A multi-colored wall painting found in the Altamira cave in Spain testifies that the acquaintance of man with paints and pigments took place in ancient times. Prehistoric man used charcoal, chalk and some colored earths as pigments. This assortment expanded very slowly, but already in ancient Egypt, in addition to those listed, a number of natural and artificial pigments were known. 2000 BC The Egyptians were familiar with at least three red pigments: cinnabar, which originated in the East, calcined ocher, and an organic-based red pigment that, when examined, turned out to be purple. In addition to red, the Egyptians also knew blue and green pigments based on copper silicates. By the same time, the development of a method for the production of colored pigments by grinding and elutriation of colored minerals and earths dates back.

Thus, by the beginning of our era, people knew a number of pigments, some of them were produced on an industrial scale, and methods for their production were described. Russian masters of the 11th century already had a large assortment of pigments. In the colored capital letters and headpieces of the most ancient monuments of Russian literature - the Ostromirov Gospel (1056-1057), Svyatoslav Izbornik (1073) and others - cinnabar, minium lead, white lead, soot, verdigris, natural ultramarine and even pigments on an organic basis were found. In the "statutes" and "decrees" of a later period (XIII - XVII centuries), descriptions of the methods for the production of various pigments are given and the areas of their application are indicated.

The best evidence of the high quality of the pigments produced by Russian masters can be the famous icons of Andrei Rublev, painted in the 15th century with colors of exceptional brightness and strength, as well as the painting of the monument of ancient Russian architecture - St. Basil's Cathedral, built in the 15th century by architects Postnik and Barma. Part of the pigments and paints used by Russian masters came from abroad, but a significant proportion of them were mined and produced in Rus'. It can be seen from the account books of the Armory Chamber that red lead of excellent quality was made in Kashin, cinnabar, obtained by the serf Pligin according to his original recipes, was of such high quality that it was exported abroad.

The development of pigment production as a separate industry began only in the first half of the 18th century. At the turn of the 17th and 14th centuries, it was proposed to use zinc as a harmless substitute for lead white, and at the beginning of the 20th century, titanium, the production of which grew rapidly. By the second half of the 19th century, the discovery of methods for obtaining organic dyes dates back. Thanks to the advances in chemistry in recent decades, and especially organic synthesis, dyes of a wide variety of tones are being produced on a factory scale, which also have high light fastness. Based on them, light-resistant organic pigments are created. The industry produces pigments of all basic tones. By combining them, you can get pigments of any shade.

CLASSIFICATION OF PIGMENTS

Pigments are classified according to various criteria: composition, color, origin, production. By composition, pigments can be divided into mineral and organic. Mineral pigments are of natural origin (ocher, bolus, umber, sienna and other natural products) and artificial. Natural iron oxide pigments are obtained as a result of mechanical processing of minerals and rocks, the color of which is due to the presence of some kind of iron oxide, mainly oxide or oxide hydrate. The composition of natural iron oxide pigments, in addition to iron oxide, includes various impurities - clay, silica, chalk, dolomite, colored compounds of other shalls (mainly manganese), carbonaceous and other substances. The raw materials used for the production of natural pigments can be divided according to their physical properties into two main groups: hard rocks and minerals (give red pigments) and soft, sometimes friable clay rocks (give yellow and brown pigments: ocher, sienna and umber). ).

NATURAL IRON OXIDE PIGMENTS

Natural iron oxide pigments are resistant to light and atmospheric influences, opaque to ultraviolet rays. The disadvantages include low color brightness and relatively low dispersion.

ochers are a natural crystalline hydrate of iron oxide with an admixture of more or less clay. By color, ocher is divided into light yellow, medium yellow, golden yellow and dark. The color of ocher depends on the content of iron oxide hydrate: in light ochers within 12 - 25%, in medium 25 - 40%, in golden 40 - 75%. However, there is no direct relationship here, since the structure and dispersion of iron oxide hydrate, as well as the presence of impurities, affect the color of ocher. Opacity and intensity of ocher vary widely depending on the content of iron oxide hydrate and impurities in them.

Siena They got their name from the Italian province of Siena. They differ from ordinary ocher in the increased content of iron and water of hydration, as well as in the lower content or complete absence of clay, instead of which it contains silicic acid. Many varieties of sienna contain a small amount of manganese oxide. The properties of sienna are similar to ocher, with the exception of increased glazing ability in oil paints, high oil absorption, strong adsorption capacity, and a darker brown tint. This difference is obviously due to the presence of colloidal silicic acid and manganese oxide in them, a higher degree of hydration of iron oxide hydrate, and possibly its greater dispersion. According to some reports, the specific properties of sienna are due to the presence of the main part of iron in them in the form of silicates and aluminates. Siennas are mainly used as a glazing pigment in the production of artistic paints. The red natural pigments also include calcined ocher and sienna, obtained by calcining yellow ocher and sienna at 500 -700 ° C. When calcined, ocher and sienna dehydrate and turn red. Red ochers have a pure yellowish-red color and are used in the production of artistic paints. Calcined siennas are of great interest due to their pure red color and high glazing ability in oil paints.

Umbra called the weathering products of iron ores containing manganese. Weathering products are washed out with water and deposited in the cracks of the layers in the form of a dense earthy mass. There are two types of umber - natural and burnt. In composition, natural umber is close to ocher, from which it differs in the presence of manganese (b - 16% in terms of Mn02). The more it is, the darker the color of the pigment. Manganese in umber can be in the form of oxide, oxide hydrate and peroxide. Umber is used for the production of oil paints. Umber is very sensitive to heat and even at low temperatures its color changes noticeably, acquiring a brownish-greenish tint. The color of burnt umber ranges from bright brown to brownish greenish to deep dark brown.

Green natural pigment a product of the natural decay of rocks, basalts and melaphyres. It consists of silica, alumina, ferrous oxide, magnesia, potassium and sodium. These elements are in the paint in the form of not a mechanical mixture, but a chemical compound. In different varieties of green earth, they vary in different proportions, which is reflected in shades and properties. This pigment was known in ancient times. The green earth is durable, applicable in all methods of painting, but in fresco it is especially valuable, since it not only has a pleasant tone, but also helps to better fix certain colors. Recently, green earth has gained great importance in the preparation of paints. On its basis, produce "Gluakonite green", "Volkonskoit".

Almost all black pigments consist of carbon of different origin, pure or with various fillers. Magnetite, also called magnetic iron ore, is a natural black iron oxide. After grinding, a black pigment with a gray tint is obtained, which has high hiding power, high intensity and great resistance to light and atmospheric influences.

Natural pigments are usually produced in factories located near deposits of raw materials. Minerals and ores used for the production of pigments are subjected to mechanical treatment to remove impurities, transfer the ore to a finely dispersed state, and in the case of red pigments also to dehydrate them.

Mechanical processing of ores consists in crushing, grinding, elutriation, roasting, air separation and other operations.

ARTIFICIAL MINERAL PIGMENTS

These include pigments representing heavy metal oxides, salts of various origins, and other substances. Iron oxide pigments are called pigments, the color of which is due to the presence of one of the iron oxides. According to the chemical composition, iron oxide pigments are iron oxide, iron oxide hydrate or iron oxide. There is a certain relationship between the chemical composition and color of iron oxide pigments, namely: yellow pigments are iron oxide hydrates, red ones are iron oxide, black ones are iron oxide, brown ones are hydrated iron oxide or a mixture of yellow and red pigments. Artificial iron oxide pigments are obtained from iron salts after precipitation and calcination, as well as from metallic iron by oxidation.

Iron oxide pigments have high hiding power and intensity, they are resistant to light, salts, weak acids and alkalis, are opaque to ultraviolet rays and give the paint film significant mechanical strength. Mars yellows were the first synthetic yellow iron oxide pigments. Mars has a very beautiful velvety yellow color and is highly resistant to light and alkalis. This iron oxide hydrate is an amorphous substance, which explains its weak pigment properties and activity in binders, especially oily ones. When calcined, the yellow mars turns into red and purple mars. Yellow synthetic iron oxide has different bright yellow shades. The hue of the pigment depends mainly on its dispersion: the particle size of light yellow varieties is the smallest, and orange is the largest.

Group red iron oxide pigments, which range in hue from orange-red to violet-red and consist primarily of iron oxide. The difference in their shades is due only to the physical state of the particles, so they are all combined into one group - red iron oxide. The particle size increases with the transition from light to dark shades. The shape of particles of light shades is lamellar, dark - granular. Red iron oxide pigments also include some pigments that differ from red iron oxide not only in color, but also in painting and technical properties. They are known as red mars and contain impurities, obtained by a special method. Red mars has a deep velvety red color, low hiding power and strong glazing ability in a thin layer.

Brown iron oxide pigments are a mixture of red and black iron oxides obtained by precipitation, calcination or mechanical mixing. The color of brown iron oxide varies widely depending on the ratio between iron oxide and iron oxide. In all cases, the color of the pigment is greatly influenced by the physical state of the particles. Brown iron oxide pigments are also obtained by calcining ferrous oxide or easily decomposing iron oxide compounds. Brown iron oxide pigments include: also some pigments that differ from brown iron oxide not only in color, but also in painting and technical properties. These pigments are known as "red mars". Iron oxide hydrate, after calcination, imparts a strong reddish tint to brown mars.

WHITE MINERAL PIGMENTS

Titanium White. Pigments based on titanium dioxide have appeared relatively recently. The extremely high level of refraction of titanium dioxide, combined with its whiteness, gives it a high degree of opacity. According to this indicator, titanium white is superior to all other white pigments, which is mainly the reason for the preference given to them. Titanium dioxide is inert; in this it differs from the main pigments (lead or zinc white), which form soaps with fatty acids of drying oils. The bleaching power of titanium dioxide, in which it is dispersed, makes it possible to use it when very white or light products are to be obtained.

Zinc white in its pure form, they have a bluish tint and absolute whiteness. Positive properties include low toxicity; invariability from hydrogen sulfide and other sulfur compounds; complete resistance to light; suitability in almost all types of painting; ability with all durable paints to give durable mixtures. Negative properties: poor covering power; poor drying on oil, delaying the drying of other paints; the ability to make painting and primer on oil more brittle, to crack, causing the paint layer to shed.

CADMIUM PAINTS

Cadmium, as is known, is similar in properties to zinc and is found together with it in zinc ore. In its pure form, it was obtained in 1817. Sulfur compounds of cadmium are found in nature in the form of the mineral grenockite. In chemical composition, it is identical to the cadmium pigments used by painters. Grenokit has various shades - from yellow to orange, but is so rare that it cannot be of practical use. Sulfur compounds of cadmium were obtained artificially by Melandri in 1829. After that, the use of cadmium pigments began. All of them are distinguished by the beauty and intensity of color, like a painting. Their best use, however, is oil painting, for which they were intended by the inventor, since they have good hiding power and are not poisonous.

COBALT PAINTS

The first cobalt paint, which began to be used in painting, was schmalt, its discovery dates back to the middle of the 16th century. Schmalt is a type of cobalt blue glass that has been powdered and therefore has no opacity. Blue cobalt paint, which has all the properties necessary for painting, was discovered much later (1804). At the end of the 19th century, cobalt green paint was discovered, and in 1859, cobalt violet. Cobalt blue has a peculiar color, reminiscent of natural ultramarine, in chemical composition it is cobalt aluminate. Usually, in addition to aluminate, cobalt blue contains a small amount of free alumina, as well as green and violet cobalt, the addition of which improves the color of cobalt blue, and the presence of free alumina makes it lighter. Blue cobalt is used for the production of art paints.

cobalt green opened in 1780. According to its chemical composition, it is a solid solution of cobalt oxide in zinc oxide. Its color ranges from light green to dark green and depends on the ratio of both substances: the more cobalt oxide. the darker the color. Cobalt green is used in the production of artistic paints.

Violet cobalt. Two types of pigments are known under this name. Dark Violet Cobalt - anhydrous cobalt phosphate - has a beautiful dark purple color, is resistant to high temperatures, weathering and light. Refers to semi-transparent pigments and is used exclusively for the production of oil art paints. For watercolor paints, it is of little use, since when it is in water for a long time, it changes color: it becomes lilac. Light purple cobalt is cobalt ammonium phosphate monohydrate. Very sensitive to heat and noticeably changes color at temperatures up to 100 ° C, belongs to the glazing pigments. It is used for the production of both oil art and watercolor paints.

iron blue was accidentally discovered by the alchemist Diesbach in 1704. The first report about it appeared in 1710, but the method for obtaining iron azure was published only in 1724. Iron azure, depending on the method of manufacture, differ in name and composition. Blues, obtained as a result of the interaction of iron oxide salt with iron-cyanide salt, are called Prussian blue. The azures formed by the interaction of the ferrous oxide salt with the iron-cyanide salt and the subsequent oxidation of the precipitated precipitate are compounds of a more complex composition and are known under various names: milori, steel blue, Parisian blue, bronze blue, non-bronzing azure and others. The color of iron blue depends on the composition: the less water, the lighter the color. However, the shade of iron blue and its ability to bronzing depend not only on the composition, but also on the physical state of the particles - their dispersion and macrostructure. Recently, methods have been developed for obtaining azures that have a certain resistance to weak and dilute alkalis. Iron azure is characterized by hiding power, very high intensity, rather high light fastness. It is not resistant to high temperatures. It is used in the production of oil paints.

Ultramarine. The discovery of methods for the production of artificial ultramarine dates back to 1828. Prior to that, natural ultramarine was used as a blue pigment, which since ancient times was obtained by processing a semi-precious mineral - lapis lazuli. Since the yield of pigment from lapis lazuli was small, and the number of known deposits of this mineral is insignificant, natural ultramarine was valued very dearly. In the 30s of the XX century, the production of artificial ultramarine was started in several countries. The color of ultramarines is due to two factors: the structure of the crystal lattice and the nature of the bond between sodium and sulfur in it. The quality of ultramarine as a pigment is determined by its color and intensity, and for the production of artistic paints, in addition, by its glazing ability. These indicators increase with increasing degree of dispersion. In oil, ultramarine glazes, so in its pure form it is used mainly for the production of artistic paints. In a mixture with other pigments, it is used to make a variety of color oil paints.

CHROME PIGMENTS

All trivalent chromium compounds are colored green or purple. The following green compounds are used as pigments: chromium oxide, chromium oxide hydrate (emerald green), chromium phosphates and silicates, some spinel-type compounds (of which only chromium oxide and emerald green are of practical importance as pigments). Chromium silicates and chromium spinels are used in limited quantities in the ceramic industry. Chromium phosphates have no practical value. Chromium oxide was first obtained in 1809 by calcining chromic acid mercury. Soon, a method was discovered for obtaining chromium oxide by calcining a mixture of chromium peak with sulfur, coal, or ammonium chloride. Chromium oxide is an olive-green pigment with shades from yellowish to bluish, has very good pigment properties: high hiding power, extremely resistant to light, high temperatures and aggressive gases, insoluble in acids and alkalis.

emerald green was discovered in the 50s of the 20th century, known as the "Giné green". The original method of its manufacture has remained unchanged to this day. According to the chemical composition, emerald green is a chromium oxide hydrate, consisting of particles larger and more dense than that of ordinary hydrate. It has a very beautiful emerald green color and, unlike chromium oxide, it is an amorphous, coarse-grained, glazing pigment. Due to its transparency, when applied in a thin layer on a white primer, it acquires a beautiful emerald color in oil paints. In a thick layer, the color of the oil paint will be dark green. Emerald green is particularly resistant to sunlight, atmospheric influences, aggressive gases, and chemical reagents: it does not dissolve in either acids or alkalis. At temperatures up to 200 ° C, it changes little - it loses most of the water (obviously, adsorption), but absorbs it again in air. Emerald green is one of the most widely used pigments for the production of oil paints.

Strontium crown chemically, it is chromic acid strontium. It has a beautiful lemon yellow color. In terms of resistance to light, it surpasses other chromic acid pigments, but with prolonged exposure to sunlight, it still noticeably darkens. It has a certain solubility in water, completely soluble in mineral acids and decomposed by alkalis. Very resistant to high temperatures. Due to the insufficiently high hiding power and intensity, it is used in small quantities, mainly in the production of art paints, as well as primers based on some artificial resins.

Natalia Naumova, article from the magazine "Artistic Council" 3 (49) 2006 and 4 (50) 2006

Two different types of pigment (melanin)

In fact, electron and light microscopy, as well as chemical studies, allowed us to identify two different types of pigment, i.e. two types of melanin. From these two forms of melanin, all natural hair colors known to us are formed. Both types of pigment exist in the form of true pigment grains.

Brown-black pigment

The first type of pigment has a dark brown to almost black tint. This pigment is responsible for color saturation, that is, for a light or dark shade of hair color. Depending on the amount of this pigment present in the hair, hair color varies from light blond to dark brown, up to black. Perhaps you would like to know the scientific name of this pigment? It's called eumelanin. For simplicity, we will henceforth call it “brown-black pigment”.

red pigment

In addition to brown-black pigment, there is another type of pigment. Unlike dark pigment grains, this type of pigment looks like a ball under a microscope, on which you can distinguish the thinnest plates. These pigment grains are generally much smaller than the black-brown pigments. They are responsible for light blond and red hair. These pigments have been given the name pheomelanin. We call them very simply: "red pigment".

Brown-black and red pigments behave differently when lightened.

The fact that two different pigments are present in the hair is of great importance. As every experienced practitioner knows, when lightening (bleaching or lightening) dark brown to black hair, red, red-orange shades are first achieved, which then, with radical intensive lightening, lighten to a golden light color. Even when lightening lighter hair, it is impossible to avoid the formation of golden-orange to golden hues at first. The reason for this is very simple: the brown-black pigment is amenable to our lightening measures, and also splits much more easily than the red pigment, which remains quite stubbornly in the hair. Even with stronger lightening, a “golden sheen” will remain in the hair, which is explained by the presence of red pigment residues.

Lightening background - is formed under the color when we dye our hair. When we act on the natural pigment with oxygen, the black pigment Eumelanin is destroyed and pheomelanin boils, which forms an orange color. This process must always be taken into account. The lightening background is usually taken into account when painting in cold tones.

The lightening background is needed in order to find out what we have under the color when we wash it off or repaint it, for coloring in cold tones, for discoloration. When we recolor the hair, we must take into account that the artificial pigment will always be superimposed on the lightening background.

1 level - black
2nd level - brown
3 level - brown-red
4th level - red-brown
5th level - red
Level 6 - red-orange
Level 7 - orange
Level 8 - yellow
Level 9 - light yellow
Level 10 - white with gold

When coloring, we take into account that when applying a cosmetic color to a natural pigment (manifested during clarification), we get a mixed color that can be calculated knowing the basics of color science.

Hair color is determined by the level of melanin. The higher the melanin level, the darker the hair. There is also a dependence of the number of hair follicles on the scalp on hair color. On average, red-haired individuals (from 60 thousand to 80 thousand hairs) have the lowest density of vegetation on their heads, and brunettes have the highest density (up to 200 thousand hairs).

Hair color depends on many factors, the most important of which are genetic and endocrine. Hair color depends on the amount of dye - pigment, which is located in the cells of the cortical layer of the hair, and on the amount of air with which the pigment is "diluted". In fact, two pigments play a decisive role: eumelanin (black-brown) and pheomelanin (yellow-red), the combination of which gives the whole gamut of color shades. These pigments are synthesized by special cells (melanocytes) only in accordance with the genetic program.

The activity of melanocytes is not the same, so the hair of one person differs in color, which gives the hair a wonderful natural look that can never be confused with the look of dyed hair, which is always the same. Over time, the activity of the cells that produce the pigment falls, the hair grows uncolored, that is, gray.

People are distinguished by hair color as follows: There are light, red and dark people. Other names: blond, brunette, brown-haired and red.

The predominance of pheomelanin granules gives the hair a red color.

black pigment

more precisely, brown or melanin - the only coloring substance found in the skin of mammals and causing a very diverse color of it. Its color ranges from light shades of yellow to black. In the skin of lower vertebrates (fish, amphibians, and reptiles), in addition to melanin, two more groups of pigments are common: guanine, which causes metallic colors, and various lipochromes of yellow and brown colors. All these pigments lie or, at least, are formed inside the cells: melanin in the form of grains, guanine in an amorphous state or in the form of crystalline grains and plates, and lipochromes are associated with fat droplets. In lower vertebrates, the carrier of the pigment is predominantly the connective tissue layer of the skin. Pigment cells or chromatophores are designated by special names, according mainly to the color, and not the quality of the substance they contain: melanophore, xanthophore (lipochromes), ochrophore (probably guanine), erythrophore (red pigment), leukophore (colorless or yellow grains of guanine), etc. e. In mammals, pigments also accumulate in the cells of the epidermis, and in some cases the entire skin pigment belongs exclusively to it. Undoubtedly, here pigments are also observed outside the cells, in the intercellular spaces. Melanin is insoluble in alcohol. It differs from lipochromes in that for the most part it does not reduce osmium preparations, i.e., after treatment with them, melanin grains do not turn black; in any case, lipochromes retain this ability even after preliminary treatment with chromic acid, while melanin loses it. The red pigment is insoluble in alcohol and there are indications that it is close to melanin, both chemically and in origin. Direct observations have shown that both pigments occur simultaneously in the same cells and that fluctuations in their relative amounts in either direction are possible. However, the proximity of two pigments in the same cell cannot serve as an unconditional sign of their relationship, since guanine and lipochromes were also observed together. Reinke was the first to distinguish a colorless base in pigment grains and a dye impregnating it. When they first appear inside the cell, the pigment grains are colorless. Then, according to some observations, they acquire a light color at first, which then gradually becomes more intense, according to others, the final color appears immediately. Opinions also differ completely on the question of the ratio of pigment grains to Altman granules. Pigment grains are capable of independent movements inside the cells, regardless of changes in the shape of the latter. As you know, rapid changes in the color of the integument in many animals are caused by the contraction of branched pigment cells, which draw in and stretch out their processes. Most observers now agree that these cell contractions are apparent; there is only a movement of pigment grains from the processes to the center of the cell, due to which the processes become invisible, and the shape of the cell seems to be changed. A good example of the active movement of pigment grains is provided by the chromatophores of bony fish during fission; they served as the initial object for the study of radiant figures in protoplasm (archoplasm, attraction spheres). The same movement, possibly under the influence of light (phototaxis), explains the accumulation of pigment grains on the side of the cells facing the surface of the body. Phototropism of pigment granules is undeniable in the retinal pigment epithelium. Regarding the influence of light on the amount of pigment produced in the integument, experiments on various animals lead to diametrically opposite results. By artificially illuminating from below with mirrors the side of the flounder body devoid of pigment, it is possible to cause the appearance of pigment spots (melanin and lipochromes) on it. Fundulus fish embryos, usually highly pigmented, become completely colorless and transparent when kept in the dark. But, on the other hand, the carp, which lived a year in the dark, completely darkened. Salamander larvae, according to Flemming, brighten, and according to Fischel, although to a weak degree, they darken. Haake explains the lack of pigment in the winter fur of the arctic fox, ermine, and others by the diminishing effect of cold on the activity of chromatophores, perhaps through the nervous system. Pigments are generally regarded as products of the excretion of the nucleus into protoplasm, or of the protoplasm itself; for guanine this is highly probable; for lipochromes, this seems doubtful, they may represent a supply of nutrients, like fatty inclusions in general. Many researchers produce melanin from a blood pigment, which must then be delivered to the chromatophore in solution. The views of various researchers on the importance of pigment cells are completely different. While some allow the formation of pigments indifferently in the elements of the epithelial and connective tissue, not seeing anything specific in the pigment cells, others insist on their exclusively connective tissue nature. From this point of view, the epidermis itself does not produce pigments. Its cells receive them ready-made from the processes of the underlying connective tissue chromatophores. Other researchers deny the epithelial nature of the pigment cells of the epidermis. These are leukocytes that have invaded the epithelium. The extreme opinion in this direction says that even among the elements of the connective tissue, pigment cells are specific. In the embryo, cells (melanoblasts) separate from the middle leaf, which, while not yet having pigment, are distinguishable as future chromatophores. All pigment cells of the animal originate from these relatively few melanoblasts at first; a ready-made ordinary connective tissue cell cannot turn into a pigment cell.

D. Pedashenko.

Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron. - St. Petersburg: Brockhaus-Efron. 1890-1907 .

Almost all black pigments, with the exception of iron black (black iron oxide) and cobalt black, consist of amorphous carbon, and therefore they are resistant to air, light and mixtures with other paints. We distinguish them by the material from which the black pigments are made.

Ivory niello (ivory) has been obtained since ancient times by burning ivory scraps with insufficient air access, while the organic parts of the bone are burned. The pigment obtained by this method contains 15% carbon and 85% calcium and magnesium phosphate. Ivory black is suitable for all painting techniques. Currently, under this name, various bone blacks of the highest grades are produced.

Bone black (burnt bone) is obtained by charring various bones. It contains about 10% carbon. If we want to use this strong and durable pigment in a fresco, then calcium and magnesium phosphates should be removed from it by washing with hydrochloric acid. Purified black pigment has greater depth and better coverage. Along with pure black bone black, brownish bone black can be made to replace the less resistant Kassel brown. With oil, which it absorbs about 100%, all types of bone black do not dry well. Due to its absorption capacity, bone black is used to bleach oils and varnishes.

Grape black (charcoal black) is obtained by dry distillation of vines, as well as linden and beech wood. The black pigment obtained from the bark of the cork tree, the shell of peach pits, etc., is called black cork, peach, etc. It contains 95% carbon. It is light, porous, absorbs 100-110% of oil. Some technologists consider it not lightfast; she shines in the light. Lauri believes that the cold gray pigments used by Frans Hals to paint penumbra are mixtures of lead white with charcoal black. Coal black is adulterated with coal dust, slate soot, other soots and retort coal. Microscopically, it can be distinguished from other niello by the remains of the wood structure.

Lamp black is almost pure highly dispersed carbon (99%), obtained by burning substances rich in carbon (tar oils, kerosene, naphthalene, acetylene). From the soot extracted in this case, resinous substances are removed by secondary combustion in retorts without air access. Since lamp black consists of extremely small particles (particle sizes range from 0.1 to 0.4 μ), in multilayer painting it penetrates from the lower layers to the upper layers, and therefore bone black or black is preferred in this technique. iron oxide. Lamp black absorbs 180-250% of the oil and dries very slowly with it, especially if it contains residues of resin oils. Lamp black is used as a raw material in the manufacture of ink, black printing inks and watercolors.

The production of this niello by burning resin was described by Pliny the Elder. He calls it atramentum.

Black iron oxide, black mars, iron oxide (Fe 3 O 4), is a quite durable pigment and, unlike all blacks of organic origin, dries very well with oil. For underpainting, this pigment is more suitable than ivory black, although it is inferior to the latter in depth and beauty of shade.

Cobalt black, cobalt oxide (CoO), quite resistant intense black, which can be successfully used in fresco.

Black pigments should also include dark grays of mineral origin: graphite and slate gray, which, however, are not used as artistic paints in our country.

All pigments Kreidezeit” these are earths, minerals, titanium oxides and artistic rust. By painting wood, they further emphasize its naturalness and natural beauty, showing the uniqueness of each species. Adhering to a wooden surface, they remain in it for years. Thanks to the pigmented layer, the wood remains protected from the UV rays that burn it out, so the Kreidezeit coatings reliably protect the wood, do not form cracks, do not prevent rapid moisture exchange and do not peel off.

The tinting of Kreidezeit paints and plasters opens up new possibilities for interior decoration. After all, natural pigments change their shade depending on the lighting, do not fade over the years, and allow for local restoration of the surface.

All pigments are natural, without preservatives, solvents, non-toxic, diluted with water or oil (oil paints), easily mixed with each other. There are 60 base colors for wood oil paints and 450 base colors for paints and plasters. Under the order, any tinting according to NCS, RAL and any other color sample is possible.

Pigments:

Yellow ocher / Ocker gelb
Golden ocher Italian / Goldocker Italien
A natural mineral of supergene origin formed from iron-bearing rocks and minerals. The coloring base is iron oxide hydrate. Can be mixed with all pigments, absolutely lightfast and weatherproof. The country of origin is France, but yellow ocher is a mineral widely distributed on Earth. Compatible with all binding materials.

Red ocher / Ocker rot
Ocher orange Provence / Ocker orange Provence
Natural earth pigment, artificially fired using a technology similar to that used in the manufacture of clay bricks. Coloring bases are iron oxides. It is mined in an open way. All other characteristics are similar to yellow ocher (Ocker gelb).

Sienna natural / Terra di Sienna natur
Natural earth pigment, iron oxide hydrate, has a bright yellow color. Its deposits are found in Tuscany, Corsica, Sardinia, partly in Germany: Bavaria, Palatinate and Harz. Absolutely lightfast and weatherproof material, compatible with all binders, typical glaze pigment. Can be used with lime glaze, can be mixed with all pigments. It is mined in an open way.

Sienna burnt / Terra di Sienna gebrannt
Sienna red Italian / Siena rot Italien
Natural earth pigment, artificially fired. Roasting removes chemically bound water. Siena land (Terra di Sienna), unlike ocher, contains a certain amount of silicates in its composition. Compatible with all pigments and binders, excellent pigment for glazes. It is mined in an open way.

Umbra dark green / Umbra grünlich dunkel
A mixture of green mineral pigments (Spinel green - Spinellgrün, green chromium oxide - Chromoxidgrün) and talc. Slightly darkens under the influence of oils. Absolutely lightfast and weatherproof, non-toxic material, compatible with all bonding materials.

Burnt umber / Umbra gebrannt
Umbra light brown / Umbra rehbraun
Umbra reddish / Umbra rötlich
Umbra light green / Umbra grünlich hell
Umbra red-brown Italian / Umbra rotbraun Italien
Umbra dark Ardennes / Umbra dunkel Ardennen
Cypriot green umber / Umbra grün Zypern
Natural earth pigment, coloring bases are iron oxide hydrates mixed with manganese oxide hydrates and aluminosilicates. Thanks to their manganese content, they speed up the drying of oil paints. Umber pigments are mined in different shades, depending on the amount of iron oxide, manganese oxide and silicates they contain. They are compatible with all pigments and binders. In oil, they darken slightly, are not poisonous, absolutely lightfast and weatherproof materials.

Cassel brown / Casseler brown
Brown coal containing manganese, vegetable pigment. Made by charring grapes, chemically almost pure carbon. The material has high light resistance, is used in all techniques, in all binders and pigments, in oil it slows down drying, as, in fact, all black pigments. Cannot be used for exterior decoration, because. not resistant to alkalis and acids. With the addition of 3-5% soda, the so-called nut stain is obtained. It is relatively poorly wetted by water, so a paste is first prepared with wetting additives (for example, alcohol) and only then diluted with water.

Black grape / Rebschwarz
plant pigment. Produced by charring grape wood, it is chemically almost pure carbon. The material has high light resistance, is used in all techniques, is compatible with all pigments and binders, in oil it slows down drying, as, in fact, all black pigments. Cannot be used for exterior decoration.

Titanium white Rutil / Titanweiss Rutil
Obtained from a natural mineral (rutile), purified and then precipitated; titanium white, or rutile, has a particularly high hiding power with all binders. Rutile is a chemically stable, lightfast and non-toxic material.

Ultramarine blue / Ultramarin blau
Ultramarine violet / Ultramarin violet
mineral pigments. Ultramarine blue is made by heating soda, clay and sulfur. Ultramarine Violet is a mixture of ultramarine red and ultramarine blue. Both materials are non-toxic (partially allowed for use as food coloring), mix with all earth pigments except copper and lead compounds. Lime resistant, lightfast, weather resistant, not acid resistant. Since there is little acid in the atmosphere these days, these pigments can only be used to a limited extent in exterior finishes (the use of these pigments may result in blackening or discoloration). Excellent azure pigments.

Spinel yellow / Spinellgelb
Turquoise spinel / Spinellturkis
Spinel blue / Spinellblau
Spinel green / Spinellgrun
Spinel orange / Spinellorange
Spinels are minerals of various origins (volcanic, metamorphic), in any case, they were most often formed when exposed to high temperatures. According to the chemical composition, these are magnesium aluminates (MgAl204). Most spinels are colorless. In connection with the deposition of various ions during volcanic activity, colored spinels were also formed in small quantities, which are sold today in the form of precious stones. Stones with a color from yellow to orange red are called rubicella, iron-containing black stones from Ceylon are called pleonast. So, the famous red stone from the English crown is not a ruby, but a spinel. Depending on the content of trace elements in the crystal structure of the material, aluminum, iron (III), chromium, vanadium and titanium spinels are distinguished.

Spinel production:
Spinel (mineral) and metals are mixed wet and then heated to a temperature of 1200 - 1600º C. In this case, ion exchange occurs. Metal ions are very firmly embedded in the structure of the mineral and after cooling they are no longer washed out. Spinels have a hardness of 8 (on the Mohs scale) and are not affected by acids and alkalis. After firing, the pigments are washed and ground to the desired fraction. These pigments are used, among other things, in the production of synthetic gems (fashion jewelry), as well as to obtain the desired color when firing ceramics. Minerals that are predominantly spinels are chromite, franklinite, ganite, magnetite, and many others. Spinel pigments are used in all binders. They meet the most stringent requirements for lightfastness, weatherability and chemical resistance. In terms of toxicity, these materials do not cause any concern and can be used to color plastic utensils or toys. For the same reason, they are safely disposed of in incinerators, because. the combustion temperature is only about 1000 °C, and the pigments withstand temperatures of 1400-1600 °C.

Titanium red pigments/ TitoRed-Pigmente
KREIDEZEIT titanium-based pigments (Tito-Pigmente) are non-toxic organic materials produced by wet milling to obtain titanium yellow pigments. They are characterized by a high degree of purity, gloss and good hiding power. They have good light fastness but should not be used outdoors.

Iron oxide yellow / Oxidgelb
Iron oxide orange / Oxidorange
Iron oxide red / Eisenoxidrot
Black iron oxide / Eisenoxidschwarz
Rust created for artistic purposes.

For advice on the use of paints or in case of any other questions about Kreidezeit materials, please call: +7 (495) 120-65-39.