Preamble
This is the fourtieth 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!
Testing of Pigments - Part I [1]
Paint manufacturers and other industrial consumers subject their pigments to certain routine examinations and tests, the simplest of which are noted here and described rather fully. They may be further simplified under certain circumstances.
It must be understood that positive, accurate data from tests can be secured only by experienced technicians; also that modern industrial requirements often call for more accuracy in tests and more elaborate equipment than can be obtained by these simpler methods.
As a matter of routine, a record of all tests should be preserved in a notebook in full detail.
Color Rub-Outs. A weighted amount of the standard pigment is placed on a slab of plate glass or smooth stone, and sufficient linseed oil is added to produce a stiff paste when rubbed with a steel spatula or palette knife. The oil is added drop by drop, the number of drops being noted. Care is taken to gather the paste neatly into a small area of the slab, and to rub not more than is necessary to secure a smooth uniform paste. The paste is then rubbed with a glass muller, using a uniform, slight pressure and a back-and-forth, somewhat circular motion, the idea being to grind over the entire amount of the paste with each complete rub as much as possible, rather than to spread it over the slab. After twenty-five rubs, the paste is scraped from the muller and slab, gathered into a pile, and given twenty-five more rubs.
Using the new sample, the procedure is repeated, the same amount of oil being added regardless of consistency. The two rubouts are spread on a strip of thin, clear glass, their edges just touching each other, and are viewed by daylight. A good many variations of this procedure, as adopted by various chemists as well as more complex tests can be found in Gardner's book (Paint Testing Manual; Physical and Chemical Examination of Paints, Varnishes, Lacquers and Colors, H.A Gardner and G.G. Sward, Bethesdam Maryland, Gardner Laboratory 12th Edition (1962)).
Three flat bottom glass mullers for making paint mineral pigment, by grinding the pestle with frosted glass plate for DIY oil.
Note: Pigments for use in water or varnish mediums, etc., may be tested by rubbing them in those mediums instead of oil.
Strength (Tinctorial Power). One-tenth of a gram of the pigment is rubbed up with two grams of a standard pure zinc oxide, as described above. For the very powerful colors (e.g., phthalocyanine blue and blacks - the proportion is 50 to 1 instead of 20 to 1).
Phthalocyanine Blue.
Phthalocyanine Black.
For testing whites and pale yellows a standard phthalocyanine blue is used. The figures above are merely given as a guide and are varied according to the requirements and preferences of the user. The reductions should be enough to disclose all the tone qualities and to allow slight differences in strength to be easily perceptible, but they should not be carried to the point where weaker colors became too pale that an estimate of their relative strengths is difficult. Strength rub-outs are always thoroughly mulled, and if there is any streaking they are given further mulling until the color is uniform and thoroughly developed.
Primary Phthalo Blue Color Palette.
Phthalocyanine blue is a permanent pigment which is unaffected by light, heat, and chemicals. It is used as a colorant in inks, enamels, plastics, paints, chalks, leather, pencils, and photographs. In industry, phthalocyanine blue has replaced all other blue pigments for use in coatings because it is lightfast as well as resistant to chemicals and clumping.
Note: The use of flake white and other compounds which contain lead has been given considerable attention; most published discussions include warnings regarding their toxic effects. These materials may be handled with perfect safety if the hands and fingernails are well cleaned after using them, and if one is careful not to breathe or swallow dust. Lead is a cumulative poison; that is, if small amounts are absorbed into the human body there is not an apparent effect; the toxic effect is built up over time by added quantities. Workers in factories which produce these products, and house painters who use them, do not contract lead poisoning if conditions are such as to permit the usual precautions. White lead is only poisonous if swallowed or inhaled; on the whole some claim its hazard has been exaggerated. Ordinarily artists use flake white only as an oil color. It should never be handled in dry powder form.
I taught all my students to be overly safe than sorry. Hence, when I deal with potentially hazardess chemicals I make sure my eyes, nose and mouth are covered with a face mask, wear rubber gloves, a laboratory coat and moreover, that I do my artwork in a well ventilated studio or room. In fact, my studio contains a bathroom/shower, where I can shower and/or wash my hands, if I need to because of a spillage. Once I finish my artwork for the day, I always wash my hands in order for me to enjoy the rest of the evening at home.
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 fourtieth 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!
Testing of Pigments - Part I [1]
Paint manufacturers and other industrial consumers subject their pigments to certain routine examinations and tests, the simplest of which are noted here and described rather fully. They may be further simplified under certain circumstances.
It must be understood that positive, accurate data from tests can be secured only by experienced technicians; also that modern industrial requirements often call for more accuracy in tests and more elaborate equipment than can be obtained by these simpler methods.
As a matter of routine, a record of all tests should be preserved in a notebook in full detail.
Color Rub-Outs. A weighted amount of the standard pigment is placed on a slab of plate glass or smooth stone, and sufficient linseed oil is added to produce a stiff paste when rubbed with a steel spatula or palette knife. The oil is added drop by drop, the number of drops being noted. Care is taken to gather the paste neatly into a small area of the slab, and to rub not more than is necessary to secure a smooth uniform paste. The paste is then rubbed with a glass muller, using a uniform, slight pressure and a back-and-forth, somewhat circular motion, the idea being to grind over the entire amount of the paste with each complete rub as much as possible, rather than to spread it over the slab. After twenty-five rubs, the paste is scraped from the muller and slab, gathered into a pile, and given twenty-five more rubs.
Using the new sample, the procedure is repeated, the same amount of oil being added regardless of consistency. The two rubouts are spread on a strip of thin, clear glass, their edges just touching each other, and are viewed by daylight. A good many variations of this procedure, as adopted by various chemists as well as more complex tests can be found in Gardner's book (Paint Testing Manual; Physical and Chemical Examination of Paints, Varnishes, Lacquers and Colors, H.A Gardner and G.G. Sward, Bethesdam Maryland, Gardner Laboratory 12th Edition (1962)).
Note: Pigments for use in water or varnish mediums, etc., may be tested by rubbing them in those mediums instead of oil.
Strength (Tinctorial Power). One-tenth of a gram of the pigment is rubbed up with two grams of a standard pure zinc oxide, as described above. For the very powerful colors (e.g., phthalocyanine blue and blacks - the proportion is 50 to 1 instead of 20 to 1).
For testing whites and pale yellows a standard phthalocyanine blue is used. The figures above are merely given as a guide and are varied according to the requirements and preferences of the user. The reductions should be enough to disclose all the tone qualities and to allow slight differences in strength to be easily perceptible, but they should not be carried to the point where weaker colors became too pale that an estimate of their relative strengths is difficult. Strength rub-outs are always thoroughly mulled, and if there is any streaking they are given further mulling until the color is uniform and thoroughly developed.
Phthalocyanine blue is a permanent pigment which is unaffected by light, heat, and chemicals. It is used as a colorant in inks, enamels, plastics, paints, chalks, leather, pencils, and photographs. In industry, phthalocyanine blue has replaced all other blue pigments for use in coatings because it is lightfast as well as resistant to chemicals and clumping.
Note: The use of flake white and other compounds which contain lead has been given considerable attention; most published discussions include warnings regarding their toxic effects. These materials may be handled with perfect safety if the hands and fingernails are well cleaned after using them, and if one is careful not to breathe or swallow dust. Lead is a cumulative poison; that is, if small amounts are absorbed into the human body there is not an apparent effect; the toxic effect is built up over time by added quantities. Workers in factories which produce these products, and house painters who use them, do not contract lead poisoning if conditions are such as to permit the usual precautions. White lead is only poisonous if swallowed or inhaled; on the whole some claim its hazard has been exaggerated. Ordinarily artists use flake white only as an oil color. It should never be handled in dry powder form.
I taught all my students to be overly safe than sorry. Hence, when I deal with potentially hazardess chemicals I make sure my eyes, nose and mouth are covered with a face mask, wear rubber gloves, a laboratory coat and moreover, that I do my artwork in a well ventilated studio or room. In fact, my studio contains a bathroom/shower, where I can shower and/or wash my hands, if I need to because of a spillage. Once I finish my artwork for the day, I always wash my hands in order for me to enjoy the rest of the evening at home.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
