Pigments Colours

1. White Pigments :
a. White lead (oil only): quick-drying, it is poisonous

b. Zink white: the least opaque of the whites - slow dryer.

c. Titanium white: great covering power, dries more slowly - more opaque.

d. Permanent white: almost transparent, for reducing strong colours.

e. Chalk White


2. Black Pigments:

a. Lamp black: pure can be - slightly transparent.

b. Ivory black: bluish and can be used un all mediums.

c. BONE black: brownish

d. Vine black : an impure carbon

e. Black Oxide of Maganeze: brownish, seldom used by artists, quick dryer.

3. Grey Colour:

a. Davy's grey: Made from crushed slate - it is transparent.

b. Payne's grey: a combination of black, Ultramarine and ochre, it strong cold grey.

4. Brown Pigments:

a. Raw umber : Natural earth, transparent, excellent dryer.

b. Burnt Umber (calcined raw umber): darker and redder than raw umber

c. Vandyke brown

d. Burnt Sienna : The most important brown - Raw Sienna is much less important as a colour.

e. Umber: the darkest original brown pigments - Umber (Both burnt and raw) are the classical shadow colour - Burnt Umber is valuable for darkening all colours - must better in effect than black - It makes a good black when mixed with prussian blue - to make outline

5. Blue:

a. Ultramarine: the nearest of all pigments used to primary blue in the colour circle - It can be mixed with green or red and gives the purest of mixed violets when combined with alizarine red - It gives dull greens when mixed with yellow but it gives a pure (blue - green) with viridian.

b. Prussian: the second important blue - The smallest traces make all yellow and even brown pigments a bright green - With red it gives less clear mixtures and with cadmium red a rich - you can use it instead the black.

c. Cobalt: It is mixture of ultramarine and zink white - It is a pigment to be used by itself - the best mixture is with green (Viridian)

d. Cerulean : the colour of a cloudless sky and very valuable for atmospheric tones - The same as cobalt blue.

e. Blue-Green Oxide: after used to reproduce the colour of the winter sky close to the horizon - There is no sense in making any mixture.

6. Yellow:

a. Cadmium Yellow: It can be produced in an endless numbers of tines - from the lightest lemon to orange and even a deep red - It must not be brought together with lead colours - The only whites for mixing with it is zink white or titanium white - It gives the most nadiant ward greens when mixed with prussian blue and viridian. It also mix with all red - Cobalt yellow can be used as a substitute for cadmium lemon or lime/

b. Naples yellow: It should be used very sparingly - It has very different consistency other pigments.

7. Red:

a. Venetion : In mixtures it is not very friendly.

b. Pomeiin : In mixtures it is not very friendly.

c. Mars Red: It is more opaque.

d. Cadmium Red: all that has been said about cadmium yellow applies to cadmium red - It is not suitable as glaze.

e. Alizarin Red: like cadium colours - can be produces in an endless variet of tones. The darker tones are most resistant to light - The purest violet of the palette - A mixture of alizarin red and ultramaarine blue. Neither Cadmium nore alizarion uneffectted by lime - Neither cadmium red nor alizarim red gives a true primary red but a mixture of two comes close.

f. Red Madder: Very sunnier to carmine - It's most important colouring constituent is alizarin - Cadmium red can be replaces to some extent by Mars red.

8. Green:

a. Oxide of Chromium: The most important unmixed green pigments, with a cool, very pure tone - Combines with Cobalt blue it makes nearly the same tine as the costly blue chromic oxide and also provides useful mixture with ultramarine and prussian blue, The richest scale of greens comes from combination with cadmium and Mars Yellow:

b. Viridian

c. Chrome Green: Warm green, as an apaque colour - similer as TERRE VERTE.

d. Terre Verte: green earth - similar to Emerald green - The Most important pigment fir underpainting - Deep tines in unmixed - Terre Verte is best when it is laid in several glazes one over the other.