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Anthracite
Color Shop / Black Shades / Anthracite
Anthracite
Foto: Kerstin Stöhr, raum-struktur.ch. Text: Katrin Trautwein, 225 Farben, 2017 ©Birkhäuser Verlag GmbH, Basel.
In the classic gray scale, Anthracite is the first shade after black. From color 43KT05 Ivory Black to 08KT001 Champagne White, there is a sequence of eleven finely nuanced grays from black to white. Surprisingly, this color consists of equal proportions of Ivory Black and Champagne White, because white natural pigments are much weaker in their tinting strength than black. Nobel Prize-winning chemist Wilhelm Ostwald discovered that by doubling the amount of white in each step, evenly graded shades of gray are created. This results in a perfect gray scale from dark to light with the following mixtures of Noir and Champagne White: pure Noir, 1⁄1, 1⁄2, 1⁄4, 1⁄8, etc., up to pure Champagne White. Compared to pure 43KT05 Ivory Black, Anthracite appears less absolute and more substantial. Ivory Black is almost invisible, but if you look closely, Anthracite is visible, warm, and friendly.
Sophisticated Depth: Choose ktCOLOR's Dark Gray Shades for Your Designs
When it comes to creating designs with depth, sophistication, and timeless appeal, nothing compares to the dark gray shades made in Switzerland by ktCOLOR. Made from rare, natural pigments, these premium hues offer a richness and texture that synthetic alternatives lack. Whether you're working on interior designs or larger architectural projects, ktCOLOR's dark gray palette brings an incomparable refined elegance to your work.

10KT010 Anthracite

Almost jet-black, the color of the deepest shadow

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Menge

kg

Ausreichend für ca. 4 m²

Grundierung

Die Grundierung bereitet den Untergrund optimal auf den Anstrich vor – sie festigt poröse oder kreidende Flächen, reguliert die Saugfähigkeit und sorgt auf glatten Oberflächen für zuverlässige Haftung. kontaktieren Sie uns, wenn Sie eine Grundierung benötigen.

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Sofort verfügbar, Lieferzeit 2-6 Werktage

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Finish Informationen

Emulsion

Die kt.COLOR Emulsion ist eine wasserbasierende, diffusionsoffene Farbe auf mineralischer Stoffgrundlage aus natürlichen Pigmenten. Sie ist ideal für die Gestaltung von Räumen für höchste ästhetische Ansprüche.

Satinée

Die kt.COLOR Satinée Farbe ist eine wasserbasierte, matte Premium-Farbe für Wand- und Deckenflächen, Holzwerk und Metall im Innen- und Außenbereich. Besonders geeignet für den Einsatz in Bereichen mit hoher Beanspruchung.

kt.LACK

kt.LACK ist eine premium Lackfarbe für professionelle Beschichtungen auf grundierten Holzbauteilen, grundiertem Metall und Möbelflächen im Innenbereich.

Primer Informationen

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Primer 1

Lorem ipsum dolor sit amet consectetur adipiscing elit. Quisque faucibus ex sapien vitae pellentesque sem placerat. In id cursus mi pretium tellus duis convallis. Tempus leo eu aenean sed diam.

Primer 2

Lorem ipsum dolor sit amet consectetur adipiscing elit. Quisque faucibus ex sapien vitae pellentesque sem placerat. In id cursus mi pretium tellus duis convallis. Tempus leo eu aenean sed diam.

Primer 3

Lorem ipsum dolor sit amet consectetur adipiscing elit. Quisque faucibus ex sapien vitae pellentesque sem placerat. In id cursus mi pretium tellus duis convallis. Tempus leo eu aenean sed diam.

Experts in color making

The luminous blue vaulted ceiling of the Scrovegni Chapel in Padua was created with natural ultramarine, a hue so radiant it seems to emit light from the vault itself.

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How our colors are made

The pigment ultramarine, meaning "beyond the sea," was originally derived from the semi-precious gemstone lapis lazuli. The finest lapis stones were sourced from Afghanistan, a region beyond the Mediterranean, inspiring its name. This deep, magical blue can also be synthesized using China clay, calcite, and sulfur, resulting in a purer, more vibrant shade. Today, many iconic works of art rely on this synthetic, mineral-based pigment. The luminous blue vaulted ceiling of the Scrovegni Chapel in Padua was created with natural ultramarine, a hue so radiant it seems to emit light from the vault itself. Similarly, Karl Friedrich Schinkel's stage design for the Queen of the Night's Hall in Mozart’s The Magic Flute (1816) was crafted using lapis lazuli. In the 1950s, Yves Klein’s monochrome masterpieces made synthetic ultramarine blue

Experts in color making

The pigment ultramarine, meaning "beyond the sea," was originally derived from the semi-precious gemstone lapis lazuli. The finest lapis stones were sourced from Afghanistan, a region beyond the Mediterranean, inspiring its name. This deep, magical blue can also be synthesized using China clay, calcite, and sulfur, resulting in a purer, more vibrant shade. Today, many iconic works of art rely on this synthetic, mineral-based pigment. The luminous blue vaulted ceiling of the Scrovegni Chapel in Padua was created with natural ultramarine, a hue so radiant it seems to emit light from the vault itself. Similarly, Karl Friedrich Schinkel's stage design for the Queen of the Night's Hall in Mozart’s The Magic Flute (1816) was crafted using lapis lazuli. In the 1950s, Yves Klein’s monochrome masterpieces made synthetic ultramarine blue