recursal/Fanatic-Fandom huggingface dataset:
PB27

#### Properties

Antwerp Blue is a slightly warm and less saturated blue with good transparency and undertone clarity. It is a pale variety of Prussian Blue with 75% inert pigment. It has similar properties to pure Prussian Blue, but its overall performance is inferior.

#### Permanence

Antwerp Blue can fluctuate, fading in the light and recovering in the dark. In watercolor form, it fades when mixed with white pigment or extender. Although it has reasonably good lightfastness and permanence, it is not considered ideal for permanent painting.

#### Toxicity

Antwerp Blue is mildly toxic by ingestion, but is considered safe for external use. In the United States, ferric ferrocyanide is permitted as a coloring ingredient for externally applied cosmetics, but not for lipsticks or internal use. If the pigment is

#### History

Antwerp Blue was developed through experimentation with Prussian Blue.
PB35

#### Properties

Cerulean Blue is the standard cool blue, considered the traditional counterpart to Ultramarine, and is often used for painting atmospheric shades. It is quick drying and retains its color well, better than any other blue, in oil paint form. However, it tends to granulate or become chalky in watercolors. It has limited hiding power, is semi-opaque, and is easy to control. Its tinting capacity is low, so it can become lost when mixing.

#### Permanence

Cerulean Blue has excellent permanence. It is very stable and lightfast.

#### Toxicity

Cerulean Blue is moderately toxic if inhaled or ingested and slightly toxic if it comes into contact with skin.

#### History

The name Cerulean Blue comes from the Latin word caelum, meaning sky. This pigment was discovered in 1805 by Andreas Hopfner, but it was not widely available until introduced by Messrs. G. Rowney &amp; Co. in England under the name coeruleum in 1860 for use in aquarelle and oil painting. It was produced by the action of heat on cobalt oxide and other metallic bases.
PG7

#### Properties

Phthalo Green is a transparent, cool, bright, high intensity color used in oil and acrylics. It comes from a Phthalocyanine Blue pigment where most of the hydrogen atoms have been replaced with chlorine, forming highly stable molecules.&nbsp;&nbsp;It has similar pigment properties and permanence to Phthalo Blue. It is slow drying and an excellent base color for mixing a range of bright greens. Phthalo Green is considered a very good alternative to Viridian because it is intense and mixes well and can be used to emphasize mineral colors in various tints. However, its tinting strength is very high, so it can overpower other colors.&nbsp; This pigment most closely resembles the discontinued and toxic Verdigris.

#### Permanence

Phthalo Greens are completely lightfast and resistant to alkali, acids, solvents, heat, and ultraviolet radiation. They are currently used in inks, coatings, and many plastics due to their stability and are considered a standard pigment in printing ink and the packaging industry.

#### Toxicity

Phthalo Green has no significant hazards, but it contained PCBs (polychlorinated biphenyls) until 1982.

#### History

This bright blue-green was developed in 1935 and has been in use since 1938.
PY43

#### Properties

Yellow Ochre provides artists with earthtones from cream to brown. It has good hiding power, produces a quick drying paint, and can be safely mixed with other pigments. Its transparency varies widely from opaque shades to more transparent ones, which are valued for their use as glazes. If gypsum is present, Yellow Ochre is not suitable for frescoing. (See Brown Ochre, PY43.) PY42 is made from synthetic iron oxides. PY43 is made from natural iron oxide.

#### Permanence

Yellow Ochre has excellent permanence because ochres are some of the most permanent pigments available.

#### Toxicity

Yellow Ochre is non-toxic unless it contains manganese.

#### History

Ochre comes from the Greek word ochros, meaning pale yellow. It was one of the first pigments to be used by human beings, and evidence of its use has been found at 300,000 year old sites in France and the former Czechoslovakia.
PY42

#### Properties

Yellow Iron Oxide provides artists with earthtones from cream to brown. It has good hiding power, produces a quick drying paint, and can be safely mixed with other pigments. Its transparency varies widely from opaque shades to more transparent ones, which are valued for their use as glazes. If gypsum is present, Yellow Iron Oxide is not suitable for frescoing. (See Brown Ochre, PY43.) PY42 is made from synthetic iron oxides. PY43 is made from natural iron oxide.

#### Permanence

Yellow Iron Oxide has excellent permanence because ochres are some of the most permanent pigments available.

#### History

Ochre comes from the Greek word ochros, meaning pale yellow. It was one of the first pigments to be used by human beings, and evidence of its use has been found at 300,000 year old sites in France and the former Czechoslovakia.
PR254

#### Properties

Pyrrole Red is opaque and has strong covering power. According to manufacturer Ciba, which uses the trade name Irgazin Red, it is a &ldquo;clean, highly saturated mid shade red with high temperature resistance, excellent color strength, outstanding chemical, solvent and bleed resistance, and good weatherfastness.&rdquo;

#### Permanence

Pyrrole Red is considered to have excellent lightfastness among organic pigments in its class. Tests in industrial applications have given it scores of 7-8 on the Blue Wool Scale.

#### Toxicity

According to the Australian government's Ministry on Health and Aging, &quot;The notified chemical exhibited low oral and dermal toxicity in rats, did not exhibit toxic effects when administered orally to rats for 28 days, was not a skin irritant in rabbi

#### History

Pyrrole Red, used as an automotive paint and as a colorant in plastics, was developed as one of a range of pigments to replace lead based pigments. In art materials, it is often used as a synthetic and lightfast replacement for carmine, a laked pigment that was originally produced from the body of the cochineal insect. It is also used to replace the older naphthol reds, organic red pigments that are sometimes only marginally lightfast and weatherfast.
PR188

#### Properties

This Naphthol Red is yellowish, with a high tinting strength and average drying time. It produces warmer shades and tints.

#### Permanence

This Naphthol Red has excellent lightfastness, though it is generally not considered adequate for exterior use.

#### Toxicity

Naphthol Reds are not considered toxic. They may cause eye, skin, or respiratory irritation. Contact with dry pigment should be avoided.

#### History

Naphthol pigments are actually dyes that are &quot;laked&quot; to form pigments. First developed by the German chemical company Hoechst A.G. before World War I, their use in artist paints began in the 1920s.
PV15

#### Properties

Ultramarine Violet is a semi-transparent, dull purple to pale violet with low tinting strength. As a pigment, it is weak in most oil applications, but it performs better in water-based mediums, pastels, and chalks. It is generally the bluest of the violet pigments, although there can be significant differences in color across brands. It is not suitable for fresco work and does not mix well with yellows. Ultramarine Violet is a variant of Ultramarine Blue, and their pigment properties are identical.

#### Permanence

Ultramarine Violet has excellent permanence and lightfastness.

#### Toxicity

Ultramarine Violet has no significant hazards.
PO73

#### Properties

Transparent Pyrrole Orange is a yellow-shade orange with optimum performance; high saturation and excellent durability, excellent bleed resistance, and intrinsic strength coupled with good opacity and moderate rheology. It is semi-opaque, less opaque than Cadmium Orange.

#### Permanence

Transparent Pyrrole Orange has been demonstrated to have excellent stability and lightfastness in automotive applications.

#### Toxicity

The Australian government's Department of Health and Aging, reported in its Summary Report: NA/238 that &quot;Irgazin DPP Orange 16AOA is likely to be of low oral and dermal toxicity in humans and to be non irritating or very slightly irritating to the ey

#### History

Irgazin Orange was developed as a lead-free alternative opaque orange pigment. It is used in decorative, industrial, and automotive applications, often to color plastics and polymers.
PO49

#### Properties

Quinacridone Gold is a transparent yellow-orange pigment. Quinacridone pigments have relatively low tinting strength in general. For this reason, quinacridone colors are often expensive, because more pigment is required in the formulation.

#### Permanence

Quinacridone Gold has very good lightfastness.

#### History

Quinacridone Gold, a color developed for the automotive industry, is no longer being manufactured. Some color producers still have stocks of the pigment.
PB74

#### Properties

Cobalt-zinc silicate is semi opaque and semi-soluble in water. It produces a warmer and darker blue that standard Cobalt Blue (PB28), and is used most often in glass and ceramics.

#### Permanence

Cobalt-zinc silicate is extremely lightfast and temperature stable.

#### Toxicity

Cobalt-zinc silicate is toxic, and its toxictiy may be of greater concern that for Cobalt Blue (PB28) because it is semi-soluble in water.

#### History

Since the discovery of processes for mining Cobalt Blue (PB28) in the 19th century, additional processes for manufacturing and purifying other cobalt salts have become available. Their use as artist pigments has followed.
Tales of Quinzen Wiki

**Welcome to the Tales of Quinzen Wiki!**
## A place to actually write down my oc infos and stuff

Tales of Quinzen is a planned collection of stories, mostly taking place in the dimension of Quinzen.

**Planned stories include:**

*These are working titles and not set in stone*

* The Unnamed Vampire Series (Undecided)
* The Curious Cases of Lynn Ayra (Story Collection)
* Inora's Adventures in the Multiverse (Story Collection)
* Journey Through A Devided World (Triology)
* The Detective Six (Comic Series)
* Snow White and The Red King (Story Collection)
* Rave(n)s for Beginners(Undecided)
* Advanced Rave(n)s (Undecided)
* Miran and The Idiots (Comic Series)
* Pinestales (Story Collection)
* And Then Everything Went Wrong (Comic Series)
* I Will Protect You (Novel?)
* Of Heros and Patrons (Story Collection)
* I = History (Undecided)

*Need help building out this community?*

* Rules of this wiki
* Getting Started
* How to Contribute
* Managing your new community
* Guides
* All Help articles

You can also be part of the larger Fandom family of communities. Visit Fandom's Community Central!

*Community Founders*: Write a good and paragraph-length description for your welcome section about your topic. Let your readers know what your topic is about and add some general information about it. Then you should visit the admin dashboard for more tips.
PV23

#### Properties

Dioxazine Violet is transparent and has very high tinting strength. It is a staining pigment, very dark valued when it is used at full strength. Concentrated, it paints out nearly black, but it mixes with Titanium White to form bright, opaque tints of purple. PV23 produces slightly redder shades than PV37. Because the hue can vary with the conditions of preparation and grinding, it may be offered in red shade, blue shade, and so forth.

#### Permanence

Dioxazine Violet has good lightfastness. There may be some concern about it fading or shifting in color in tints and washes. Some artists have reported that PV37, a molecular variant, is more lightfast than PV23.

#### History

Two molecular variants of Dioxazine Violet, PV23 and PV37, are available. They have similar properties, but mix slightly differently.
PB15

#### Properties

Phthalo Blues are pure and clean primary blues with superior covering power. They have a very high tinting strength and tend to overwhelm other pigments, but if color strength can be controlled, they make predictable mixed colors. In oil form, blues are very deep and slow drying. When mixed with other colors or if chlorine is added, Phthalo Blue quickly tends towards green. When using alone, mix with some white, as Phthalo Blue can be semi-transparent and almost black on its own. It is among the most compatible of modern colors with mineral colors and is considered more reliable than Prussian Blue, while sharing the same physical and color properties. Phthalo Blue is a good color for glazing.

#### Permanence

Phthalo Blues are completely lightfast and stable and are permanent for all paint uses. They are currently used in inks, coatings, and many plastics due to their stability and are considered a standard pigment in printing ink and the packaging industry.

#### Toxicity

Phthalo Blues have no significant hazards, although those made before 1982 contained some PCBs (polychlorinated biphenyls).

#### History

Developed by chemists using the trade name Monastral Blue, the organic blue dyestuff now known as Phthalo Blue was presented as a pigment in November 1935 in London. Its discovery was accidental. The dark color was observed in a kettle where a dye was being made from a British dyestuff plant. The demand for such a pigment came from commercial printers who wanted a cyan to replace Prussian Blue.
PO62

#### Properties

Benzimidazolone Orange is a staining, yellowish orange pigment that can become dull in tints. It has an average drying time, and it loses some of its intensity as it dries. The yellowish orange varieties are more transparent.

#### Permanence

Benzimidazolone Orange has excellent lightfastness and outstanding heat and solvent stability for a monoazo pigment.

#### History

The benzimidazolone group of pigments was developed and patented in 1960 by Hoechst A.G., a German chemical manufacturer that was a forerunner of the pharmaceutical company Aventis. Use of benzimidazolone pigments in the auto industry, especially Benzimidazolone Orange, became common in the 1980s because they were common replacements for lead chromate pigments, which were phased out during this period.
Cotman Watercolours

Lemon YellowCadmium Yellow Pale HueCadmium Yellow HueGamboge HueCadmium Orange HueCadmium Red Pale HueCadmium Red HueCadmium Red Deep HueAlizarin Crimson HuePermanent RoseRose Madder HuePurple LakeMauveDioxazine PurpleUltramarineCobalt Blue HueCerulean Blue HueTurquoiseIntense Blue (Phthalo Blue)Prussian BlueIntense Green (Phthalo Green)Viridian HueEmeraldHooker's Green DarkHooker's Green LightSap GreenRaw SiennaYellow OchreRaw UmberBurnt SiennaLight RedIndian RedBurnt UmberVandyke BrownSepiaIndigoPayne's GrayIvory BlackLamp BlackChinese White
PY83

#### Properties

Diarylide Yellow is a semi-opaque, moderately staining, intense deep reddish yellow pigment with good tinting strength.

#### Permanence

Diarylide Yellow 83 has very good lightfastness and permanence. However, it can fade in tints, so some artists do not consider it suitable as an artists' color. Many other diarylide yellow pigments are reported to have fair to poor lightfastness, and some are completely fugitive. Diarylide Yellow 83 is reputed to be one of the most permanent of the entire group.

#### History

Diarylide Yellow comes from a family of azo pigments called Diarylide. These yellow hued pigments were developed around 1940 and are very important in printing inks.
PBr7

#### Properties

Natural Brown Iron Oxide and/or Calcined natural Iron Oxide, usually with varying ratios of hydrated Iron Oxide to anhydrous Iron Oxide, along with Manganese Oxide, Aluminum, silica clays and other natural minerals depending on mine site.; Many brands substitute or confuse the synthetic pigment for the natural one, giving both the same Common names and C.I. names interchangeably, PBr7 is the name for the Natural Pigment & PBr6 is the synthetic one.

#### Permanence

Staining to non-staining w/ weak to good tinting strength;

#### Notes

Oil paints and watercolors using PBr6 and PBr 7 exist in almost any shade of yellow orange, red and violet brown to green brown, depending on the ratios of hydrated iron (yellower) to anhydrous iron (Redder), and other clays & minerals in the sample.
PY175

#### Properties

Benzimidazolone Yellow is a bright yellow, semi-transparent pigment, slightly greenish, with dull tints and an average drying time.

#### Permanence

Benzimidazolone Yellow has excellent lightfastness.

#### History

The benzimidazolone group of pigments was developed and patented in 1960 by Hoechst A.G., a German chemical manufacturer that was a forerunner of the pharmaceutical company Aventis.
PV16

#### Properties

Manganese Violet is a semi-transparent, bluish-violet pigment with a discrete opacity and low tinting strength. It is the reddest of the violets, and it covers and dries well in oil and tempera. It also performs well in pastel, encaustic, and watercolor. Manganese Violet is not well suited for fresco or acrylic painting. There can be significant differences in color across brands. It shares similar properties with bluish shades of Cobalt Violet.

#### Permanence

Manganese Violet has excellent permanence and lightfastness, and it is one of the most lightfast, balanced violets in watercolor form.

#### Toxicity

Manganese Violet is highly toxic if inhaled and moderately toxic if ingested.

#### History

This pigment was developed in 1868 by E. Leykauf to replace the more expensive Cobalt Violet. It was not offered as an artists&rsquo; pigment until 1890.
Jordan Lindsay

CREDIT TO WHO DREW THE PICTURE

Full Name; Jordan Beverly Lindsay

Height: 5'8

Age: 18

Birthday: June 24

Favorite color: **Pastel Yellow**

Personality: **Adaptable, Artistic, Fun-loving, Action-oriented and Organised**

Hobby: Photography

Fear: Loosing Freedom

Power: Mimic: the user can become anything they touch

Trivia:

-Only uses the mild/substitute swear words

-uses any pronouns

-Never talks about their past (or future

-Is a picky eater

-Has an overly sensitive sense of smell

-Is an excellent chef

-Has mood swings when hungry

-Has a very loud voice
PBk7

#### Properties

Lamp black is a very opaque, heavily staining black pigment that does not have much covering or tinting power. It is typically the most opaque black in watercolor form. Though a very pure black, it tends to muddy slightly in mixtures. Natural sources may be brownish or bluish in tone because of impurities. When used in oil paints, it is one of the slowest drying pigments, and should not be used in underpainting or applied in layers underneath other colors.

#### Permanence

Lamp Black is very lightfast and absolutely permanent. It is used in all techniques in permanent painting.

#### Toxicity

Carbon itself is not considered hazardous, however other combustion products that are hazardous are often present as impurities when Lamp Black is produced from natural materials. For this reason, commercial preparations of the pigment should be considere

#### History

Lamp Black is a carbon based black traditionally produced by collecting soot (known as lampblack) from oil lamps. It has been used as a pigment since prehistoric times. It is the black found in Egyptian murals and tomb decorations and was the most popular black for fresco painting until the development of Mars Black.
PY184

#### Properties

Bismuth Yellow is an intense, light value, semi-opaque yellow pigment with good tinting strength.

#### Permanence

Bismuth Yellow has excellent lightfastness.

#### History

Bismuth orthovanadate occurs naturally in several minerals. Although it was synthesized in the 1920s, it was not developed as a commercial pigment until the 1970s.
PBk9

#### Properties

Ivory Black is a cool, semi-transparent blue-black with a slight brownish undertone and average tinting strength. It mixes well with any color, and creates a range of dull greens when mixed with yellow. It has good properties for use in oil, can be slow to dry in oil form, and should never be used in underpainting or frescoing. Ivory Black is denser than Lamp Black.

#### Permanence

Ivory Black is very lightfast and has good permanence, though it is considered the least permanent of the major black pigments.

#### History

Ivory Black is a carbon based black first named as Elephantium, and described in the 4th century BCE as produced by heating ivory scraps in clay pots to reduce the ivory or bone to charcoal. The deviation in names is because the more expensive varieties of this pigment were made by burning ivory, and the less expensive ones by burning animal bone. In the 19th century, the name Ivory Black was finally permitted to be applied to Carbon Black pigments made from bone. True Ivory Black is rare in modern times due to the protection of ivory, and the synthetic variety produced today was discovered in 1929. Bone Black is produced as an industrial pigment.
PR83

#### Properties

Alizarin Crimson, the traditional cool counterpart to Cadmium Red, is a clear ruby-red with a maroon masstone and a bluish undertone. It is the artist's principal deep red pigment, is transparent, and has good tinting strength. It creates bright rosy pinks when mixed with white, a range of purples and violets when mixed with strong blues, can be slow drying when used with oils, and is compatible with all other pigments. Permanent Alizarin Crimson mixes well with Ultramarine in acrylic and watercolor form. Permanent Rose and Quinacridone Rose are possible alternatives on a watercolor palette. Alizarin Crimson is a popular glazing color.

#### Permanence

Alizarin Crimson is considered fugitive or marginally lightfast, and the appropriateness of its use in the modern artist palette is a subject of debate. There are many concerns regarding its permanence, particularly when mixed with ochre, sienna, and umber, or when used thinly. It is the least permanent red commonly used by today&rsquo;s artists. Modern synthetic preparations of Alizarin Crimson have better permanence and lightfastness that the original natural pigment, which was extracted from the madder plant. Quinacridone pigments have been used to create a modern hue that closely matches the original hue, but many artists object that the transparency and handling characteristics are not the same as for the original.

#### Toxicity

Alizarin Crimson can be slightly toxic if it comes into contact with skin and may cause some allergies. There is no significant acute toxicity.

#### History

The word alizarin comes from the Arabic word al-usara, meaning juice. The base ingredient of this pigment is the Madder plant (Rubia Tinctorum). It was used for dyes and inks among craftsmen in Ancient Persia, India, and Egypt as early as 1500 BC In 1804, George Field, an English dye maker, developed Madder Lake by binding madder to alum, a white powder. The German chemists Carl Grabe and Carl Liebermann produced the first synthetic variety of this pigment, most commonly known as Alizarin Crimson, in 1868. They used anthracene, which greatly improved the lightfastness. The Colour Index International designation PR83:1 has been used to identify this synthetic laked pigment.
Mary Ravenblade

Sleepless Beauty (by Clive)

Heath Dracona (son)

Ariadne Dracona (daughter)

Inora Tillberg (mother)

Arthur Ravenblade (parent)

Dawn Ravenblade (sister)

Riley Ravenblade (brother)

Ilea Ravenblade (sister)

Leo Ravenblade (brother)

Vie Mellar (godbrother)

Nikki Tillberg (maternal grandfather)

Jackson Tillberg (maternal grandfather)

Percival Ravenblade (paternal grandfather)

Katharina Ravenblade (paternal grandmother)

Corvus Hale (uncle)

Lunice Carter (aunt)

Mary Ravenblade is the daughter of Inora Tillberg and Arthur Ravenblade. She is staying with her maternal grandparents during the first part of Journey Through A Devided World.

She is a minor character in Journey Through A Devided World and the protagonist of Rave(n)s for Beginners.
PBk6

#### Properties

Lamp black is a very opaque, heavily staining black pigment that does not have much covering power. It is typically the most opaque black in watercolor form. Though a very pure black, it tends to muddy slightly in mixtures, is one of the slowest drying pigments in oils, and should not be used under other colors.

#### Permanence

Lamp Black is very lightfast and absolutely permanent. It is used in all techniques in permanent painting.

#### Toxicity

Lamp Black is slightly toxic by skin contact and inhalation. It is a possible human carcinogen.

#### History

Lamp Black is a carbon based black traditionally produced by collecting soot (known as lampblack) from oil lamps. It is the black found in Egyptian murals and tomb decorations and was the most popular black for frescoing until the development of Mars Black.
PY150

#### Properties

Nickel Azo Yellow is a transparent, moderately staining yellow pigment with high tinting strength. It is considered a good color match in botanical and landscape painting for natural gamboge (NY24), a historic yellow pigment with fair to poor lightfastness.

#### Permanence

Nickel azomethine yellow has excellent lightfastness.

#### History

Nickel azomethine yellow has been developed as an artist pigment becasue it is a close match for gamboge, a historic yellow.
PR255

#### Properties

Ciba describes PR255 as a yellowish red pigment with medium hiding power and excellent weather resistance, recommended for use in high grade decorative and industrial paints.

#### Permanence

Pigment Red 255 has excellent lightfastness and weatherfastness at full strength, and can be used for outdoor applications.

#### History

Pigment Red 255 has been used in paint, plastics, printing inks, and automotive finishes.
PY35

#### Properties

Cadmium Yellow ranges from bright, light, greenish yellows to a more reddish yellow. It is brilliant, dense, and opaque, with good tinting strength and very high hiding power. It is the artists principal bright yellow and is available in light, medium, and dark shades. The deeper shades appear deep orange and have the greatest tinting strength. It is slow-drying in oil form and is used in both oil and watercolor form. It cannot be mixed with copper-based pigments. A clean Cadmium Orange is created when Cadmium Yellow is mixed with Cadmium Red. Hues vary by brand. Cadmium pigments have been partially replaced by azo pigments, which are similar in lightfastness to the cadmium colors, cheaper, and non-toxic. Cadmium Yellow is usually available in a pure grade, or in a cadmium-barium mix. This mix has the same permanence with a lower tinting strength.

#### Permanence

Cadmium Yellow is lightfast and permanent in most forms, but like most cadmium colors, it will fade in fresco or mural painting. The deeper shades are the most permanent. The pale varieties have been known to fade with exposure to sunlight in conditions where moisture is able to penetrate the binder.

#### History

Cadmiums get their names from the Latin word cadmia meaning zinc ore calamine, and the Greek word kadmeia, meaning Cadmean earth, first found near Thebes, the city founded by the Phoenician prince Cadmus. Metallic cadmium was discovered in 1817 by Friedrich Strohmeyer. Oil colors were first made from Cadmium Yellow pigments in 1819, replacing toxic Chrome (lead) Yellows. However, their production was delayed until 1840 due to the scarcity of cadmium metals. Landscape painters, such as Claude Monet, preferred Cadmium Yellow to the less expensive Chrome Yellow because of its higher chroma and greater purity of color.
PV19

#### Properties

Quinacridone Red is a high performance, transparent pigment with an average drying time and uneven dispersal. It is another name for Quinacridone Violet (PV19) and Quinacridone Red (PR192). Quinacridone pigments have relatively low tinting strength in general. For this reason, quinacridone colors are often expensive, because more pigment is required in the formulation.

#### Permanence

Quinacridone Violet has excellent lightfastness and is considered the most lightfast organic pigment in this shade range.

#### Toxicity

Quinacridone Violet has no known acute hazards. Overexposure to quinacridone pigments may cause skin irritation. Quinicridone pigments contain a compound found to be a skin, eye, and respiratory irritant.

#### History

Although quinacridone compounds became known in the late 19th century, methods of manufacturing so as to make them practical for use as commercial pigments did not begin until the 1950s. Quinacridone pigments were first developed as coatings for the automotive industry, but were quickly adopted by artists.
PR108

#### Properties

Cadmium Red is a bright, warm red that ranges in shade from orange-red to maroon and is available in light, medium, and dark versions. It is strong and opaque, with good tinting strength. Cadmium Red dries slowly. It grays down when mixed with white, mixes well with blues to create a range of browns, and mixes well with Cadmium Yellow to create a strong orange. It also works well in neutral mixes. Cadmium pigments have been partially replaced by azo pigments, which are similar in lightfastness to the cadmium colors, cheaper, and non-toxic. Hues vary by brand. Cadmium Red is usually available in either a pure grade or a cadmium-barium mix. The cadmium-barium mix has the same permanence as pure Cadmium Red, but it has a lower tinting strength.

#### Permanence

Cadmium Red is lightfast and permanent in most forms, but like many cadmium pigments, it will fade in fresco or mural painting. Its improved lightfastness has helped it to replace Vermilion on the artist&rsquo;s palette.

#### Toxicity

Cadmium Red is a known human carcinogen. It is extremely toxic if inhaled and slightly toxic if ingested.

#### History

Cadmiums get their names from the Latin word cadmia meaning zinc ore calamine, and the Greek word kadmeia, meaning Cadmean earth, first found near Thebes, the city founded by the Phoenician prince Cadmus. Metallic cadmium was discovered in 1817 by Friedrich Strohmeyer, but Cadmium Red was not introduced until 1907 in Germany.
PG50

#### Properties

Cobalt Titanium Oxide is a low intensity color with a weak tinting strength, similar to Cobalt Blue. It has an average to fast drying time.

#### Permanence

Cobalt Green has excellent permanence and lightfastness.

#### Toxicity

Cobalt Green&nbsp; is considered toxic due to its cobalt component. Do not breathe its dust.

#### History

Since ancient times, smalt blue has been used to color glass and ceramics. Cobalt salts, which give smalt its characteristic blue color, were identified in the 18th century. Techniques for manufacturing various cobalt salts, offering a range of blues and greens, were developed in the 19th century.
PY110

#### Properties

Isoindolinone Yellow is a high performance pigment of excellent brightness and an average drying time.

#### Permanence

Isoindolinone Yellow has excellent lightfastness.

#### Toxicity

Isoindolinone Yellow is not considered toxic.

#### History

The first isoindoline pigments were patented in 1946, and commercial production of pigments in this group began in the 1960s. Several isoindoline yellow pigments are available.
PR206

#### Properties

PR206 offers a deep maroon or bordeaux red. Quinacridone pigments have relatively low tinting strength in general. For this reason, quinacridone colors are often expensive, because more pigment is required in the formulation.

#### Permanence

Quinacridone pigments have excellent lightfastness.

#### Toxicity

Quinacridone Pyrrolidine Red has no known acute hazards. Overexposure to quinacridone pigments may cause skin irritation. Quinicridone pigments contain a compound found to be a skin, eye, and respiratory irritant.

#### History

It was developed as a maroon or bordeaux red for automotive paints.
PG36

#### Properties

Phthalo Green is a transparent, cool, bright, high intensity color used in oil and acrylics. It comes from a Phthalocyanine Blue pigment where most of the hydrogen atoms have been replaced with chlorine, forming highly stable molecules.&nbsp;&nbsp;Pigment PG36 differs from PG7 in that a portion of the chlorine atoms are replaced with bromine atoms, which are reactively similar, but cause a yellow shift that is especially noticeable in mixtures. Phthalo Green has similar pigment properties and permanence to Phthalo Blue. It is slow drying and an excellent base color for mixing a range of bright greens. Phthalo Green is considered a very good alternative to Viridian because it is intense and mixes well and can be used to emphasize mineral colors in various tints. However, its tinting strength is very high, so it can overpower other colors.&nbsp; This pigment most closely resembles the discontinued and toxic Verdigris.

#### Permanence

Phthalo Greens are completely lightfast and resistant to alkali, acids, solvents, heat, and ultraviolet radiation. They are currently used in inks, coatings, and many plastics due to their stability and are considered a standard pigment in printing ink and the packaging industry.

#### Toxicity

Phthalo Green has no significant hazards, but it contained PCBs (polychlorinated biphenyls) until 1982.

#### History

This bright blue-green was developed in 1935 and has been in use since 1938.
PG18

#### Properties

Viridian is the standard green and is stable, powerful, and cold with an emerald green undertone. It has a transparent hue, good tinting strength, a dark masstone that can be almost black at full strength, and a slow drying time in oil form. Viridian is commonly replaced by the darker, more saturated, and staining Phthalo Greens, but its properties make it a necessary part of the palette of an experienced landscape painter.

#### Permanence

Viridian has excellent permanence, except in high-temperature work, and is highly valued as a glazing color.

#### History

Viridian&rsquo;s name comes from the Latin viridis, meaning green. The process for manufacturing Viridian, or Transparent Oxide of Chromium, was patented by Guignet in Paris in 1859. However, it had actually been discovered by Pannetier and Binet in 1838. Viridian replaced Verdigris, which was reactive and unstable, and Emerald Green, which was a poisonous copper aceto-arsenite used as a rat poison in the sewers of Paris.
PB28

#### Properties

Cobalt blue is a semitransparent pigment with low to moderate tinting strength. When it dries, it appears lighter and less saturated. Pigment particles are large and grainy. Differences in how the pigment is ground and mixed lead to considerable differences in its performance among various manufacturers.

#### Permanence

Cobalt blue is absolutely lightfast and extraordinarily stable. The stability of cobalt salts at high temperatures make them the standard for blues used in ceramics and glassware.

#### Toxicity

Cobalt salts are toxic. Avoid respiratory and skin contact. Soluble cobalt may cause irritation and allergic reaction through contact with skin. It is considered a possible carcinogen.

#### History

Since ancient times, smalt blue has been used to color glass and ceramics. Cobalt salts, which give smalt its characteristic blue color, were identified in the 18th century. Techniques for manufacturing Cobalt Blue, a chemically pure salt of cobalt and aluminum oxide, were developed in 1802.
PY97

#### Properties

Permanent Yellow PY97 ranges from reddish yellow to greenish yellow with temperature shifts from cool to warm hues. It has good tinting strength and average to slow drying time. Similar in shade to Hansa Yellow 1, it offers much better fastness properties and good heat stability.

#### Permanence

Pigment PY97 has excellent lightfastness, particularly in the darker shades.

#### History

Hansa Yellows were first made in Germany just before WW1 from a series of synthetic dyestuffs called Pigment Yellow. They were intended to be a synthetic replacement for Cadmium Yellow. Permanent Yellow (PY97) represents a further development of this line, with the aim of producing a yellow pigment that is suitable for exterior use.
PBr24

#### Properties

Chrome Antimony Titanate is a staining, opaque yellowish brown pigment. It is often used to replace the original Naples Yellow or Chrome Yellow, both of which are highly toxic pigments.

#### Permanence

Chrome Antimony Titanate has excellent lightfastness and weatherfastness.

#### Toxicity

Chrome Antimony Titanate has negligible acute toxicity. In testing with rabbits, it was shown to be minimally irritating to the skin and eyes. Since it has the hexavalent structure of a chromium yellow, whether Chrome Antimony Titanate is a potential carc

#### History

Chrome Antimony Titanate is used in ceramics, plastics, and industrial coatings.
PR233

#### Properties

Chrome tin pink sphene comprises a mixture of silicates and metal oxide salts. The opacity of the formulation depends on the proportions of these salts. Tinting strength is low compared with most organic pigments.

#### Permanence

The inorganic metal salts in this pigment are extremely stable.

#### Toxicity

Chrome tin pink sphene comprises a mixture of silicates and metal oxide salts. Although none are known to be carcinogenic or toxic, fine particles of such materials are respiratory and eye irritants. Contact with dust should be avoided.

#### History

This inorganic pigment has been used in enamels and ceramic glazes. Naturally occurring mineral deposits have been used in ceramic glazes for centuries.
Riley Ravenblade

Inora Tillberg (mother)

Arthur Ravenblade (parent)

Mary Ravenblade (sister)

Dawn Ravenblade (sister)

Ilea Ravenblade (sister)

Leo Ravenblade (brother)

Clive Dracona (brother-in-law)

Vie Mellar (godbrother)

Nikki Tillberg (maternal grandfather)

Jackson Tillberg (maternal grandfather)

Percival Ravenblade (paternal grandfather)

Katharina Ravenblade (paternal grandmother)

Corvus Hale (uncle)

Lunice Carter (aunt)

Riley Ravenblade is the son of Arthur Ravenblade and Inora Tillberg. He is the protagonist of Advanced Rave(n)s and a supporting character in The Detective Six.
Leo Ravenblade

Sunshine (by Inora)

Mr. Smith (by his students)

Blackbird (by Mark)

Enora Gester (daughter)

Cyman Gester (son)

Emmeline Tanaka (adoptive mother)

Mahiru Tanaka (adoptive grandfather)

Clement Gester (adoptive father)

Jill Gester (twin sister)

Jack Gester (adoptive brother)

Sherry Gester (adoptive sister)

Ginja Gester (adoptive sister)

Inora Tillberg (mother)

Arthur Ravenblade (parent)

Mary Ravenblade (sister)

Riley Ravenblade (brother)

Dawn Ravenblade (sister)

Ilea Ravenblade (sister)

Clive Dracona (brother-in-law)

Vie Mellar (godbrother)

Nikki Tillberg (maternal grandfather)

Jackson Tillberg (maternal grandfather)

Percival Ravenblade (paternal grandfather)

Katharina Ravenblade (paternal grandmother)

Corvus Hale (uncle)

Lunice Carter (aunt)

Leo Gester is a teacher at the Pinesdale public school and a recurring character in Pinestales.

His biological parents are Inora and Arthur Ravenblade.
Miran Lapsins

Bunny (by Darian)

Darian (husband)

Asa Lapsins(adopted father)

Arin Lapsins (adopted mother)

Bianca Lapsins(sister)

Collin Lapsins(brother)

Marquis Lapsins(brother)

Lassandra Lapsins(daughter)

Lovis Lapsins(sibling)

Neysa Lapsins(sister)

Melody Lapsins(sister)

Blythe Lapsins(sibling)

Lilian Lapsins(brother)

Valentin Lapsins(brother)

Eda Lapsins(sister)

Neve Lapsins(sister)

Rosa Lapsins(sister)

Alia Lapsins(adopted sister)

Edward Nox(adopted brother)

Lydia Arcio(sister-in-law)

Joseph Steel/Nr 1 ("father")

Miran Lapsins (formely Number 1.3) is the protagonist in Miran and the Idiots and a supporting character in Snow White and The Red King. He is the adopted son of Arin Lapsins.
PG26

#### Properties

This pigment offers a deep but dull and opaque tone of Cobalt Green. It has moderate covering power, but low tinting strength. It is primarily for use on its own, or for mixing with other cobalt colors. It is an alternative to cobalt(II) zinc oxide, another form of Cobalt Green.

#### Permanence

Cobalt pigments are absolutely lightfast.

#### Toxicity

Cobalt chromium oxide is slightly toxic, and is a possible carcinogen.

#### History

Cobalt chromium oxide is an alternative Cobalt Green to the better known cobalt zinc oxide. Both pigments were used by landscape artists before phthalocyanine-based pigments became widely available in the 20th century.
PV14

#### Properties

Cobalt Violet is a pure hue that cannot be mixed from other colors. It is cool in its masstone, chemically stable, and semi-opaque. It has a weak tinting strength and is generally offered in a bluish and a reddish-violet shade. Cobalt Violet can be quite expensive, so it is used mostly as a top coat color. It is compatible with all painting media, but its light variety can change in oil form. It grays down considerably when mixed with white. Manganese Violet is a less costly substitute for the bluish variety of Cobalt Violet.

#### Permanence

Cobalt Violet has excellent permanence, and its lightfastness makes it more desirable than older organic dye violets.

#### Toxicity

Cobalt Violet is highly toxic by both ingestion and inhalation, particularly in dry pigment form. However, much of the material presently used to make paints of this color is non-toxic cobalt phosphate.

#### History

Cobalt comes from the Middle High German word kobolt, an underground goblin, because miners thought cobalt harmed silver ores. Cobalt Violet was the first real violet pigment and was described by Salvetat in 1859. The light variety of this pigment, developed in Germany earlier in the 19th century, was particularly poisonous due to its arsenic content. Cobalt Violet hues were the only permanent bright violets available to artists until the 1950s.
Henry Sullingbird-Blossom

Aileen Sullingbird(daughter)

Lance Sullingird(son)

Darius Sullingbird(son)

Elias Sullingbird(son)

Natalia Sullingbird(daughter)

Zacharias Sullingbird(father-in-law)

Ivette Sullingbird(mother-in-law)

Henry Sullingbird-Blossom is the husband of Caroline Lariette Sullingbird and a minor character in Inora's Adventures in the Multiverse and Journey Through A Devided World.
PB29

#### 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.

#### 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.
Arthur Ravenblade

Birdie (by Inora)

Dawn Ravenblade (daughter)

Riley Ravenblade (son)

Ilea Ravenblade (daughter)

Leo Ravenblade (son)

Clive Dracona (son-in-law)

Robin Dracona (grandson)

Vie Mellar (godson)

Nikki Tillberg (father-in-law)

Jackson Tillberg (father-in-law)

Percival Ravenblade (father)

Katharina Ravenblade (mother)

Edith Ravenblade (half-sister)

Corvus Hale (brother)

Lunice Carter (sister)

Connor Ravenblade (uncle)

George Ravenblade (cousin)

Agent (formerly)

Arthur Ravenblade is the deuteragonist in Inora's Adventures in the Multiverse a supporting character and later POV character in Journey Through A Devided World.
Edwin Hallaway Jr

Eddy (by Inora)

Adora Darling (daughter)

Jael Lisobienne (child)

Claire Hallaway (daughter)

Chiara Hallaway (daughter)

Edwin Hallaway Sr (father)

Betty Dale (mother)

William Carter (half brother)

Myriel Carter (half sister)

Felina Carter (niece)

Edwin Hallaway is a minor character in Inora's Adventures in the Multiverse and Journey Through A Devided World. He is Inoras ex boyfriend and father of her second daughter Dawn.
Bianca Lapsins

Snowflake (by Arin)

Shortie (by Miran)

Arin Lapsins (adopted mother)

Miran Lapsins(sibling)

Collin Lapsins(brother)

Marquis Lapsins(brother)

Lassandra Lapsins(daughter)

Lovis Lapsins(sibling)

Neysa Lapsins(sister)

Melody Lapsins(sister)

Blythe Lapsins(sibling)

Lilian Lapsins(brother)

Valentin Lapsins(brother)

Eda Lapsins(sister)

Neve Lapsins(sister)

Rosa Lapsins(sister)

Alia Lapsins(adopted sister)

Edward Nox(adopted brother)

Lydia Arcio(sister-in-law)

Laurine River/Nr 3 ("mother")

Bianca Lapsins is a supporting character in Snow White and The Red King and Miran and the Idiots. She is the adopted daughter of Arin Lapsins.
Lassandra Lapsins

Arin Lapsins (adopted mother)

Miran Lapsins(sibling)

Bianca Lapsins (sister)

Collin Lapsins(brother)

Marquis Lapsins(brother)

Lovis Lapsins(sibling)

Neysa Lapsins(sister)

Melody Lapsins(sister)

Blythe Lapsins(sibling)

Lilian Lapsins(brother)

Valentin Lapsins(brother)

Eda Lapsins(sister)

Neve Lapsins(sister)

Rosa Lapsins(sister)

Alia Lapsins(adopted sister)

Edward Nox(adopted brother)

Lydia Arcio(sister-in-law)

Lassie Lapsins is a supporting character in Snow White and The Red King and Miran and the Idiots. She is the adopted daughter of Arin Lapsins.
Takumi Tanaka

## Takumi Tanaka

### Relatives

Amia Tanaka (wife)Ikuto Tanaka (son)

Ayato Tanaka (son)

Sakura Aiko (daughter)

Momo Tanaka (daughter)

Yuki Tanaka (granddaughter)

Ryuto Tanaka (grandson)

Meyra Tanaka (granddaughter)

Arianna Tanaka (granddaughter)

Karyn Ramsay (ex-wife)

Amelia Tanaka (daughter)

Aiden Tanaka (son)

### Occupation

child nurse
pediatrician (sometimes)

## Physical description

### Eye color

purple

Takumi Tanaka is a recurring character throughout Tales of Quinzen
Dawn Ravenblade

Mary Ravenblade (sister)

Riley Ravenblade (brother)

Ilea Ravenblade (sister)

Leo Ravenblade (brother)

Clive Dracona (brother-in-law)

Vie Mellar (godbrother)

Nikki Tillberg (maternal grandfather)

Jackson Tillberg (maternal grandfather)

Percival Ravenblade (paternal grandfather)

Edwin Hallaway Jr. (biological father)

Arin Lapsins (half-sister)

Adora Darling (half-sister)

Other half-siblings

Katharina Ravenblade (paternal grandmother)

Corvus Hale (uncle)

Lunice Carter (aunt)

Dawn is the daughter of Inora Tillberg and Edwin Hallaway Jr. She is born in the epiloque of Journey Through A Devided World and a supporting character in Snow White and The Red King.
Bruto

Su efecto quiere decir que solo puede ser destruído con trucos, pero no con trucos como Toque de la muerte. Si su vida llega a 0 por el ataque de un súbdito, se queda en 1 en su lugar. Aún puede ser destruido si su vida llega a 0 siempre y cuando lo que le haya dejado a 0 de vida (el último efecto que le hiciera daño o bajado la vida) haya sido un truco.
Brecha temporal

Su versión obsoleta es Brecha temporal (古い).

Este efecto se repite infinitamente hasta que no se puedan colocar más súbditos porque o todas las líneas están llenas, o no quedan más súbditos en el mazo de abandono.

Este efecto puede generar algunos bucles (como en el caso de tener un Procastinador pistolero). En aquellos casos, si el bucle no es productivo, el jugador que lo está generando debe terminarlo. Si en cambio es productivo (como tener un Casino en el campo y hacer un bucle con el Procastinador pistolero), el jugador que genera el bucle tiene derecho a adelantar la partida imaginando que su bucle le permitiría hacer el combo que busca, siempre y cuando sea posible hacerllo. Por ejemplo, en el caso del Casino y Procastinador pistolero, el jugador puede adelantar el juego motivando una y otra vez al procastinador tras destruirlo con su propio efecto, hasta tener 10 monedas y 10 cartas en la mano, imaginando que el efecto del casino funcionó unas 10 veces seguidas.