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Art Pigments. Paints. All paints have three types of components: Pigments Media Diluents. Pigments. Pigments consist of small particles of colored compounds. Are derived from finely ground naturally occurring minerals: rocks and ores. Media.
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Paints All paints have three types of components: • Pigments • Media • Diluents
Pigments • Pigments consist of small particles of colored compounds. • Are derived from finely ground naturally occurring minerals: rocks and ores.
Media • Media serves to suspend the pigments and bind them to the surface of the object painted. • Examples are: beeswax, linseed oil, walnut oil, plaster, gum arabic and egg yolk.
Diluents • Diluents such as water, turpentine, or mineral spirits allow the painter to thin the paint to the best consistency for the work.
Gemstone Paints • The only two blue pigments available to the medieval artist (between the eighth and the sixteenth centuries) were the very expensive azurite and ultramarine.
Ultramarine • Ultramarine, from "across the sea", is the pigment from ground lapis lazuli, a semiprecious stone.
Lapis Lazuli • Beautiful jewelry is made from lapis lazuli.
Malachite • Malachite is also used for jewelry and pigment.
Gemstone Makeup • Egyptian women put ground malachite mixed with water on their eyelids (as well as soot around their eyes).
Cinnabar • Cinnabar is mercury sulfide and dangerous to inhale. • It was used for pigment and jewelry.
Vermilion Cinnabar Pigment • Cinnabar pigment applied to sculpture and to paper.
Verdigris • Copper acetate ranging in color from green to blue. • Made by treating copper sheets with the vapors of vinegar, wine, or urine and scraping the resultant corroded crust.
Terre Verte • In medieval painting, it is the light, cold green of celadonite, found chiefly in small deposits in rock in the area of Verona, Italy. • The chief deposits of glauconite, which yield the yellowish and olive sorts, are in Czechoslovakia.
Burnt Sienna • Iron Oxidein clay • Reddish Brown
Umbers • Burnt umber is a combination of iron oxide, oxide of manganese and clay, made by burning raw umber to drive off the liquid content.
Lead White • Lead oxide • Very opaque white
Lead White • Roman women used ground lead powder to make their faces look white. • Roman women wore a face cream made from tin oxide.
Chinese White • Zinc oxide is derived from smoke fumes. • It has very fine particles. • It was first introduced in 1840.
Vine Black • Carbon
Blue Pigments • Recipes for blue pigments were mentioned extensively in medieval artists' manuals
Recipes for Blue • Old Latin manuscripts contain recipes for making blue pigments from both copper and silver. • This search for ways to create colors more cheaply is early chemistry.
Egyptian Blue • It is one of the oldest man-made colors. • Commonly found on wall paintings in Egypt, Mesopotamia and Rome. • Calcium copper silicate
Iron or Prussian Blue • The iron blues are the first of the artificial pigments with a known history and an established date of first preparation. • The color was made by the Berlin colormaker Diesbach in or around 1704. • The material is so complex in composition and method of manufacture that there is practically no possibility that it was synthesized independently in other times or places.
Tyrian Purple • Alexander the Great destroyed the city of Tyre by filling its prosperous harbors with silt and killing or enslaving its inhabitants.
Most Dyes Came from Organic Sources • Mostly plants like indigo for blue or madder root for red. • But also a few animals like cochineal beetles for carmine. • Hampden-Sydney's "garnet and grey" colors date back to the Civil War when the students dyed their civil war uniforms with pokeberries and butternut hickory husks.
Carmine • A dyestuff precipitated on clay. • Made from the ground female Coccus cacti, or cochineal, insect which lives on various cactus plants in Mexico and in Central and South America.
Encaustic • The Egyptians, Greeks, and Romans often used beeswax as the medium for pigments. • The encaustic method was in very common use until the 8th century A.D. and is still used by a few painters today. • In this technique finely ground pigment is mixed in melted wax and applied to the surface. • Waxes are polymers composed predominantly of hydrocarbons.
Fresco • In fresco painting, the medium and the surface are the same. • An aqueous suspension of the pigment is applied directly to a wet plaster of calcium hydroxide and fine sand. • The pigment is absorbed and is bound into the surface as the plaster dries.
Egg Tempera • Until the 15th century, egg yolk was used as the most common binder and medium for paints. • Egg tempera is prepared by mixing egg yolks with a slurry of artist's pigment in water. • Enough water is added to provide the proper consistency for painting.
Oil • By the 15th century, oil paints, using vegetable oils as the medium, replaced egg tempera as the most common paint. • The oil most commonly used is linseed oil which is obtained from the seed of the flax plant. • The oil does not dry but rather is cross-linked where there are carbon-carbon double bonds in the oil.
Watercolor • In water paints, the pigments are usually very finely ground mineral-based transition metal compounds. • The vehicle is an aqueous solution of gum arabic, a resin prepared from the sap of the African acacia tree. • This resin is a translucent water-soluble polymer. • The resulting paintings usually retain a translucent quality; they appear bright in part because the whiteness of the paper is reflected through layers of the paints.
Acrylic • These paints use an aqueous suspension of both the pigment and monomers of compounds such as methyl acrylate and vinyl acetate. • The paint does not become plastic until the monomers combine. • In a process similar to the "drying" of oil paints, these monomers are linked together by a chain reaction to form a polymer molecule that is insoluble in both water and most organic solvents.
