List of pigments

from Wikipedia, the free encyclopedia

This list of pigments gives an overview of pigments according to basic color , as is customary in the specialist literature. A list of soluble dyes can be found under List of dyes .

This list is based on the RAL structure according to colors in red , violet , blue , green , yellow , orange colored pigments and additionally in brown pigments, as well as the achromatic pigments for white and black .

violet

  • Han violet or Han purple is the purple pigment of ancient Chinese. Chemically it is a copper (II) barium silicate with the empirical formula CuBaSi 2 O 6 .
  • Dioxazine violet (CI Pigment Violet 23) is a high-quality organic pigment that is extremely strong in color and meets practically all quality requirements.
  • Cobalt violet
  • Due to its colorimetric properties, magenta pigment is a magenta pigment suitable for four-color printing according to the Euroscale .
  • Manganese violet is a delicate red-violet shade. Chemically it is ammonium manganese (III) diphosphate. It has satisfactory to good lightfastness, but is not resistant to alkali
  • Ultramarine violet

blue

  • Egyptian blue is one of the oldest artificial blue pigments. Chemically it is a calcium-copper-silicate.
  • Azurite also mountain blue or azure blue was also used by the Egyptians, but it could not prevail against the Egyptian blue in ancient times. The natural mineral pigment is a basic copper carbonate . In the Middle Ages, azurite was the most important blue pigment. Wallerfanger blue was also obtained from azurite. The mining has taken place in the Saarland town of Wallerfangen since Roman times .
  • Berlin blue (CI Pigment Blue 27), also known as Prussian blue, Parisian blue, Turnbull's blue or Milori blue, was the first modern synthetic colorant. It is a lightfast pigment of the highest color strength. Prussian blue is lightfast but unstable to alkali .
  • Indanthron blue or indanthrene (CI Pigment Blue 60) is an organic pigment made from anthraquinone that has a particularly deep shade of blue.
  • Indigo was part of Mayan blue ; today it is only used as a dye .
  • Bremen blue or lime blue is an artificially produced copper carbonate that is no longer used today due to its poor lightfastness.
  • Cobalt blue (CI Pigment Blue 28 and 36), also Thénards blue , is a cobalt aluminum oxide that has been known since ancient times. It's the classic blue of Chinese porcelain . Cobalt cereal blue is a semi-opaque sky blue . Chemically, it is made up of a cobalt-tin mixed oxide.
  • Manganese blue is an artificially produced barium sulfate manganate of high luminosity. It was first produced in the laboratory in 1907 and came onto the market in 1930. There is currently no manufacturer.
  • Maya blue was developed by the Maya , who used the mineral palygorskite as well as indigo leaves and copal resin to make it .
  • Phthalocyanine blue or Heliogen blue (CI Pigment Blue 15) is widely used in industry today; it is particularly suitable for translucent colors.
  • Smalte is a glass colored with cobalt salts that is ground. It is one of the oldest pigments and was invented in Mesopotamia .
  • Natural ultramarine blue or Fra Angelico blue is a pigment that is obtained from lapis lazuli by grinding and a subsequent cleaning process. Far more important today, the ultramarine blue synthesis (CI Pigment Blue 29), a sulfur-containing sodium - aluminum - silicate .
  • Iron blue was previously extracted from the mineral Vivianite and used as a pigment.
  • Zirconia cerium blue , also known as zirconia vanadium blue, is a modern, sky blue pigment. Chemically, it is a zirconium silicate ( zirconium ) in which a small proportion of the zirconium atoms in the crystal lattice has been replaced by vanadium atoms. In the artistic application, paradoxical glazes light-on-dark can be achieved through the semi-transparent, slightly cloudy character.
  • Han blue is a barium copper silicate invented in China.

turquoise

green

Here, too, the phthalocyanine types lead in terms of production volume and applicability . The well-covering and highly resistant chrome oxide green is important .

yellow

There are many different connections here. The most important inorganic compounds are mainly iron oxide yellow as well as chrome yellow and nickel titanium yellow . Since the chrome yellow contains lead , this pigment is becoming less and less important. In the organic sector, the variety of pigments is very large.

The group of azo pigments covers the lower to medium degree of fastness, in the group of benzimidazolones you can also find very highly resistant pigments. High-quality types can be found among the vat pigments .

orange

In the orange segment, the lead-containing pigment types dominated for a long time, as these not only offer good resistance and brilliant colors, but were also inexpensive. Since these pigments are mostly no longer used because of their toxicological properties, compromises have to be made. However, no chemistry has really caught on yet.

red

In the inorganic pigments, the different variants of iron oxide red dominate , since molybdate red contains lead.

In the organic area, the choice is very large. In addition to azo and vat reds , quinacridones , DPP pigments and perylenes are of particular importance because of their high resistance.

brown

Brown pigments are mainly used nowadays in the area of ​​artists' paints. In industrial use, e.g. B. for paints, plastics and printing inks, brown tones are usually mixed from iron oxide yellow, red and black.

White

In the case of ›white substances‹, a distinction must be made between white pigments and white minerals in industrial use . On the one hand, there is practically only one pure white pigment of technical importance today, titanium dioxide , which gained its importance because of its high refractive index . The previously important pigments lithopone , zinc white and lead white have now been almost completely replaced. On the other hand, the calcium carbonates (marble, chalk) and kaolins commonly used in paints , as well as other mineral-based products, have become very important as fillers , this applies to the paper industry and plastics production. In the paper industry, white pigments are important for coating colors and fillers for the paper pulp. In some areas of application, fillers are also called transparent white. Due to their refractive index, which is close to the refractive index of the substrate, they have no effect on the color of the product.

black

The most important representative of this group is soot (industrial black, carbon black) . This substance consists of pure carbon and is produced by burning organic substances such as oil, natural gas, etc. in the absence of oxygen. The different types of carbon black differ in their particle size and surface, but also in their color cast . In addition to soot, iron oxide and spinel black are also important.

  • Aniline Black (CI Pigment Black 1)
  • Leg black
  • graphite
  • Charcoal
  • Core black
  • Copper dichromate (CuCr 2 O 7 ), which thermally decomposes to copper (II) oxide (CuO) and chromium (IV) oxide (CrO 2 ) in a ratio of 1: 2, was important for the coloring of enamel .
  • Iron oxide black (CI Pigment Black 11)
  • Vine black is insoluble in water. It is obtained by dry distillation , i.e. charring in the absence of air, from plant waste. Be used vines , pulp , bark , chestnut . Physiologically there is no difference to charcoal black. Compared to animal charred products with their fatty soot, it has a dark anthracite-colored tone and tends to have a slight bluish cast when mixed with white.
  • Carbon black (CI Pigment Black 7 and 6 Lamp Black )
  • Spinel Black (CI Pigment Black 30 and 33)
  • Manganese black is obtained from manganese oxides, especially brownstone . It has also been artificially produced since the 19th century, but is rarely used in painting.
  • Slate black is a dark, finely ground, carbonaceous clay slate.
  • Because of its delicacy, Frankfurt black was mainly used for printing techniques.

See also

literature

Web links

Individual evidence

  1. ↑ a b c Hermann Kühn: Colorants: Pigments and binders in painting . In: Real Lexicon on German Art History . tape 7 , 1974, p. 16 .
  2. ^ Jörg Klaas: Studies on Egyptian Green, diploma thesis TU Munich . Munich 2006.
  3. ^ Robert Leach: The Printing Ink Manual. Fourth Edition, Van Nostrand Reinhold, 1988, ISBN 978-94-011-7099-4 , p. 154.