Preamble
This is the twenty-fourth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Introduction
This blogspot contains a number of glossaries and the most pertinent with respect to posts on pigments is the following Glossary: click on this link to see - Glossary of Colors, Dyes Inks and Pigments. Hence the following posts on pigments will not define such pigments as 'Academy Blue,' which is defined in this glossary.
Pigments [1]
A pigment is a finely divided, colored substance which imparts its color effect to another material either when mixed intimately with it or when applied over its surface in a thin layer. When a pigment is mixed or ground in a liquid vehicle to form a paint, it does not dissolve but remains suspended or dispersed in the liquid. Colored substances which dissolve in liquids and impart their color effects to materials by staining or being absorbed are classified as dyes.
Materials used as artist's pigments have requirements other than color; the term 'pigment properties' is used on this blogspot to refer to structural and other physical properties apart from color. Powdered materials which become colorless or virtualy colorless in paints are called 'inert pigments' - a technical term or classification which has no reference to chemical inertness or stability.
Titanium White is an inert pigment.
Note: Inert pigment refers to a pigment, extender or adultrant that does not change the shade or hue of a paint, but extends or otherwise imparts various physical properties other than color, such as opacity or texture. An inert pigment does not chemically react with the materials with which it is being mixed. Inert pigments are mainly fillers; when used in excess, they can be regarded as adulterants. Inert pigments should be used in the lowest possible concentration required to get the maximum color concentration in paints. Inert pigments are also known as inerts, fillers and extenders.
The various methods of painting - oils, watercolor, etc. - differ from one another in the material with which color is applied and attached to the ground; the pigments used are the same in all, except that a pigment which is suitable for one purpose does not always meet the requirements for another.
Body Color and Glaze
Two systems of coloring may be distinguished in our painting methods. One employs comparatively heavy layers of opaque paint or pigment, and obtains its white and pale shades by the admixture of white pigments. This is generally called body color. The other employs transparent colors, and for whites and pale shades utilizes the white of the ground as in water colors or glazes for some effects, as in oils.
No strict line can be drawn between the two, for materials and methods in general use are not entirely one or the other. Transparent painting usually shows some of the body color effect, and opaque painting often contains some of the other. The two systems may be used together in the same painting whenever the physical nature of the technique permits, but they cannot be mixed indiscriminately, and it must be borne in mind that they are two distinct methods of producing color effects. There are few technical procedures other than in the use of artists' paints where opaque and transparent color effects are manipulated or where their differences are so significant.
Requirements for a Paint Pigment
1. It should be smooth, finely divided powder.
2. It should be insoluble in the medium in which it is used.
3. It should withstand the action of sunlight without changing color, under conditions to which the painting might normally be exposed.
4. It should not exert a harmful chemical action upon the medium or upon other pigments with which it is to be mixed.
5. It should be chemically inert and uneffected by materials with which it is to be mixed or by the atmosphere.
6. It should have a proper degree of opacity or transparency to suit the purpose for which it is intended.
7. It should be of full strength and contain no added inert or loading ingredients.
8. It should conform to accepted standards of color and color quality and exhibit all the desirable characteristics of its type.
9. It should be purchased from a reliable house, which understands and tests its colors, selects them from world-wide sources, and can furnish information as to origin, details of quality etc.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
This is the twenty-fourth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Introduction
This blogspot contains a number of glossaries and the most pertinent with respect to posts on pigments is the following Glossary: click on this link to see - Glossary of Colors, Dyes Inks and Pigments. Hence the following posts on pigments will not define such pigments as 'Academy Blue,' which is defined in this glossary.
Pigments [1]
A pigment is a finely divided, colored substance which imparts its color effect to another material either when mixed intimately with it or when applied over its surface in a thin layer. When a pigment is mixed or ground in a liquid vehicle to form a paint, it does not dissolve but remains suspended or dispersed in the liquid. Colored substances which dissolve in liquids and impart their color effects to materials by staining or being absorbed are classified as dyes.
Materials used as artist's pigments have requirements other than color; the term 'pigment properties' is used on this blogspot to refer to structural and other physical properties apart from color. Powdered materials which become colorless or virtualy colorless in paints are called 'inert pigments' - a technical term or classification which has no reference to chemical inertness or stability.
Note: Inert pigment refers to a pigment, extender or adultrant that does not change the shade or hue of a paint, but extends or otherwise imparts various physical properties other than color, such as opacity or texture. An inert pigment does not chemically react with the materials with which it is being mixed. Inert pigments are mainly fillers; when used in excess, they can be regarded as adulterants. Inert pigments should be used in the lowest possible concentration required to get the maximum color concentration in paints. Inert pigments are also known as inerts, fillers and extenders.
The various methods of painting - oils, watercolor, etc. - differ from one another in the material with which color is applied and attached to the ground; the pigments used are the same in all, except that a pigment which is suitable for one purpose does not always meet the requirements for another.
Body Color and Glaze
Two systems of coloring may be distinguished in our painting methods. One employs comparatively heavy layers of opaque paint or pigment, and obtains its white and pale shades by the admixture of white pigments. This is generally called body color. The other employs transparent colors, and for whites and pale shades utilizes the white of the ground as in water colors or glazes for some effects, as in oils.
No strict line can be drawn between the two, for materials and methods in general use are not entirely one or the other. Transparent painting usually shows some of the body color effect, and opaque painting often contains some of the other. The two systems may be used together in the same painting whenever the physical nature of the technique permits, but they cannot be mixed indiscriminately, and it must be borne in mind that they are two distinct methods of producing color effects. There are few technical procedures other than in the use of artists' paints where opaque and transparent color effects are manipulated or where their differences are so significant.
Requirements for a Paint Pigment
1. It should be smooth, finely divided powder.
2. It should be insoluble in the medium in which it is used.
3. It should withstand the action of sunlight without changing color, under conditions to which the painting might normally be exposed.
4. It should not exert a harmful chemical action upon the medium or upon other pigments with which it is to be mixed.
5. It should be chemically inert and uneffected by materials with which it is to be mixed or by the atmosphere.
6. It should have a proper degree of opacity or transparency to suit the purpose for which it is intended.
7. It should be of full strength and contain no added inert or loading ingredients.
8. It should conform to accepted standards of color and color quality and exhibit all the desirable characteristics of its type.
9. It should be purchased from a reliable house, which understands and tests its colors, selects them from world-wide sources, and can furnish information as to origin, details of quality etc.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
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