Preamble
This is the thirty-nineth 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!
Blue Pigments - Part III
Prussian blue is historically notable as the first or earliest synthethic pigment whose development and introduction is completely documented. It was discovered by Diesbach and Dippel between 1704 and 1707. Diesbach stumbled on it when he was given the wrong material during some experiments on a red pigment.
Diesbach.
Phthalocyanine blue is the modern, reliable replacement for Prussian blue, which it resembles closely on color and pigment properties. Both of these pigments have so much greater tinctorial strength than the average pigment that their use on the artist's palette is frequently awkward unless the manufacturer has made them more convenient by adding from 50 to 70 per cent of alumina hydrate or blanc fixe. This reduction also benefits the color in other respects. It tends to eliminate the bronzy or coppery sheen and to improve general structure or pigment properties which are not particularly good in either of these two materials.
The first synthesis of Prussian blue from 1706.
In a manner reminiscent of the invention of synthetic ultramarine blue a century previous, the development of phthalocynine blue began in Scotland with the observation of a dark-colored substance formed as an impurity in a vessel in which a dye intermediate was being made, the vitreous lining of the vessel having becoming cracked so that the intermediate (phthalamide) came in contact with the metal.
Chemical structure of phthalocynine blue.
Cerulean blue has a greater opacity than the other blues whose hiding power is due to their deep, dark tones. Its full-strength shade is a rather pale sky blue with a greenish tone. It is very good drier and its general pigment properties are good. It has been considered low in oil absorption, and so it is, on a basis of weight, but the current prevailing grade shows a very high oil index by volume. Because it is one of the more expensive pigments, never employed in industrial paints but only produced in small quantities for artistic and ceramic markets, the cheaper and less reputable brands are likely to contain either imitations, or weak mixtures of the true material with extenders or inert substances. It can be replaced by the more brilliant manganese blue, which is of approximately the same hue but is transparent.
Cerulean Blue.
Manganese Blue.
When the blue pigments are reduced with white and compared with each other, it will be seen that ultramarine has the most reddish (violet) undertone and the rest are more greenish in undertone in the following order: cobalt, cerulean, manganese, phthalocyanine.
Ultramarine, cobalt, and phthalocyanine (or Prussian) blues have some properties in common: they all have a transparent or semi-transparent, deep, dark hue when ground in oil; they absorb much oil; and they are difficult to grind into pastes of desirable plasicity. The depth and intensity of Prussian and phthalocyanine blues give them hiding power so that at full strength they function as opaque colors.
Finally, the market share of phthalocyannine pigments is quite significant.
Market Share.
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 thirty-nineth 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!
Blue Pigments - Part III
Prussian blue is historically notable as the first or earliest synthethic pigment whose development and introduction is completely documented. It was discovered by Diesbach and Dippel between 1704 and 1707. Diesbach stumbled on it when he was given the wrong material during some experiments on a red pigment.
Phthalocyanine blue is the modern, reliable replacement for Prussian blue, which it resembles closely on color and pigment properties. Both of these pigments have so much greater tinctorial strength than the average pigment that their use on the artist's palette is frequently awkward unless the manufacturer has made them more convenient by adding from 50 to 70 per cent of alumina hydrate or blanc fixe. This reduction also benefits the color in other respects. It tends to eliminate the bronzy or coppery sheen and to improve general structure or pigment properties which are not particularly good in either of these two materials.
The first synthesis of Prussian blue from 1706.
In a manner reminiscent of the invention of synthetic ultramarine blue a century previous, the development of phthalocynine blue began in Scotland with the observation of a dark-colored substance formed as an impurity in a vessel in which a dye intermediate was being made, the vitreous lining of the vessel having becoming cracked so that the intermediate (phthalamide) came in contact with the metal.
Cerulean blue has a greater opacity than the other blues whose hiding power is due to their deep, dark tones. Its full-strength shade is a rather pale sky blue with a greenish tone. It is very good drier and its general pigment properties are good. It has been considered low in oil absorption, and so it is, on a basis of weight, but the current prevailing grade shows a very high oil index by volume. Because it is one of the more expensive pigments, never employed in industrial paints but only produced in small quantities for artistic and ceramic markets, the cheaper and less reputable brands are likely to contain either imitations, or weak mixtures of the true material with extenders or inert substances. It can be replaced by the more brilliant manganese blue, which is of approximately the same hue but is transparent.
When the blue pigments are reduced with white and compared with each other, it will be seen that ultramarine has the most reddish (violet) undertone and the rest are more greenish in undertone in the following order: cobalt, cerulean, manganese, phthalocyanine.
Ultramarine, cobalt, and phthalocyanine (or Prussian) blues have some properties in common: they all have a transparent or semi-transparent, deep, dark hue when ground in oil; they absorb much oil; and they are difficult to grind into pastes of desirable plasicity. The depth and intensity of Prussian and phthalocyanine blues give them hiding power so that at full strength they function as opaque colors.
Finally, the market share of phthalocyannine pigments is quite significant.
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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