PIGMENTS
(See also Paints.)
Nature, Source, And Manufacture Of Pigments.
Following is a general outline of their manufacture: One hundred parts, by weight, of washed clay in paste form are finely suspended in 6 to 8 times the volume of water and acidulated with about 1 1/2 parts, by volume, of 5 per cent hydrochloric or acetic acid, and heated by means of steam almost to the boiling temperature. There is next introduced, according to the shade desired, 1 to 2 parts, by weight, of the dyestuff, such as auramin, diamond green, Victoria blue, etc., with simultaneous stirring and heating, for 1 to 2 hours, or until a sample filtered off from the liquor shows no dyestuff. Next the clay dyed in this manner is isolated by filtration and washed with hot water and dried. The colors thus obtained may be used as substitutes for mineral colors of all description.
The method of manufacture varies greatly. According to the Bennett and Mastin English patent the procedure is as follows: Grind together to a paste in water, substances of a clayey, stony, earthy, or vitreous nature, and certain metallic oxides, or “prepared oxides,” such as are commonly used in the pottery trades; dry and powder the paste, and subject the powder to the heat of a furnace, of such a temperature that the requisite color is obtained, and for such length of time that the color strikes through the whole substance. For example, 8 parts of black oxide of cobalt, 12 parts of oxide of zinc, and 36 parts of alumina, when incorporated with 20 times their combined bulk of clay and treated as described, yield a rich blue pigment in the case of a white clay, and a rich green in the case of a yellow clay. Long-continued firing in this case improves the color.
Many minerals included in formulas for pigments have little or no coloring power in themselves; nevertheless they {556} are required in producing the most beautiful shades of color when blended one with another, the color being brought out by calcination.
Mixing Oil Colors And Tints.
Unless otherwise indicated, the materials are understood to be ground fine in paste form.
NOTE.—The majority of the following are by Joseph Griggs, in the Painters’ Magazine:
Grounds For Graining Colors:
Ash Ground.—Four hundred parts white lead; 4 parts French ocher; 1 part raw Turkey umber.
Ash.—Raw umber; raw sienna; and a little black or Vandyke brown.
Hungarian Ash.—Raw sienna and raw and burnt umber.
Bun Ash.—Raw sienna; burnt umber; and Vandyke brown.
Cherry Ground.—One hundred parts white lead; 5 parts burnt sienna; 1 part raw sienna.
Natural Cherry.—Raw and burnt sienna and raw umber.
Stained Cherry.—Burnt sienna; burnt umber; and Vandyke brown.
Chestnut.—Raw sienna; burnt umber; Vandyke brown; and a little burnt sienna.
Maple.—Raw sienna and raw umber.
Silver Maple.—Ivory black over a nearly white ground.
Light Maple Ground.—One hundred parts white lead; 1 part French ocher.
Dark Maple Ground.—One hundred parts white lead; 1 part dark golden ocher.
Oak.—Raw sienna; burnt umber; a little black.
Pollard Oak.—Raw and burnt sienna, or burnt umber and Vandyke brown.
Light Oak Ground.—Fifty parts white lead; 1 part French ocher.
Dark Oak Ground.—Fifty parts white lead; 1 part dark golden ocher.
Satinwood.—Add a little ivory black to maple color.
Mahogany.—Burnt sienna; burnt umber; and Vandyke brown.
Mahogany Ground.—Ten parts white lead; 5 parts orange chrome; and 1 part burnt sienna.
Rosewood.—Vandyke brown and a little ivory black.
Rosewood Ground.—Drop black.
Walnut Ground.—Fifty parts white lead; 3 parts dark golden ocher; 1 part dark Venetian red; and 1 part drop black.
Black Walnut.—Burnt umber with a little Vandyke brown for dark parts.
French Burl Walnut.—Same as black walnut.
Hard Pine.—Raw and burnt sienna; add a little burnt umber.
Cypress.—Raw and burnt sienna and burnt umber.
Whitewood.—Ground same as for light ash; graining color, yellow ocher, adding raw umber and black for dark streaks.
Positive Colors:
Blue.—Twelve parts borate of lime; 6 parts oxide of zinc; 10 parts litharge; 9 parts feldspar; 4 parts oxide of cobalt.
Blue Black A.—Nine parts lampblack; 1 part Chinese or Prussian blue.
Blue Black B.—Nineteen parts drop black; 1 part Prussian blue.
Bright Mineral.—Nine parts light Venetian red; 1 part red lead.
Brilliant Green.—Nine parts Paris green; 1 part C. C. chrome green, light.
Bronze Green, Light.—Three parts raw Turkey umber; 1 part medium chrome yellow.
Bronze Green, Medium.—Five parts medium chrome yellow; 3 parts burnt Turkey umber; 1 part lampblack.
Bronze Green, Dark.—Twenty parts drop black; 2 parts medium chrome yellow; and 1 part dark orange chrome. {557}
Bottle Green.—Five parts commercial chrome green, medium, and 1 part drop black.
Brown.—Ten parts crude antimony; 12 parts litharge; 2 parts manganese; 1 part oxide of iron.
Brown Stone.—Eighteen parts burnt umber; 2 parts dark golden ocher; and 1 part burnt sienna.
Cherry Red.—Equal parts of best imitation vermilion and No. 40 carmine.
Citron A.—Three parts medium chrome yellow and 2 parts raw umber.
Citron B.—Six parts commercial chrome green, light, and 1 part medium chrome yellow.
Coffee Brown.—Six parts burnt Turkey umber; 2 parts French ocher; and 1 part burnt sienna.
Emerald Green.—Use Paris green.
Green.—Twenty parts litharge; 12 parts flint; 2 parts oxide of copper; 2 1/2 parts ground glass; 2 1/2 parts whiting; 1 1/2 parts oxide of chrome.
Flesh Color.—Nineteen parts French ocher; 1 part deep English vermilion.
Fern Green.—Five parts lemon chrome yellow and 1 part each of light chrome green and drop black.
Foliage Green.—Three parts medium chrome yellow and 1 part of ivory or drop black.
Foliage Brown.—Equal parts of Vandyke brown and orange chrome yellow.
Golden Ocher.—Fourteen parts French yellow ocher and 1 part medium chrome yellow for the light shade, and 9 parts Oxford ocher and 1 part orange chrome yellow for the dark shade.
Gold Russet.—Five parts lemon chrome yellow and 1 part light Venetian red.
Gold Orange.—Equal parts of dry orange mineral and light golden ocher in oil.
Indian Brown.—Equal parts of light Indian red, French ocher, and lamp black
Mahogany, Cheap.—Three parts dark golden ocher and 1 part of dark Venetian red.
Maroon, Light.—Five parts dark Venetian red; 1 part drop black.
Maroon, Dark.—Nine parts dark Indian red; 1 part lampblack.
Olive Green.—Seven parts light golden ocher; 1 part drop black.
Ochrous Olive.—Nine parts French ocher; 1 part raw umber.
Orange-Brown.—Equal parts burnt sienna and orange chrome yellow.
Oriental Red.—Two parts Indian red, light, in oil; 1 part dry red lead.
Purple A.—Eight parts crocus martis; 2 parts red hematite; 1 part oxide of iron.
Purple B.—Two parts rose pink; 1 part ultramarine blue.
Purple Black.—Three parts lampblack and 1 part rose pink, or 9 parts drop black and 1 part rose pink.
Purple Brown.—Five parts Indian red, dark, and 1 part each of ultramarine blue and lampblack.
Roman Ocher.—Twenty-three parts French ocher and 1 part each burnt sienna and burnt umber.
Royal Blue, Dark.—Eighteen parts ultramarine blue and 2 parts Prussian blue. To lighten use as much white lead or zinc white as is required.
Royal Purple.—Two parts ultramarine blue; 1 part No. 40 carmine or carmine lake.
Russet.—Fourteen parts orange chrome yellow and 1 part C. P. chrome green, medium.
Seal Brown.—Ten parts burnt umber; 2 parts golden ocher, light; 1 part burnt sienna.
Snuff Brown.—Equal parts burnt umber and golden ocher, light.
Terra Cotta.—Two parts white lead; 1 part burnt sienna; also 2 parts French ocher to 1 part Venetian red.
Turkey Red.—Strong Venetian red or red oxide.
Tuscan Red. Ordinary.—Nine parts Indian red to 1 part rose pink.
Brilliant.—Four parts Indian red to 1 part red madder lake.
Violet.—Three parts ultramarine blue; 2 parts rose lake; 1 part best ivory black.
Yellow.—Four and one-half parts tin ashes; 1 part crude antimony; 1 part litharge; and 1 part red ocher.
Yellow, Amber.—Ten parts medium chrome yellow; 7 parts burnt umber; 3 parts burnt sienna.
Yellow, Canary.—Five parts white lead; 2 parts permanent yellow; 1 part lemon chrome yellow.
Yellow, Golden.—Ten parts lemon chrome yellow; 3 parts orange chrome, dark; 5 parts white lead.
Yellow, Brimstone.—Three parts white lead; 1 part lemon chrome yellow; 1 part permanent yellow. {558}
Azure Blue.—Fifty parts white lead; 1 part ultramarine blue.
Blue Gray.—One hundred parts white lead; 3 parts Prussian blue; 1 part lampblack.
Bright Blue.—Twenty parts zinc white; 1 part imitation cobalt blue.
Blue Grass.—Seven parts white lead; 2 parts Paris green; 1 part Prussian blue.
Deep Blue.—Fifteen parts white lead; 1 part Prussian blue or Antwerp blue.
French Blue.—Five parts imitation cobalt blue; 2 parts French zinc white.
Green Blue.—One hundred parts white lead; 5 parts lemon chrome yellow; 3 parts ultramarine blue.
Hazy Blue.—Sixty parts white lead; 16 parts ultramarine blue; 1 part burnt sienna.
Mineral Blue.—Five parts white lead; 4 parts imitation cobalt blue; 2 parts red madder lake; 1 part best ivory or drop black.
Orient Blue.—Twenty-five parts white lead; 2 parts Prussian blue; 1 part lemon chrome yellow.
Royal Blue.—Thirty-four parts white lead; 19 parts ultramarine blue; 2 parts Prussian blue; 1 part rose madder or rose lake.
Sapphire Blue.—Two parts French zinc white and 1 part best Chinese blue.
Sky Blue.—One hundred parts white lead; 1 part Prussian blue.
Solid Blue.—Five parts white lead; 1 part ultramarine blue.
Turquoise Blue.—Twenty parts white lead; 3 parts ultramarine blue; 1 part lemon chrome yellow.
Red Tints:
Cardinal Red.—Equal parts of white lead and scarlet lake.
Carnation Red.—Fifteen parts white lead; 1 part scarlet lake.
Claret.—Twenty-one parts oxide of zinc; 4 parts crocus martis; 4 parts oxide of chrome; 3 parts red lead; 3 parts boracic acid.
Coral Pink.—Fifteen parts white lead; 2 parts bright vermilion; 1 part deep orange chrome.
Deep Rose.—Ten parts white lead; 1 part red lake.
Deep Purple.—Five parts white lead; 1 part ultramarine blue; 1 part rose pink.
Deep Scarlet.—Fifteen parts bright vermilion; 2 parts red lake; 5 parts white lead.
Flesh Pink.—One hundred parts white lead; 1 part orange chrome yellow; 1 part red lake.
Indian Pink.—One hundred parts white lead; 1 part light Indian red.
Lavender.—Fifty parts white lead; 2 parts ultramarine blue; 1 part red lake.
Light Pink.—Fifty parts white lead; 1 part bright vermilion.
Lilac.—Fifty parts white lead; 1 part best rose pink.
Mauve.—Fifteen parts white lead; 2 parts ultramarine blue; 1 part carmine lake or red lake.
Orange Pink.—Two parts white lead; 1 part dark orange chrome or American vermilion.
Purple.—Five parts white lead; 2 parts ultramarine blue; 1 part red madder lake.
Royal Pink.—Five parts white lead; 1 part carmine lake or red madder lake.
Royal Rose.—Twenty parts white lead; 1 part rich rose lake.
Red Brick.—Ten parts white lead; 3 parts light Venetian red; 1 part yellow ocher.
Reddish Terra Cotta.—Two parts white lead; 1 part rich burnt sienna.
Salmon.—Fifty parts white lead; 5 parts deep orange chrome.
Shell Pink.—Fifty parts white lead; 2 parts bright vermilion; 1 part orange chrome; 1 part burnt sienna.
Violet.—Fifteen parts white lead; 4 parts ultramarine blue; 3 parts rose lake; 1 part drop black.
Green Tints:
Apple Green.—Fifty parts white lead; 1 part chrome green, light or medium shade.
Citrine Green.—One hundred parts white lead; 2 parts medium chrome yellow; 1 part drop black.
Citron Green.—One hundred parts white lead; 3 parts medium chrome yellow; 1 part lampblack.
Emerald Green.—Ten parts white lead; 1 part Paris (emerald) green.
Grass Green A.—Five parts white lead; 7 parts Paris green.
Grass Green B.—Ten parts oxide of chrome; 2 parts tin ashes; 5 parts whiting; 1 part crocus martis; 1 part bichromate potash.
Gray Green.—Five parts white lead; 1 part Verona green. {559}
Marine Green.—Ten parts white lead; 1 part ultramarine green.
Nile Green.—Fifty parts white lead; 6 parts medium chrome green; 1 part Prussian blue.
Olive Green.—Fifty parts white lead; 2 parts medium chrome yellow; 3 parts raw umber; 1 part drop black.
Olive Drab.—Fifty parts white lead; 8 parts raw umber; 5 parts medium chrome green; 1 part drop black.
Pea Green.—Fifty parts white lead; 1 part light chrome green.
Satin Green.—Three parts white lead; 1 part Milori green.
Sage Green.—One hundred parts white lead; 3 parts medium chrome green; 1 part raw umber.
Sea Green.—Fifty parts white lead; 1 part dark chrome green.
Stone Green.—Twenty-five parts white lead; 2 parts dark chrome green; 3 parts raw umber.
Velvet Green.—Twenty parts white lead; 7 parts medium chrome green; 2 parts burnt sienna.
Water Green.—Fifteen parts white lead; 10 parts French ocher; 1 part dark chrome green.
Brown Tints:
Chocolate.—Twenty-five parts white lead; 3 parts burnt umber.
Cocoanut.—Equal parts white lead and burnt umber.
Cinnamon.—Ten parts white lead; 2 parts burnt sienna; 1 part French ocher.
Dark Drab.—Forty parts white lead; 1 part burnt umber.
Dark Stone.—Twenty parts white lead; 1 part raw umber.
Fawn.—Fifty parts white lead; 3 parts burnt umber; 2 parts French ocher.
Golden Brown.—Twenty-five parts white lead; 4 parts French ocher; 1 part burnt sienna.
Hazel Nut Brown.—Twenty parts white lead; 5 parts burnt umber; 1 part medium chrome yellow.
Mulberry.—Ten parts manganese; 2 parts cobalt blue; 2 parts saltpeter.
Purple Brown.—Fifty parts white lead; 6 parts Indian red; 2 parts ultramarine blue; 1 part lampblack.
Red Brown.—Twelve parts hematite ore; 3 parts manganese; 7 parts litharge; 2 parts yellow ocher.
Seal Brown.—Thirty parts white lead; 5 parts burnt umber; 1 part medium chrome yellow.
Snuff Brown.—Twenty-five parts white lead; 1 part burnt umber; 1 part Oxford ocher.
Gray Tints:
Ash Gray.—Thirty parts white lead; 2 parts ultramarine blue; 1 part burnt sienna.
Cold Gray.—Five hundred parts white lead; 6 parts lampblack; 1 part Antwerp blue.
Dove Color.—Twelve parts manganese; 5 parts steel filings; 3 parts whiting; 1 part oxide of cobalt.
Dove Gray.—Two hundred parts white lead; 5 parts ultramarine blue; 2 parts drop black.
French Gray.—One hundred and fifty parts white lead; 2 parts lampblack; 1 part orange chrome yellow; 1 part chrome red (American vermilion).
Lead Color.—Fifty parts white lead; 1 part lampblack (increase proportion of white lead for light tints).
Lustrous Gray.—Ten parts white lead; 1 part graphite (plumbago).
Olive Gray.—Two hundred parts white lead; 2 parts lampblack; 1 part medium chrome green.
Pure Gray.—One hundred parts white lead; 1 part drop black.
Pearl Gray.—One hundred parts white lead; 1 part ultramarine blue; 1 part drop black.
Silver Gray.—One hundred and fifty parts white lead; 2 parts lampblack; 3 parts Oxford ocher.
Warm Gray.—One hundred parts white lead; 3 parts drop black; 2 parts French ocher; 1 part light Venetian red.
NOTE.—For inside work and whenever desirable, the white lead may be replaced by zinc white or a mixture of the two white pigments may be used. Be it also remembered that pure colors, as a rule, will produce the cleanest tints and that fineness of grinding is an important factor. It will not be amiss to call attention to the fact that the excessive use of driers, especially of dark japans or liquid driers, with delicate tints is bad practice, and liable to ruin otherwise good effects in tints or delicate solid colors.
Color Testing.
Expense and trouble deter many a painter from having a color examined, {560} although such an examination is often very necessary. For the practical man it is less important to know what percentage of foreign matter a paint contains, but whether substances are contained therein, which may act injuriously in some way or other.
If a pigment is to be tested for arsenic, pour purified hydrochloric acid into a test tube or a U-shaped glass vessel which withstands heat, add a little of the pigment or the colored fabric, wall paper, etc. (of pigment take only enough to strongly color the hydrochloric acid simply in the first moment), and finally a small quantity of stannous chloride. Now heat the test tube with its contents moderately over a common spirit lamp. If the liquid or mass has assumed a brown or brownish color after being heated, arsenic is present in the pigment or fabric, etc.
An effective but simple test for the durability of a color is to paint strips of thick paper and nail them on the wall in the strongest light possible. A strip of paper should then be nailed over one-half of the samples of color so as to protect them from the light. On removing this the difference in shade between the exposed and unexposed portions will be very apparent. Some colors, such as the vermilionettes, will show a marked difference after even a few weeks.
Testing Body Colors For Gritty Admixtures.
To Determine The Covering Power Of Pigments.
To Detect The Presence Of Aniline In A Pigment.
Vehicle For Oil Colors.
Frankfort Black.
Paris Green.
PIGMENT PAPER: See Photography.