show you a side shot of each pigment and after, composition shots to show off the color transition. Individual pictures here photographed in daylight, pairs with a combination of Ottlite and daylight.
Gold/Blue Violet (603)
Blue/Green (611)
611 & 603
Red/Green (592)
Red/Blue Green (606)
592 & 606
Cyan/Blue/Purple/Red (599)
Orange/Blue (609)
599 & 609
Violet/Blue Green (612)
Red/Blue Violet (610)
612 & 610
Blue/Purple/Red/Orange (600)
Orange Yellow/Violet Blue (601)
600 & 601
Indigo/Purple/Red/Orange (596)
596, photographed alone again but under the same lighting as the other side-angle pairs above.
Just like Part 1, the composition photos are broken into 4 columns for each set of nails- there was enough color variation depending on the lighting used that I included them all; it wouldn't really be an accurate presentation without including them all. Each comp has 4 columns, each column is one type of lighting. I can't remember the exact lighting for the first column, I didn't leave myself a note but it was afternoon. Column 2 is a combination of Ottlite and daylight. Column 3 is afternoon daylight. Column 4 is night time and under the Ottlite.
Gold/Blue Violet (603) & Blue/Green (611)
Red/Green (592) & Red/Blue Green (606)
Cyan/Blue/Purple/Red (599) & Orange/Blue (609)
Violet/Blue Green (612) & Red/Blue Violet (610)
Blue/Purple/Red/Orange (600) & Orange Yellow/Violet Blue (601)
Indigo/Purple/Red/Orange (596)
I haven't yet tried to mix these pigments up with other colors so that they don't have to be layered over black and without diminishing the color transition but I assume it's possible.
If you haven't already, check out Solar Color Dust Chameleons: Part 1. -MK
OMG, they are all striking over black. Some colour shift reminds me of Dance Legend Chameleon I sooo want to get. I really need them all!
ReplyDeleteHi! Thanks for the incredibly detailed post!! Just wondering do these pigments need base coat not to sink?
ReplyDeleteI don't know if you meant base coat to bring out the color or suspension base to keep them from literally sinking but the answer is yes to both.
Delete