Preamble
This is the fourty-first 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
Green Pigments - Part I
Green Pigments - Part II
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!
Green Pigments - Part II [1]
Viridian, which is equally durable for all artistic and industrial pigments purposes, except in high temperature work, is a valuable artists' color. The inferior grades sometimes contain impurities in the form of complex mixtures of chromates and borates; while these are water-soluble, they are quite difficult for manufacturers to wash out. Their presence is highly undesirable, and therefore only viridian of the highest color quality should be used.
Viridian of the highest color quality (with its Hex code).
The best American dry color is usually cleaner and cooler in shade compared to the European product, which by comparison, tends toward yellowish or muddy tones; it should therefore be preferred by fresco painters. When viewed under a microscope, viridian resembles small broken fragments of emeralds.
Viridian viewed under a microscope.
Its color effect when used in transparent films is a brilliant transparent green, but when it is used in full strength in thick pasty layers it will exhibit a duller, more blackish body color or mass tone, because of the build up of a thick layer of pigment particles which impede and absorb transmitted light rays, thus producing an opaque coating.
Viridian used in transparent films.
Viridian used in full strength thick pasty layers.
Phthalocyanine green is a more intense clear tinting color than viridian, and will produce somewhat smaller shades in mixtures with other pigments. Some artists prefer it to viridian; others consider it too raw or garish, and so prefer the somewhat more subtle effect of the older color.
Phthalocyanine Green.
Many sea-green hues as well as clear, deep olive geeens, ranging from intense darks to pale tints, were produced by the older painters with mixture of Vandyke brown and Prussian blue, sometimes toned with a little yellow, by substituting the more reliable burnt sienna and phthalocyanine blue as a starting point, a whole series of unique hues was added to the palette of the artist whose previous experience had been limited to the mixtures available with ultramarine and cobalt. Phthalocyanine green will not give the same result.
Emerald Green is a highly poisonous substance, which will turn black when mixed with any of several other pigments, as well when in contact with metals, and when exposed to air, its use should be avoided. It produces the most vivid and brilliant greens that could not be matched by mixtures, which is the sole reason for this dangerous pigment's survival.
Emerald Green with Hex Code.
A close approximation to Emerald Green can now be made by mixing phthalocyanine green with modern synthetic yellow, such as Hansa yellow, green gold etc. Formerly, some painters who realize that its indiscriminate use led to darkening and other bad results, believe it was safe if used straight or mixed only with the most inert, non-reactive pigments and well locked in with oil and varnish, and they made the occasional use of it; for example, a brilliant starboard light can be depicted by the touch of emerald green with a highlight of titanium on it.
Stunning engagement ring highlights a crisp green emerald in a tension setting.
Emerald Green must never be used in pastel or water color. A 'poisonous green,' comes through association with Paris Green.
Paris Green (with Hex number).
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 fourty-first 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
Green Pigments - Part I
Green Pigments - Part II
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!
Green Pigments - Part II [1]
Viridian, which is equally durable for all artistic and industrial pigments purposes, except in high temperature work, is a valuable artists' color. The inferior grades sometimes contain impurities in the form of complex mixtures of chromates and borates; while these are water-soluble, they are quite difficult for manufacturers to wash out. Their presence is highly undesirable, and therefore only viridian of the highest color quality should be used.
The best American dry color is usually cleaner and cooler in shade compared to the European product, which by comparison, tends toward yellowish or muddy tones; it should therefore be preferred by fresco painters. When viewed under a microscope, viridian resembles small broken fragments of emeralds.
Its color effect when used in transparent films is a brilliant transparent green, but when it is used in full strength in thick pasty layers it will exhibit a duller, more blackish body color or mass tone, because of the build up of a thick layer of pigment particles which impede and absorb transmitted light rays, thus producing an opaque coating.
Phthalocyanine green is a more intense clear tinting color than viridian, and will produce somewhat smaller shades in mixtures with other pigments. Some artists prefer it to viridian; others consider it too raw or garish, and so prefer the somewhat more subtle effect of the older color.
Many sea-green hues as well as clear, deep olive geeens, ranging from intense darks to pale tints, were produced by the older painters with mixture of Vandyke brown and Prussian blue, sometimes toned with a little yellow, by substituting the more reliable burnt sienna and phthalocyanine blue as a starting point, a whole series of unique hues was added to the palette of the artist whose previous experience had been limited to the mixtures available with ultramarine and cobalt. Phthalocyanine green will not give the same result.
Emerald Green is a highly poisonous substance, which will turn black when mixed with any of several other pigments, as well when in contact with metals, and when exposed to air, its use should be avoided. It produces the most vivid and brilliant greens that could not be matched by mixtures, which is the sole reason for this dangerous pigment's survival.
A close approximation to Emerald Green can now be made by mixing phthalocyanine green with modern synthetic yellow, such as Hansa yellow, green gold etc. Formerly, some painters who realize that its indiscriminate use led to darkening and other bad results, believe it was safe if used straight or mixed only with the most inert, non-reactive pigments and well locked in with oil and varnish, and they made the occasional use of it; for example, a brilliant starboard light can be depicted by the touch of emerald green with a highlight of titanium on it.
Emerald Green must never be used in pastel or water color. A 'poisonous green,' comes through association with Paris Green.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
