Our New Carbon Black Pigment VS Printex 25: . 1. Very appropriate for bluetone Flexo printing ink,excellent liquidity, and also suitable for Gravure Ink, Nitro Flexo printing ink, carbon paper, plastic and really prime content of Masterbatch.205 - Mars Violet (PR101 pigment code) From there, the natural pigment is indicated with a 0.5 suffix. 205.5. As extra white is added, the suffix number increases, depending on the colour all of the way to 12 (take that Spinal Tap!) 205.12High high quality at an honest value! Gamblin Artist's Grade Pigments contain the same 100% pure pigments used to make Gamblin Artist's Oil Colors. This number of dry pigments is finely flooring to bring out the greatest possible in every colour.Hands down, I've by no means labored so laborious to organize for a blog publish as I have for this purple watercolor comparability. There are a LOT of purple watercolors in the marketplace, however that doesn't mean you must paint with them. Many reds must be have shyed away from because they can be highly impermanent or ultra finicky durinthe Color of Art Pigment Database: Pigment Red, is an entire artist's reference on crimson pigments utilized in making paint. It contains the Color Index names, chemical composition, light fastness rankings and heath and safty data for pigments and paints.
Pigment: PR101 Pigment description: Synthetic Iron Oxide ASTM Rating Ligthfastness: I Pigment classification: Synthetic inorganic Color Index Number: 77491 Viscosity vary (mPa.s): 800 - 1.500. Color Index The pigments used for artists' colors are inorganic as well as organic.Gamblin Artists Oils are produced with an alkali-refined linseed oil as a binder. The use of this binder leads to a strong, versatile paint film, which doesn't yellow as a lot when in comparison to the normal binder, chilly pressed linseed oil. Gamblin most effective makes use of the best grades of pigment to be had to create a paint of outstanding durability. Made with the best refined linseed oils, each and everyThe small letter-number codes at the paint tubes inform you the pigment identify: PR101 (=Pigment Red no. 101) is Iron Oxide, PW6:1 is a form of Titanium White. All paint manufacturers have to claim which pigment their paint is product of, this helps artists to choose their paints. Between drawing and portrayHandmade Master Quality Oil Paints - Manufactured In The U.S.A!Getting the right kind pigment is only the start! So a lot of the standard of oil paint is in the grinding. Each colour is ground to make stronger the wonder and luminosity particular to that specific pigment. Some colours by nature will feel moderately gritty, others extraordinarily easy. Pigments are ground in pure alkali-refined, ph balanced
Jackson's Artist Pigment: Mars Red Light PR101. Pigment Index: PR101 Lightfastness: Excellent Opacity: Semi-Transparent Suitable For Use With: All Media Jackson's Artist Pigments have been selected to provide permanent and characterful colours - best possible for artists who make their very own paints.Cool Colors® PR101 red iron oxide pigments offer a lifeless red shade this is opaque to visual gentle with reasonable NIR reflectance ("cool" pigment). Ferro's PR101 pigments provide supreme houses for plastics packages that include ease of dispersion with superb dimensional stability, leading to no warping or shrinkage.the Color of Art Pigment Database - the Pigment Yellow page of the database is a whole artists pigment reference, with colour Index names, pigment chemical composition, lightfastness, protection and other data on artists pigments and paint.PRINTEX® U is a extremely structured carbon black pigment via Orion Engineered Carbons. Designed for solvent- and water-borne powder coatings, general business and tinting packages, display inks and packaging gravure printing inks.Pigment: PY42, PR101 Pigment description: Synthetic Iron Oxide ASTM Rating Ligthfastness: I Pigment classification: Mixture Color Index Number: - Viscosity vary (mPa.s): 20.000 - 25.000. Color Index The pigments used for artists' colors are inorganic as well as natural.
Nickel Dioxime Yellow;
Nickel Paliotol Yellow;
Lemon Yellow Hue;
Pigment Yellow 153
Nickel Dioxine Complex;
Bright, gentle, deep yellow w/ orange to brown undertone;
Medium tinting energy, mildly staining;
I (ASTM oil & Acry.)
II (ASTM WC)**
Good Indian yellow (hue) substitute;
Manufacturing of this pigment was once discontinued and provides ran out in 2012?; However there are nonetheless brands that have this pigment in there traces.
PY 153 @ Handprint.com
* Some regulatory agencies (California) require a warning on paints containing the steel nickel.
** Rated II (superb) by way of thw ASTM in watercolor. Rated superb in all manufacturers examined by way of Handprint
Benzimidazolone Yellow 154
Azo Yellow Light [RT.w];
Azo Yellow Medium [RT];
Azo Yellow Deep [RT];
Benzimidazo H3G [GU.pd];
Benzimidazo Yellow H3G (inexperienced shade);
Benzimidazolone Yellow [KA.o.p];
Brilliant Yellow [SCH.a.p];
Cadmium Yellow Pale Hue;
Cadmium Yellow Tone (hue) [SCH.g];
C.I. Pigment Yellow 154;
Da Vinci Yellow [DV.w];
Hostaperm Yellow H3G;
Imidazolone Yellow [HO.w];
Imidazolone Yellow Light [HO.wo];
Permanent Yellow Light [RT.o.wo];
Permanent Yellow Medium [KP.p /p>
PY-184 Chemical Properties @ PubChem;
Mixed oxide of Bismuth and Vanadium;
Occurs within the herbal minerals: Clinobisvanite, Deyerite and Pucherite;
Bright light lemon yellow. greenish undertone, can be produced in heat mid colour yellows;
Staining w/ just right tinting power;
I (ASTM acry.)
I* (NR oil & WC)
BWS8;8;8 (guerra paint);
Often used as a non-toxic replace for Cadmium Yellow Lemon;
Widely used in many paints, inks, clothing, ground, waxes, lacquers and many different common merchandise.
Bismuth Vanadate @ Wikipedia;
The New YellowVideo on Periodic Videos YouTube Channel
** Rated with excellent light fastness in watercolors through Bruce MacEvoy, PY 184 @ Handprint.com;
** Bismuth primarily based pigments are environmentally pleasant and can substitute extra hazardous yellow formulations containing lead, chromium or cadmium pigments. They offer brilliant greenish yellow and orange shades with prime opacity and prime color strength - Synthesis, Characterisation and Testing of Bismuth Vanadate - An Eco-friendly Yellow Pigment [JSIR Vol.59, October 2000 p.833-837 (PDF)]
May include trace quantities of impurities which might be suspected carcinogens.
C.I. Pigment Yellow 185;
Pigment Yellow 185;
Sico Fast Yellow D
Bright greenish yellow
C.I. Pigment Yellow 188;
Irgalite Yellow LBF;
Pigment Yellow 188
Bright greenish yellow
C.I. Pigment Yellow 189;
Meteor Golden 8304;
Nickel Titanium Tungsten;
Nickel Titanium Tungsten Yellow Rutile;
Nickel Tungsten Yellow Rutile;
Pigment Yellow 189
Nickel Tungsten Yellow Rutile or Nickel titanate (with hint tungsten), is a combined phase pigment of Titanium (IV) Oxide, Nickel (II) Oxide, and Tungsten (VI) Oxide calcined at top temperatures to create a rutile matrix with the approximate formulation of (Ti,Ni,W)O2. It will have CeO2, Li20 and/or MgO as modifiers. (4th ed. CMPA Classification and Chemical Description of the Complex Inorganic Color Pigments)
Dull greenish yellow
* unrated via ASTM, however maximum other combined section pigments of this sort have superb gentle and climate fastness.
Currently used mostly in plastics. and enamels.
Palitol Yellow K1570
C.I. Pigment Yellow 190;
Palitol Yellow K1570;
Pigment Yellow 190
Bright mid-shade yellow
Pigment Brilliant Yellow HGR
C.I. Pigment Yellow 191;
PV Fast Yellow HGR;
Pigment Brilliant Yellow HGR;
Pigment Yellow 191;
Pyrazolone yellow HGR
Bright mid-shade yellow
Good heat resistance;
* Causes critical eye irritation. Harmful if swallowed. May be destructive if inhaled. May purpose inflammation to skin and breathing tract. see MSDS.
C.I. Pigment Yellow 191:1;
Pigment Yellow 191:1
Bright reddish yellow
C.I. Pigment Yellow 192;
Pigment Yellow 192;
Dull reddish yellow
Chromofine Yellow AF-1300;
C.I. Pigment Yellow 193;
Pigment Yellow 193
Dull reddish yellow
Novoperm Yellow F2G
C.I. Pigment Yellow 194;
Novoperm Yellow F2G;
Pigment Yellow 194
Bright green colour yellow
C.I. Pigment Yellow 200;
Pigment Yellow 200;
Azo Yellow 5RX;
C.I. Pigment Yellow 203;
Pigment Yellow 203
Pigment Yellow 204
C.I. Pigment Yellow 204;
Pigment Yellow 204
Medium yellow colour
regularly used for site visitors paint
C.I. Pigment Yellow 207;
Pigment Yellow 207
Medium yellow coloration
-PY213 Hostaperm Yellow H5G
C.I. Pigment Yellow 213;
Hostaperm Yellow H5G;
Pigment Yellow 213;117875
Formula: C21 H17 N5 O09
Chemical homes @ researchgate.internet
Chemical Properties @ pubchem.ncbi.nlm.nih.gov
Dullish, mustard-like masstone in oil paint*3
Technical specifications [PDF]
PCI (Paint & Coatings Industry) article web page
European Coatings Journal page
Clariant PY213 data page
Designed for Automotive coatings
* According to a file from an electronic mail sent me on the look of PY213 in oil paint when in comparison to PY15:• Greener than PY154, closer to PY151, however redder than PY175• Cleaner tints than PY154• Brilliant glaze tones• Masstone of PY213 shows a quite boring, mustard-like tone, PY154 is brighter• PY213 is much less transparent than PY154
Chrome Yellow Hue Deep [SCH.o];
Chrome Yellow Hue Middle [SCH.o];
C.I. Pigment Yellow 216;
English Yellow [UT.w];
Pigment Yellow 216;
RTZ Orange 10C341;
Rutile Tin Zinc;
Solaplex Mid Yellow;
Turner's Yellow (hue) [WN.w.wp.]
Spherical complicated of a tin-zinc-titania compound produced via top temperature calcination;
Rutile Tin Zinc
Clean Bright Yellow to Dull Orange;
relatively staining with excellent tinting power
High whether, chemical and light-weight fastness (Ref. shepherdcolor.com)
Orange 10C341 reference page at Sheperd Color
More info on PY-216 in watercolors @ handprint.com
A instance of a homemade Deep Yellow using Zinc-Tin Rutile (PY216) hand mulled into a paint and humorously named "Winter’s Woe Deep Yellow Snow " via Perry Johnson at http://perryjohnson.net
Titanium Zinc Antimony Stannate
C.I. Pigment Yellow 219;
Pigment Yellow 219;
Titanium Zinc Antimony Stannate
Titanium Zinc Antimony Stannate
MayaCrom Yellow Y2351RS
C.I. Pigment Yellow 223;
MayaCrom Yellow Y2351RS;
Mayan Yellow [DS.w | SI.p*?];
Mayan Yellow, Genuine [SI.p];
Pigment Yellow 223
Patented Organic-Inorganic hybred in line with the chemistry of Mayan Blue with a unique nano crystal lattice. Reference the Tech knowledge sheet, and Patent software.;
Article about Hybred Pigments and Mayan Blue in New Journal of Chemistry 2005, 29, p.57–58 (Article Reference PDF);
"evolved from work done at the University of Texas El Paso to reconstruct the unique vibrant blue color developed by the Maya civilization more than 1000 years ago, using an inorganic and organic component to produce a highly stable hybrid pigment." - press release
Announcement of C.I Names allocated - Press free up [PDF]
'Centuries-old Maya Blue thriller in spite of everything solved'Article on eurekalert.org
See Mayan Blue and MayaCrom Blue PB-Eighty two for more info.;
The unique Mayan Pigments web page seems to have been taken down, I may just only find a fb page and a squarespace web site for Myan Pigments, Inc. [facebook];Myan Pigments [squarespace];
MayaCrom Yellow Y2300F
C.I. Pigment Yellow 224;
MayaCrom Yellow Y2300F;
Pigment Yellow 224
Patented Organic-Inorganic hybred based on the chemistry of Mayan Blue with a novel nano crystal lattice. Reference the Tech knowledge sheet, Patent utility.
See above PY223
The authentic Mayan Pigments web site seems to have been taken down, I may only discover a fb page and a squarespace site for Myan Pigments, Inc. [fb];Myan Pigments [squarespace];
MayaCrom® Yellow Y7300
C. I . Pigment Yellow 226;
MayaCrom® Yellow Y7300;
Patented Organic-Inorganic hybred in accordance with the chemistry of Mayan Blue with a singular nano crystal lattice. Reference the Tech information sheet, and Patent utility.;
Article about Hybred Pigments and Mayan Blue in New Journal of Chemistry 2005, 29, p.57–58 (Article Reference PDF);- -
MSDSThe original Mayan Pigments website seems to have been taken down, I may just handiest find a facebook web page and a squarespace website online for Myan Pigments, Inc. [facebook];Myan Pigments [squarespace];
CI Pigment Yellow 227;
Niobium Sulfur Tin Zinc Oxide;
Niobium Tin Pyrochlore;
Yellow 10C150 1;
Yellow 10C151 2;
Niobium Tin Pyrochlore;
Niobium Sulfur Tin Zinc Oxide;
"A chromatic yellow inorganic pigment produced by high temperature calcination"
A brand spanking new crystal construction and a yellow coloration no longer observed in inorganic pigments ahead of
(Ref. Shepherd Color Company)
patented under US Patent 8,192,541
Mid fairly reddish deep yellow very similar to Lead Chromate
Ref. from the Shepherd Color Company website online:
"brand-new patented pigment technology that offers outstanding bright and opaque masstones and clean tints. It is the first high-performance alternative to have the coloristic and weathering performance to provide a viable replacement for lead chromate in wide selection of demanding applications"
"This pigment has excellent UV and visible opacity, is chemically inert, heat resistant, and stable to ultraviolet light. It is non-bleeding and non-migratory. It has exceptional durability and hiding power, and is generally used in applications where resistance to heat, light, and weather are needed." (Ref. NTP Yellow & RTZ Orange @ Shepher Color)PAINT AND PIGMENT REFERANCE TABLE KEY: Page Top^ Jump to : Supplier\Manufacturer Codes | Binder/Medium Codes
Color Index Generic Name: Key Top ^ Page Top^This is the C.I. Generic Name (abbreviated) given via the ASTM and Colour Index International (CII) for that pigment. The first 2 or Three letters describe the overall pigment colour and the quantity is the individual pigment identifier. N/A (not acceptable) implies that pigment has not been given a colour index name or quantity.Natural Dye and Solvent PigmentsThese are naturally happening organic pigments and dyes. With a couple of exceptions, maximum are plant or animal extracts or dyes that want to be mounted to a substrate to transform pigments (i.e. Madder Lake). A few are organic herbal earths corresponding to Cassel earth (Van Dyke Brown). They are designated with C.I. Generic name of which consists of the utilization magnificence "Natural" and elementary hue, followed by means of the CI serial quantity (i.e. Natural Brown 8). Natural pigment CI generic names are frequently abbreviated with the usage class N + the hue abbreviation + the serial number. (i.e. NBr 8) PigmentPigments will also be natural or Inorganic. Most fashionable pigments are given this utilization designation by the Color Index. They may also be totally artificial, naturally occurring minerals, or lakes in response to the unreal derivatives of herbal dyes. Pigments are designated with C.I. Generic identify which consists of the usage elegance "Pigment" and the fundamental hue followed by the CI serial number (i.e. Pigment Red 106, Cadmium Red). The pigment CI generic names are frequently abbreviated with the usage class P + the hue abbreviation + the serial quantity. (i.e. PR83 for Pigment Red 83)
NY = Natural Yellow;NO = Natural Orange;NR = Natural Red;NV = Natural Violet;NB = Natural Blue;NG = Natural Green;NBr = Natural Brown;NBk = Natural Black;NW = Natural White;
PY = Pigment Yellow;PO = Pigment Orange;PR = Pigment Red;PV = Pigment Violet;PB = Pigment Blue;PG = Pigment Green;PBr = Pigment Brown;PBk = Pigment Black;PW = Pigment White;PM = Pigment Metal
The CI (Color Index) Common Pigment Name: Key Top ^ Page Top^In this database the common name is the title given within the Color Index (3rd edition, 1997) through the Color Index International printed via the Society of Dyers and Colourists and the American Association of Textile Chemists and Colorists, and are also utilized by the ASTM International, American Society for Testing and Materials.
When the Colour Index (third version) has no longer specified a reputation, I have used the identify that the first producer, inventor or original patent holder has for the reason that pigment. In the case of ancient pigments, historical pigments, minerals or different ordinary pigments, I've used the most commonly used traditional historical, mineral or chemical name as decided via my analysis.
Common, Historic and Marketing Names: Key Top ^ Page Top^
These are the various names that have been used for that pigment whether or not or now not it is the correct utilization. This is NOT an endorsement of any explicit name, however merely a selection of names which can be in commonplace utilization or had been used in the past in step with ancient pigment books & references, paint gross sales literature, and pigment producers references. They were collected (so as of importance) from
1.) Paint manufacturers, pigment manufacturers and/or different pigment supplier literature;
2.) Various web sites (an incomplete checklist, in no specific order): AMIEN.org is unfortunetly long past, but the good news is the MITRA (Materials Information and Technical Resources for Artists) has taken up the cause, Handprint.com; RainyCanvas.com; Blick Art Materials Artist Supply Pigment Information; Boston Fine Arts CAMEO Conservation & Art Materials Encyclopedia; Kremer Pigments; Natural Pigments; Kama Pigments; Sinopia Pigments; PCImag.com; WebReveals.org "Pigments through the Ages Online Museum"; and together with internet forums on art and painting, internet sites of paint manufacturers, paint suppliers, chemical manufacturers and pigment manufacturers;
3.) The Color Index, Third version (published by means of the Colour Index International, 1997);
4.) Historical books on pigments, oil painting, watercolor painting and other artwork forms (see Free Art e-Books);
5.) Artist manuals and handbooks (see the ground of the Pigment Database's major web page for an entire checklist of reference works);
6.) Various dictionaries and encyclopedias (both ancient and contemporary, on-line and physical).
(hue):When a manufacturer has has used a common historical name for a pigment that isn't the approved conventional ancient pigment title and has no longer clearly indicated it to be a hue or change, I've indicated it with the "(hue)"* in parenthesis. For instance calling/naming a paint made with Phthalocyanine Blue as "Egyptian Blue", "Smalt" or "Cobalt Blue".
* In order to stay inside of ASTM specification D 4302-05, manufactures are encouraged to make use of the phrase "hue" when the paint or pigment marketing title is not the true identify of a paint or a pigment. 'Substitute', 'tone' or prefixed with words like 'Permanent' might be additionally regarded as appropriate method of indicating a hue replace for the true shade. The ASTM specs are voluntary and no one enforces them. Also because of language variations, changes within the paint or pigments commonplace id and because of recent usage (incessantly perpetrated by manufacturer's mistaken colour marketing names), and last but no longer least - the sheer multitude of historically used paint names for any given paint\pigment, it is nearly unattainable to prove or say a producer of art fabrics is being purposely misleading.
C.I. Constitution Number or Colour Index Constitution Number (chemical composition): Key Top ^ Page Top^
These are the chemical charter numbers given that pigment by means of the Color Index International printed via the Society of Dyers and Colourists and the American Association of Textile Chemists and Colorists, and also are utilized by the ASTM International, American Society for Testing and Materials. Each of the numbers within the "Colour Index Constitution Number" has a specific chemical or compositional that means; for more info see the Colour Index Number Chart or move to the Color Index International and ASTM, American Society for Testing and Materials web sites (those hyperlinks open in a brand new window)..
Chemical Composition: Key Top ^ Page Top^
These are the elemental chemical names, or mineral names at the side of chemical composition and infrequently, when available, manufacturing main points. I have additionally integrated CAS numbers, when I will high quality them. Sometimes a couple of names are given because chemical names will also be said in numerous ways, the different chemical names can be a sign of the different manufacture strategies. Very frequently a pigment could be a staff of similar compounds reasonably than one particular chemical. I've not incorporated detailed chemical descriptions or analyses, however handiest fundamental knowledge that are meant to let you to search out further knowledge. I've incorporated references designated with "(Ref)" the place further information can also be attained.Adulterants, extenders and different additives is also added to creative paints & pigments to give a boost to the paint rheology, transparency, wetting and\or drying time. Often inert pigments, extenders and fillers are added to the colour pigments in pupil grade paints or to modify paint pigments with overly sturdy tinting power, i.e. the Phthalocyanine Blues and Greens. These further ingredients are rarely indexed of the label.
Color Description: Key Top ^ Page Top^
This is a basic attempt to give an explanation for the colour, hue and value in simple English. The belief of color is as individual because the the folk viewing it and this sort of description can not be completely accurate, but merely give a general concept of the what color looks like to the common particular person. Many pigments have a range of sunglasses and colours. This vary in hues, even in the similar pigment, may also be because of many stuff similar to other production processes, chemical modifiers added throughout manufacturing, calcining temperature and length of time, milling time, particle dimension, exact chemical composition, in lake pigments the bottom the dye is fastened on, components, binder , etc, and so on.. In most instances, i've no longer used any of the attempted manner of standardizing color descriptions for this (such because the Munsell machine), however the place the pigment is included within the Color Index International Pigments and Solvent Dyes (The Society of Dyers and Colourists, 3rd version 1997), I have used that description, when there is no shade hue description within the Color Index, I have used other reference sources, in particularly, producer or provider literature and personal judgement.
† = Effects of long term mild exposure are given when known, this may permit an artist to wait for colour changes and in all probability use them as an advantage. These results are all relative to the pigments inherent mild fastness and would possibly take a long time and even centuries in museum stipulations to be visual.
Fades = Loses chroma and turns into more TransparentLightens = Loses chroma however maintains relative transparency or opaque character;Whitens = Becomes lighter towards white and more opaque;Darkens = Becomes darker however retains hue;Dulls = Loses chroma in opposition to impartial but maintains the relative tone price; Blackens = Becomes darker transferring towards black losing chroma; Hue shift = Changes hue towards a unique color
Opacity - Transparency: Key Top ^ Page Top^
This designation is just a normal connection with the most typical encountered opacity or transparency inherit to the pigment. In paint formulations, the transparency of a pigment can trade because of what is used as the painting medium or binder (i.e., oil shade, watercolor, encaustic, acrylic, and so on.). There are many pigments which might be opaque in watercolor but transparent or semi-transparent in oil paints. The transparency of a paint or pigment can regularly be manipulated by means of the manufacturing procedure for a specific purpose and so some pigments are available in clear and opaque versions. The addition of inert pigments or different modifiers too can change the perceived transparency of a paint system or pigment.When available, i've used the Color index's designation or manufacturers literature to arrive at this determine. When the Color Index description is unavailable i have arrived at a normal figure via manufacturer literature or non-public experience. A basic designation equivalent to given is not going to always be the case in any specific formulation. 1 = Opaque, 2 = Semi-Opaque, 3 = Semi-Transparent, 4 = Transparent
Light Fastness Rating: Key Top ^ Page Top^
The light fastness scores can best be a common guide, the one reliable technique to ascertain lightfastness to your paints and your preferred medium is to make your own assessments at the paint emblem or pigment you will have. I've used the ASTM score when possible, however The ASTM has now not rated all pigments, and stopped score pigments solely sometime in the late 90's early 2000's. The ASTM stopped score pigments because it isn't possible to check every pigment & color of pigment in each binder and feature the results mean anything in the actual global. The ASTM now advises that the producer of a logo make their very own exams according to the ASTM D4303-10 tips and put up them to the ASTM for approval. However I do not know of any corporate that has completed this. The ASTM lightfastness ratings were never an ideal method to resolve mild fastness of a pigment that has been utilized in a singular paint brand components.
For the explanations above, the ranking in this database, won't at all times be the legitimate ASTM rating however a rating culled & averaged from other assets such as person paint brand rankings, my own personal exams, assessments results in other resources similar to books, artist boards and websites like Handprint.com and/or pigment manufactures literature and blue wool scales. The ASTM ratings have a 5 increment scale and the blue-wool scale is 8, in this database I can use the same scale because the ASTM for light fastness ratings, despite the fact that they may not be ASTM scores. Very frequently, pigments in tints are less light speedy than in full masstone and this will have to be taken into consideration when determining if a pigment or paint will meet your needs. ASTM ratings simplest have a rating for full coloration or masstone. I will be able to now not quilt each and every conceivable paint, binder, or pigment components in this chart because it would take too much time and area. Many elements can influence the light fastness of any explicit paint system, for example, the standard of the actual pigment manufacture and amount & form of impurities has a lot influence on a pigments fastness to gentle. Particle size, extenders, binder, and additives play a task in gentle fastness too. Most artist paint manufacturers and the ASTM don't take a look at for the results of heat, moisture, pollution or different environmental factors. Whether a paint is watercolor, oil colour, tempera, and so forth. has an effect on gentle fastness. Varnishes and different therapies to the painting floor or toughen can have an influence too. As a basic rule (however now not all the time the case) oil, alkyd and acrylic binders upload some degree of coverage and shall be somewhat more light fast than watercolors.Reference the next: (ASTM D4303 - 10, Standard Test Methods for Lightfastness of Colorants Used in Artists' Materials, or ASTM D01.57, the Subcommittee on Artists' Materials doc here, opens new window);
Blue Wool Scales will probably be added when found, however remember that a lot of these will be assessments performed by means of the pigment manufacturer on a single components which may be results from melamine (Plastic), alkyd, oil, water or acrylic emulsions and is probably not indicative of it is use in all / or any specific artist paint brand or binder.
ASTM scale or equivalents (see the desk below for conversion to & from the Blue Wool Scale):
I = Excellent, will have to final over One hundred years in Museum conditionsII = Very Good, must show no signs of trade for 50–100 years in Museum conditionsIII = Fair, should display no signs of trade for 15–50 years in Museum conditionsIV = Poor, should last 2–15 years in Museum conditionsV = Fugitive or very deficient, will display adjustments in 2 years or less in Museum conditions
BWS = Blue wool scale
7-8 = ASTM I, Excellent6 = ASTM II, Very Good4-5 = ASTM III, Fair 2-Three ASTM IV, Poor (Impermanent) 1 = ASTM V, Very Poor (fugitive)*
*When identified, blue wool scale ratings will likely be given for tints in the following layout: Full;1/2 tint/;1/4 tint (i.e. Cadmium Red would be 8;8;8 with superb light fastness in all tints). Note: those might from checks on a unmarried components or pigment emblem, and might not be legitimate for different manufacturers or binders.
Oil Absorption: is given in g/100g or grams of oil consistent with One hundred grams of pigment Key Top ^ Page Top^ or as H, M, L (see underneath)
The oil absorption determine has been arrived at from the pigment manufacturer's literature or artist reference assets (see the ground of the Pigment Database's main web page for a whole record of reference works). The upper the oil absorption, generally, the longer it will take to dry when utilized in oil painting. The addition of driers, siccatives, retardants and different additives can impact the drying time of any specific system, or they may be able to be added by means of the artist to hurry up or decelerate the drying of oil paints. In some literature the oil absorption charge is given as ml/100g, although no longer technically the similar as g/100g, for the purposes of this database they're shut enough.
Depending on the specs i have available I may additionally use the next designations: H = High; - These pigments take in numerous oil.M = Medium; - absorbs a medium amount of oil, and in most cases may have a median drying or remedy rateL = Low; - absorbs little or no oil, most often very fast driersToxicity: Key Top ^ Page Top^
Under this heading will likely be a basic designation of a imaginable hazard. It is believed intelligent folks will use no less than unusual care when handling all paints or pigments. An ranking of A on this database does now not imply the pigment is totally innocuous, but most effective that there is low toxicity beneath affordable use, it does not imply you can devour it. No artists' pigments are made to 'food grade' or 'pharmaceutical grade' requirements, so even if a certain coloring is regarded as non-toxic, it does now not imply it is OK to ingest or carelessly maintain. The designation right here has been arrived at from, in most cases, the producer's literature, art books and art reference works (see the bottom of the Pigment Database's primary web page for an entire record of reference works), MSDS sheets, the EPA guide: Environmental Health & Safety in the Arts: A Guide for Ok-12 Schools, Colleges and Artisans (full PDF here), The Art & Creative Materials Institute, Inc. (ACMI), The Health and the Arts Program - Great Lakes Centers at the University of Illinois at Chicago School of Public Health (UIC SPH), The American Institute for Conservation of Historic & Artistic Works has a number of articles on artwork protection, The Consumer Product Safety Commission's Art and Craft Safety Guide (PDF, 250 KB) and Art Materials Business Guidance.
All paints and particularly dry pigments can also be hazardous if carelessly treated, but, if handled correctly with not unusual sense all however the most unhealthy pigments can be used safely. Very few pigments used in the arts are fit to be eaten, and even so called "Food Colors" don't seem to be intended for use in huge quantities and will have unknown unwanted effects or hypersensitive reactions.
WARNING: Always use a dust masks when running with any dry pigments. Work in a separate house of your studio clear of kids, pets or different dwelling issues. Do now not smoke, eat or drink round any artwork fabrics. Dispose of all waste fabrics in an environmentally friendly and safe way.
A = Low hazard, however do not handle carelessly; Do now not ingest; Avoid dust & spray.B = Possible danger if carelessly treated, ingested in huge amounts or over long periods of time; Do not ingest; Avoid dust & spray.C = Hazardous, use suitable precautions for handling poisonous elements, particularly if working with the dry powder; Do not ingest; Avoid mud & spray.D = Extremely Toxic, best attempt operating with these pigments (especially the dry shape) in laboratory like stipulations with proper protection apparatus (see "Prudent practices in the laboratory: handling and disposal of chemicals" at google books opens new window); or the PDF - Booklet Safe Handling of Colour Pigments Copyright © 1995: BCMA, EPSOM, ETAD, VdMI - hyperlink from VdMI
The Side Notes Column: Key Top ^ Page Top^
These are typically attention-grabbing issues I've read, or data accumulated on a pigment that can be worth further learn about. Please take into account that they're NOT statements of absolute reality. Many pigment qualities are rumors, previous wife's tales and misconceptions repeated time and again until they authorised as reality with none clinical proof. I can come with references (Ref) for further information.
(hue) = When the phrase "hue" in in parenthesis (hue), it refers to a hue shade no longer designated at the label, when the word "hue" isn't in parenthesis is a part of the pigment title as per ASTM pointers.
(Ref) = A link to a reference source. This may be the reference supply of the ideas that I have given, or just a hyperlink to extra detailed knowledge.
? = a question mark next to a reputation, note, or information code indicates that it is going to or will not be correct data due to conflicting information, questionable references, possible typo or different discrepancies in the manufacturer or different reference documentation. Further learn about is needed to clarify.Paint or Pigment Manufacturer Code & Art Medium:***** Key Top ^ Page Top^ Paint/Pigment Manufacturer Code:The manufacturer code is to indicate firms that make or supply paints or pigments using the particular pigment. Only the ones products which can be single pigments can be indicated in this database. In a couple of instances, the Color Index International has indexed a mixture of pigments or chemicals underneath a single coloration index pigment identify or code, and these will also be designated as if they have been a single pigment. The codes subsequent to the pigments in above Color of Art Database may take you off sight the place you can in finding extra data or even purchase, if you happen to so need. These codes aren't part of any same old, however have been made up by me for this database, with function of constructing them as short as imaginable.The hyperlinks under next to the manufacturer code underneath are to the professional manufacturer web website online and will open in a new window.
Paint medium or binder code: Key Top ^ Page Top^
Clicking on the paint or pigment producer code subsequent to the pigment name will take you off website online where additional info may also be discovered. The link will maximum continuously take you to an artwork provider the place you can find more explicit artwork medium or paint binder information, purchasing supply, pigment houses, pigment history, MSDS sheets, and whether it is the artist top class or scholar economic system grade. If you to find this site useful you can lend a hand make stronger this web page via buying thru those hyperlinks.
d in italics next to the pigment producer or art supplier code signifies a discontinued pigment or paint.All different artwork medium or binder codes in italics mean the pigment underneath that identify is in the "student" or financial system grade, no longer the "artist's" grade paint.
a = Acrylic Paint, heavy frame;
ab = Acrylic Airbrush colors;
advert = Aqueous pigment dispersions;
af = Fluid Acrylics;
ag = Matte Acrylic or Acrylic Gouache;
ao = open acrylics or gradual drying
k = Alkyd paints;
c = Casein or milk paint;
d = Discontinued
e = Encaustic paints;
g = Traditional water coloration Gouache;
i = Ink (printing ink or pigmented drawing inks);
o = Oil Paint;
p = Dry Pigment;
t = Artist Professional Tempera or Egg Tempera;
w = Watercolor Paint in tubes;
wp = Watercolor Pan; wp = 1/2 pan, wp(f) = full pan, wp(L) = massive pan
wo = Water mixable oil paint or water soluble oil paint.
am = Acrylic medium, could have all kinds of ingredients or uses
om = Oil painting Medium, could have all kinds of substances or makes use of
wm = Watercolor Medium, may have a wide variety of substances or makes use of
GEN = Where there is a in most cases approved common historical name associated with a pigment, I have used "GEN" to indicate the generic or common ancient name of a specific pigment.
Other than gouache, most effective unmarried pigment paints and pigments are included. Gouache is designated distinct from watercolors as a result of it is ceaselessly mixed with white or components to make it matte and/or opaque and that is not usually indicated on the paint manufactures literature. Other art subject material or medium paperwork such as pastel, oil pastels, oil bars, dyes and ceramic glazes might not be designated with a artists medium or binder code, however might still be listed under the pigment identify with an organization code.
© 2014-20118 by way of David Myers, All Rights Reserved. Please e-mail me with corrections, additions or comments.
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© 2014-2018 via David MyersArtist Reference Resources:
Historical Artist and Pigment Reference Sources: This is just a partial list, for a more whole list of Historical Pigment References see the Free Art Books Page.The Industrial and Artistic Technology of Paint and Varnish, By Alvah Horton Sabin, Published by means of J. Wiley & Sons, 1904 The Painters' Encyclopaedia, By Franklin B. Gardner, Published by means of M.T. Richardson, 1887 The Science of Painting, By Jehan Georges Vibert, Published by way of P. Young, 1892 A Treatise on Painting, By Cennino Cennini, Giuseppe Tambroni, Mary Philadelphia Merrifield, Translated by way of Mary Philadelphia Merrifield, Published through Lumley, 1844 A Treatise on Painting, By Leonardo Da Vinci, John Francis Rigaud, Published via J.B. Nichols and Son 1835 The Book of the Art of Cennino Cennini, By Cennino Cennini, Cennini, Christiana Jane Powell Herringham, Translated by way of Christiana Jane Powell Herringham, Published by way of G. Allen & Unwin, ltd., 1899 The Chemistry of Paints and Painting, By Arthur Herbert Church, Published via Seeley, 1901 A Handbook for Painters and Art Students at the Character and Use of Colours, By William J. Muckley, Published through Baillière, Tindall, and Cox, 1880 The Household Cyclopedia, By Henry Hartshorne 1881 The Chemistry of Pigments, By Ernest John Parry, John Henry Coste, Published by Scott, Greenwood, 1902 Facts about Processes, Pigments and Vehicles: A Manual for Art Student, By Arthur Pillans Laurie, Published by way of Macmillan, 1895 The Manufacture Of Earth Colours:By DR. JOSEF BERSCH, translated by means of CHARLES SALTER,SCOTT, GREENWOOD & SON , 1921 Link Materials for Permanent Painting, By Maximilian Toch 1911
Modern Pigment and Artist Reference Sources:The Artist’s Handbook, by way of Pip Seymour, Arcturus Publishing (September 16, 2003) The Artist's Handbook, Revised Edition,Ray Smith; DK Publishing 2003 The Artist's Handbook of Materials and Techniques,Third version, through Ralph Mayer; Viking Press 1979 Artists' Pigments: Volume 1: A Handbook in their History and CharacteristicsEdited by means of Robert L. Feller Artists' Pigments: Volume 2: A Handbook of their History and CharacteristicsEdited by way of Ashok Roy (Oct 2, 1993) Artists' Pigments: Volume 3: A Handbook in their History and CharacteristicsEdited by Elisabeth West Fitzhugh (Oct 1997) Artists' Pigments: Volume 4: A Handbook of their History and CharacteristicsEdited by way of Barbara Berrie (Jun 7, 2007) Collins Artist's Colour Manual,Simon Jennings; HarperCollins Publishers 2003 Color Index International Pigments and Solvent Dyes, The Society of Dyers and colourists, 3rd edition 1998 A Dictionary of Art Terms and Techniques,Ralph Mayer, Harper and Row Publishers, New York, 1969 The Materials and Techniques of Painting,via Jonathan Stephenson (May 1993) The Painter's Handbook, Mark David Gottsegen; Watson-Guptill Publications 1993 Painting Materials A Short Encyclopaedia, by way of Rutherford J. Gettens and George L. Stout; Dover Publications 1966 Pigment Compendium, through Nicholas Eastaugh, Valentine Walsh, Tracey Chaplin, Ruth Siddall; Butterworth Heinemann 2004
Web Resources and Art Suppliers with Excellent Reference Materials:
American Institute for Conservation of Historic and Artistic Works (AIC):
National membership group in the United States devoted to the preservation of cultural subject matter, establishes and upholds professional standards, promoting analysis and publications, tutorial alternatives, and fostering the exchange of data amongst conservators, allied execs, and the public.AMIEN:a useful resource for artists dedicated to offering essentially the most comprehensive, up-to-date, accurate, and impartial factual information about artists' materials Blick Art Materials; has executed a very thorough activity of indicating the pigments utilized in many of the paints they promote, making the Blick Art Materials artwork supply site much more than only a store to purchase paint and art provides.Blick Art Materials also has the MSDS sheets for of lots of the merchandise they sell , making the Blick website online a valuable resource for toxicity info and the health and safety of artist materials. Coloria.internet, a big and thorough website online on pigments, in Finnish http://www.coloria.net/index.htm Conservation and Art Materials Encyclopedia Online (CAMEO), The Materials Database,evolved on the Museum of Fine Arts, Boston (MFA), to be a more complete and well-rounded encyclopedic resource for the artwork conservation and ancient preservation fields. The MATERIALS database contains chemical, physical, visible, and analytical knowledge on over 10,000 historic and contemporary materials used within the manufacturing and conservation of creative, architectural, archaeological, and anthropological materials. Conservation OnLine (CoOL):A freely accessible platform to generate and disseminate vital sources for the ones operating to maintain cultural heritage international. The Handprint,com; web site through Bruce MacEvoy has quite a lot of superb data on watercolor pigments and Has a superb colour wheel appearing the place the true pigments are in color area. Truly an incredible web page, the web site is directed at watercolors, however is a superb general reference for any paints or pigments. Webexhibits.org; Great pigment sight that even includes step by step instructions for making you personal pigments. The Real Color Wheel; via Don Jusko may be an excellent shade web site. Studiomara; has a fantastic pigment reference database taken care of via the marketing paint colour name and logo. Health and Safety in the Arts; A Searchable Database of Health & Safety Information for Artists Household Products Database; Health and protection knowledge on household merchandise from the US Department of Health and Human Services Natural Pigments: One of the best sources of uncommon herbal and historic pigments and knowledge. Pigments and their Chemical and Artistic Properties; by means of Julie C. Sparks, is part of The Painted Word Site. Wonderful stuff. Paintmaking.com: By Tony Johansen, Great Paint making website online with all varieties of useful pigment and binder knowledge for the artist. PCImag.com; Paint & Coatings Indusry 2010 Additives Handbook through Darlene Brezinski, Dr. Joseph V. Koleske, Robert Springate, June 4, 2010; A History of Pigment Use in Western Art Part 1; A History of Pigment Use in Western Art Part 2 Blick Art Materials Artist Supply: Full Range of artwork provides at bargain costs and has pigment information on maximum paints they sell Kremer Pigmente Europe / Kremer Pigments USA web page; Has a huge quantity of pigments and information. Earth Pigments: Specializes in earth pigments. Guerra Paint and Pigments: Many rare and out of manufacturing Pigments most commonly in aqueous dispersions Sinopia: Lots of Pigments & info
Health and Safety within the Arts References and Info:Art and Craft Safety Guide (PDF, 250 KB) Consumer Product Safety Commission Art Materials Business Guidance Consumer Product Safety Commission Art Safety Environmental Protection, Health & Safety, California State University at Monterey Bay Artist Safety Center for Research on Occupational and Environmental Toxicology, Oregon Health & Science University Environmental Health & Safety within the Arts: A Guide for Ok-12 Schools, Colleges and Artisans U. S. Environment Protection Agency Exposing Ourselves to Art (PDF, 6.Eighty three MB) Scott Fields. Environmental Health Perspectives Volume 105, Number 3, March 1997 Health & Safety Bibliographic Resources and Resource Guides in Art Conservation CoOL – Conservation Online, Stanford University Libraries Health and Safety Guides and Publications American Institute for Conservation of Historic and Artistic Work Art Safety Office of Environmental Health and Safety, Connecticut College Health and the Arts Program The Occupational Health Service Institute, University of Illinois at Chicago Online Health and Safety within the Arts Library The Occupational Health Service Institute, University of Illinois at Chicago Arts, Entertainment and Recreation New York Committee for Occupational Safety and Health Studio Safety Gamblin Artists Colors