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Light Burnt Umber 2
Color Shop / Beige and Tan Shades / Light Burnt Umber 2
Light Burnt Umber 2
Photo: ©Christoph Schuepp. Katrin Trautwein, 225 Farben, 2017 ©Birkhäuser Verlag GmbH, Basel.
This warm, beige paint made with burnt umber and Champagne chalk closes a gap in a series of most useful colors. It is as tranquil as the rest of the series. If used on well-lit surfaces, they will look soft and welcoming. On surfaces that are already shadowed, this medium shade of umber will look deeper, calm and natural. It is an extraordinarily versatile color: by reflecting all neighboring colors and spectral changes, it imparts space with a sense of balance.
Ultimate Elegance: Why Choose ktCOLOR Warm Umber Grays for Your Design
The beige shades from ktCOLOR, which we have more precisely named “Umbra” and “Sand Colors”, owe their distinctive natural appeal to natural stone pigments and colored sand. These high-quality natural materials make all the difference: the human eye immediately recognizes the authentic natural look. ktCOLOR focuses consciously on genuine natural pigments, which not only enrich the haptic effect of our paint colors, but are also in harmony with the environment. They account for the incomparable charm of this ktCOLOR color. It is a gift for the eye and for nature.

15KT057 Light Burnt Umber 2

A color as gentle as a tender embrace.

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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

MwSt. exkl.

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

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Primer 2

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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