Preamble
This is the twenty-eighth 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
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
Although any and all of the pigments in this post and following posts may be used, many will be found to be superfluous on a working palette. While painters will naturally have their preferences for specific pigments, some pigments, although definitely separate colors with varying properties, are so closely related to each other than more than one will seldom be required in the same pictiure. The families and groups have been printed on the same line.
Pigments for Oil Painting [1]
There are eight pigment hue designations given below, but in an average normal working palette the artist usually requires about twelve or fourteen pigments.
Pigments such as green earth and ultramarine green, red or violet, which have low tinctorial power, are valued more as glazing colors than as opaque colors; several other permanent but very weak pigments have been omitted. The imitation cobalt blues and turquoise greens, which are special shades of ultramarine, are just as permanent and have the same physical properties as ultramarine blue. Special cleanliness must be observed in handling flake white and Naples yellow in order to prevent lead poisoning. When well-made lead pigments of high quality are used they may be freely mixed with the rest of the permanent palette; sulfur-bearing pigments, such as the cadmiums and ultramarine blue, will cause them to darken in oil mixtures only when poor or badly washed materials are used. Flake white and Naples yellow have such desirable qualities that they are widely used despite this disadvantage.
The pure iron oxide reds are referred to under Red Pigments. Indian red has a bluish or rose undertone, and light red, a comparative yellowish or salmon undertone. In oil paints these two products should be used in opreference to the native earth reds, and also the artifical product, Venetian red, all of which are inferior. For the same reason vermilion, zinc yellow, and vine black, which are perhaps durable enough for the majority of uses, should not be used, when they can be replaced by more trustworthy pigments of equal color value.
White
(i) Zinc White.
(ii) Flake White. Cremnitz White.
(iii) Titantium Oxide.
Black
(i) Ivory Black.
(ii) Mars Black.
(iii) Lampblack.
Red
(i) Cadmium, Light.
(ii) Alizarin Red.
(iii) Light Red, Indian Red. Mars Red.
(iv) Cadmium, Deep. Cadmium Maroon.
Blue
(i) Ultramarine Blue (all shades).
(ii) Cobalt Blue.
(iii) Cerulean Blue. Manganese Blue.
(iv) Phthalocyanine Blue.
Green
(i) Viridian
(ii) Chromium Oxide
(iii) Phthalocyanine Green
(iv) Green Earth
(v) Cobalt Green
(vi) Ultramarine Green
Yellow
(i) Cadmium Pale.
(ii) Cadmium Medium. Cadmium Deep.
(iii) Cadmium Orange.
(iv) Naples Yellow.
(v) Mars Yellow. Ochre. Transparent Ochre. Raw Sienna.
(vi) Cobalt Yellow. Hansa Yellow.
(vii) Strontium Yellow.
Violet
(i) Cobalt Violet. Manganese Violet.
(ii) Mars Violet.
Brown
(i) Raw Umber
(ii) Burnt Umber
(iii) Burnt Sienna.
(iv) Burnt Green Earth.
(v) Brown Madder.
The left-hand column lists eight huse designations, but in an everage normal working paette the artist usually requires about twelv or fourteen pigments.
Pigments such as green earth and utramarine green, red, or violet, which have low tinctorial power, are valued more as glazing colors than as opaque body colors; several other permanent, but weak pigments, have been omitted. The imitation cobalt blues and turquoise greens, which are special shades of ultramarine, are just as permanent, and have the same physical properties as ultramarine blue. Special cleanliness must be observed in handling flake white and Naples yellow in order to prevent lead poisoning. When well-made lead pigments of high quality are used they may be freely mixed with the rest of the permanent palette; sulphur-bearing pigments, such as cadmiums and ultramarine blue, will cause them to darken in oil mixtures only when poor or badly washed materials are used. Flake white and Naples yellow have such highly desirable qualities that they are widely used despite this disadvantage.
The pure iron oxide reds are referred to under 'Red Pigments.' Indian red has a bluish or rose undertone, and light red, a comparatively yellowish or salmon undertone. In oil paints these two products should be used in preference to native earth reds and also the artificial product, Venetian red, all of which are inferior. For the same reason vermilion, zinc yellow, and vine black, which are perhaps durable enough for the majority of uses, should not be used, when they are replaced by more trustworthy pigments of equal color value.
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-eighth 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
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
Although any and all of the pigments in this post and following posts may be used, many will be found to be superfluous on a working palette. While painters will naturally have their preferences for specific pigments, some pigments, although definitely separate colors with varying properties, are so closely related to each other than more than one will seldom be required in the same pictiure. The families and groups have been printed on the same line.
Pigments for Oil Painting [1]
There are eight pigment hue designations given below, but in an average normal working palette the artist usually requires about twelve or fourteen pigments.
Pigments such as green earth and ultramarine green, red or violet, which have low tinctorial power, are valued more as glazing colors than as opaque colors; several other permanent but very weak pigments have been omitted. The imitation cobalt blues and turquoise greens, which are special shades of ultramarine, are just as permanent and have the same physical properties as ultramarine blue. Special cleanliness must be observed in handling flake white and Naples yellow in order to prevent lead poisoning. When well-made lead pigments of high quality are used they may be freely mixed with the rest of the permanent palette; sulfur-bearing pigments, such as the cadmiums and ultramarine blue, will cause them to darken in oil mixtures only when poor or badly washed materials are used. Flake white and Naples yellow have such desirable qualities that they are widely used despite this disadvantage.
The pure iron oxide reds are referred to under Red Pigments. Indian red has a bluish or rose undertone, and light red, a comparative yellowish or salmon undertone. In oil paints these two products should be used in opreference to the native earth reds, and also the artifical product, Venetian red, all of which are inferior. For the same reason vermilion, zinc yellow, and vine black, which are perhaps durable enough for the majority of uses, should not be used, when they can be replaced by more trustworthy pigments of equal color value.
White
(i) Zinc White.
(ii) Flake White. Cremnitz White.
(iii) Titantium Oxide.
Black
(i) Ivory Black.
(ii) Mars Black.
(iii) Lampblack.
Red
(i) Cadmium, Light.
(ii) Alizarin Red.
(iii) Light Red, Indian Red. Mars Red.
(iv) Cadmium, Deep. Cadmium Maroon.
Blue
(i) Ultramarine Blue (all shades).
(ii) Cobalt Blue.
(iii) Cerulean Blue. Manganese Blue.
(iv) Phthalocyanine Blue.
Green
(i) Viridian
(ii) Chromium Oxide
(iii) Phthalocyanine Green
(iv) Green Earth
(v) Cobalt Green
Yellow
(i) Cadmium Pale.
(ii) Cadmium Medium. Cadmium Deep.
(iii) Cadmium Orange.
(iv) Naples Yellow.
(v) Mars Yellow. Ochre. Transparent Ochre. Raw Sienna.
(vi) Cobalt Yellow. Hansa Yellow.
(vii) Strontium Yellow.
Violet
(i) Cobalt Violet. Manganese Violet.
(ii) Mars Violet.
Brown
(i) Raw Umber
(ii) Burnt Umber
(iii) Burnt Sienna.
(iv) Burnt Green Earth.
(v) Brown Madder.
The left-hand column lists eight huse designations, but in an everage normal working paette the artist usually requires about twelv or fourteen pigments.
Pigments such as green earth and utramarine green, red, or violet, which have low tinctorial power, are valued more as glazing colors than as opaque body colors; several other permanent, but weak pigments, have been omitted. The imitation cobalt blues and turquoise greens, which are special shades of ultramarine, are just as permanent, and have the same physical properties as ultramarine blue. Special cleanliness must be observed in handling flake white and Naples yellow in order to prevent lead poisoning. When well-made lead pigments of high quality are used they may be freely mixed with the rest of the permanent palette; sulphur-bearing pigments, such as cadmiums and ultramarine blue, will cause them to darken in oil mixtures only when poor or badly washed materials are used. Flake white and Naples yellow have such highly desirable qualities that they are widely used despite this disadvantage.
The pure iron oxide reds are referred to under 'Red Pigments.' Indian red has a bluish or rose undertone, and light red, a comparatively yellowish or salmon undertone. In oil paints these two products should be used in preference to native earth reds and also the artificial product, Venetian red, all of which are inferior. For the same reason vermilion, zinc yellow, and vine black, which are perhaps durable enough for the majority of uses, should not be used, when they are replaced by more trustworthy pigments of equal color value.
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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