DOCSLIB.ORG

Artifical Yellow Pigments: Production and Characterization Through Spectroscopic Full Paper Methods of Analysis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Artifical Yellow Pigments: Production and Characterization Through Spectroscopic Full Paper Methods of Analysis e-PS, 2010, 7, 108-115 ISSN: 1581-9280 web edition e-PRESERVATIONScience ISSN: 1854-3928 print edition www.Morana-rtd.com published by MORANARTD d.o.o. © by M O R A N A RTD d.o.o. ARTIFICAL YELLOW PIGMENTS: PRODUCTION AND CHARACTERIZATION THROUGH SPECTROSCOPIC FULL PAPER METHODS OF ANALYSIS Claudia Pelosi1, Giorgia Agresti1, Ulderico Santamaria1, Elisabetta Mattei2 This paper is based on a presentation at Artificial yellow pigments (lead-tin yellow type I and type II, the 9th international conference of the lead antimonate yellow and lead-tin-antimony yellow) have Infrared and Raman Users’ Group (IRUG) in Buenos Aires, Argentina, 3-6 been produced, starting from various recipes and from pure March 2010. chemicals, in different experimental conditions. The prod- Guest editor: ucts were analysed using micro-Raman spectroscopy. Prof. Dr. Marta S. Maier. Differences in stoichiometric ratios, in melting tempera- 1. Tuscia University, Department of tures and in crucible typologies were examined. Other ana- Cultural Heritage, Largo dell’Università, lytical techniques were required to characterize the stoi- 01100 Viterbo (Italy). chiometric ratios of the obtained products (X-ray diffrac- 2. Tuscia University, Faculty of tion, scanning electron microscopy with energy dispersive Agriculture – Centro per l’Innovazione Tecnologica e lo Sviluppo del Territorio spectroscopy and differential thermal analysis).The results (CINTEST), Via del Paradiso 47, 01100 are analysed and discussed in terms of correlations among Viterbo (Italy). chemical composition, melting conditions and colour hue. corresponding author: [email protected] 1 Introduction Through centuries, yellows of different compositions, based on lead, tin and antimony, have been used either as opacifiers in glasses, glazes and majolicas or as paint pigments. The long period of use of lead-tin and antimony based yellow pigments led to many documents in different languages employing various names describing the same compound, for instance giallolino in the southern Author Mention of giallolino sources and massicot in “… che questo color sia propria the northern ones that Cennini prieta, nata in luogo di grande arsure di montagne ….”2 according to Kühn refer to 3 the same compound (lead- Lorenzo Lotto Zalolin, Zallolin da vasari 1 tin yellow). In southern Borghini di vetro, di Fiandra, di Venezia4 Europe artists and writers di fornace, di Fiandra, di Lomazzo regularly used the term Alemagna5 giallolino to indicate a pale Vasari giallolino e giallo di vetro6 yellow material of varied Bernardo Strozzi di vetro6 received: 10.05.2010 composition (see Table 1). accepted: 25.09.2010 specie in sfumature dal giallo al Richard Symonds rosso6 key words: The main manuscripts con- Artificial yellow pigments, Raman spec- taining recipes for the pro- Table 1: Some artists and writers who mentioned gial- troscopy, X-ray diffraction, Scanning duction of lead, tin and electron microscopy lolino in their books. 108 © by M O R A N A RTD d.o.o. antimony based yellow pigments are reported in characterized using micro Raman spectroscopy, X- Table 2. These manuscripts can be considered as ray diffraction (XRD) analysis, scanning electron the first examples of written recipes based on oral microscopy with energy dispersive spectroscopy sources and on workshop notes that the master (SEM-EDS) and differential thermal analysis glassmakers kept with great care. The problem (DTA).15 Raman spectroscopy is a very useful and arises from the transcription of these notes. In fact powerful technique for the characterization of cul- this operation was made by copyists and not by tural heritage materials owing to the facts that it expert glassmakers. So during the transcription may be used in situ, is non-destructive, has high many mistakes were made that were handed down spatial resolution and is highly specific. Moreover to us creating problems in identifying and differen- Raman spectroscopy can analyse one crystal at a tiating these yellow pigments. time, like SEM-EDS, and so evaluate the presence Pigment Manuscript Recipe of compounds with different stoichiometric ratios, like XRD, but SEM-EDS does not provide a molec- Bolognese manu- Lead-tin yellow Recipe 272 ular fingerprint for the particle under observation script (first half of the type I and type II and XRD analysis cannot analyse every single 15th century)7 Recipe 273 crystal. The produced pigments have been also different recipes for characterized by other techniques like XRD and Piccolpasso8 (1559)- the production of Passeri (1758)9 Zalulino and SEM-EDS because at present reference Raman Lead antimonate Giallolino spectra of standard pigments are not always avail- Brunoro manuscript Recipe 137 (c. 32v.) able. Moreover Raman spectra found in spectral (1645)10 Valerio Mariani from databases are sometimes referred to commercial Pesaro treatise Giallo dei vasari products that are not pure. Thus, another aim of (1620)11 this work was to discuss the Raman spectra Recipe D 60 Darduin book of obtained in our work in comparison with literature Lead, tin and recipes (about Recipe D 187 (verso) antimony yellow references and to investigate the influence of the 1644)12 Recipe D 187 (recto) experimental conditions on the chemical and phys- ical characteristics of the produced materials. Table 2: Manuscripts and treatises dealing with the production of lead-tin-antimony based pigments. A case study is also reported as comparison with the synthesized products. A full account of literary sources and manuscript recipes is beyond the aim of this paper and it can be found elsewhere.13 2 Materials and Methods The aim of this work was the production and char- Pure oxides (PbO, Pb3O4, SnO2, Sb2O3 and SiO2) acterization of artificial yellow pigments by micro- supplied by Acros (Acros Organics, New York, Raman spectroscopy and other techniques starting USA) were used for the production of lead-tin-anti- from the results obtained in previous papers.14-15 mony yellow pigments. The oxides were mixed in By analyzing the various recipes concerning lead- agate mortars and then introduced into the furnace tin-antimony yellows, it was possible to recon- at room temperature. They were heated up to the struct the original production methods of these required temperatures. According to literature pigments though the experimental conditions were data1,16-21 temperature was different depending on not clear (temperatures are not indicated, time is the typology of the pigment to be produced (670, often unspecified and materials are not clearly 800 and 900 oC for lead-tin yellow type I and type II; reported). 900 and 950 oC for lead antimonate; 925 oC for lead-tin-antimony yellow). The temperature was We produced lead-tin yellow type I (Pb SnO ) and 2 4 maintained constant for 5 h. Only for the produc- lead-tin yellow type II (PbSnO or PbSn Si O ) 3 1-x x 3 tion of lead-tin yellow type I was a time of 3 h also following the indication of recipes 272 and 273 of tested. Then the samples were allowed to cool the fifteenth century Bolognese Manuscript, lead slowly inside the furnace (see Table 3). In order to antimonate yellow (Pb Sb O ), called Naples yel- 2 2 7 evaluate the influence of cooling condition, lead- low, according to the treatises written by tin-antimony yellow was also cooled in cold water Piccolpasso, Passeri and Valerio Mariani from at 10 oC following Cascales’s instructions.16 For Pesaro, and lead-tin-antimony yellow the production of lead-tin yellows porcelain cru- (Pb SnSbO ) from the Darduin, Valerio Mariani 2 6,5 cibles were used; for lead antimonate and lead-tin- from Pesaro and other authors´ recipes.15 More antimony yellow porcelain crucibles and terracotta recent works, dealing with the production and tiles covered by filter paper were used. Each sam- analysis of artificial yellow pigments, were taken ple was identified by an alphanumeric system with into account.1,16-21 The obtained products were capital letters and numbers. The abbreviation PSA Artificial Yellow Pigments: Production and Spectroscopic Characterization, e-PS, 2010, 7, 108-115 109 www.e-PRESERVATIONScience.org indicates lead-tin yellow type I, PSB lead-tin yel- The micro-Raman spectrometer was a Labram low type II, APA lead antimonate, APSA lead-tin- Model of the Dilor JobinYvon (Jobin Yvon, Horiba antimony yellow. The abbreviations are followed Group, New Jersey USA) with a spatial resolution by a number that specifies the experimental condi- of 2 µm and the possibility of fast detecting owing tions. to the use of a CCD detector cooled to -50 oC. The exciting wavelength was the 632.8 nm red line of a The obtained products were analysed by SEM- He-Ne laser. Integration times varied between 10 EDS, XRD, DTA and micro-Raman spectroscopy. and 20 s with 5 accumulations. The laser power The SEM-EDS analysis was carried out using a was 3.2 mW. JSM 5400 system (Jeol, Tokyo, Japan) with EDS2000 electron probe micro analysis supplied by Oxford Instruments - Microanalysis System 3 Results and Discussion (Oxford Instruments, Abingdon, Oxfordshire UK, www.oxford-instruments.com) ; the crystal area Table 3 summarizes the production processes and was 10 mm2 and the work distance 22 mm. The the main characteristics of the obtained yellow pig- probe operated at 25 kV and 60 mA. ments. Each artificial yellow pigment will be dealt with separately. The X-ray analytical equipment was a Philips PW1830 diffractometer (Philips, Eindhoven, The Netherlands) with Cu tube, using the 1.5418 Å Cu- 3.1 Lead-tin yellow type I Kα radiation; operating at 40 kV accelerating volt- age and 30 mA beam current. The differential ther- Lead-tin yellow type I was produced at a tempera- o mal analysis (DTA) was performed by means of a ture of 800 C for 5 h. PSA2 is in fact the most simultaneous TGA/DSC/DTA instrument model homogeneous pigment as regards composition Q600 from TA Instruments (TA Instruments, New and colour hue (Figure 1).
Load more

Recommended publications
  • Gamblin Provides Is the Desire to Help Painters Choose the Materials That Best Support Their Own Artistic Intentions
    AUGUST 2008 Mineral and Modern Pigments: Painters' Access to Color At the heart of all of the technical information that Gamblin provides is the desire to help painters choose the materials that best support their own artistic intentions. After all, when a painting is complete, all of the intention, thought, and feeling that went into creating the work exist solely in the materials. This issue of Studio Notes looks at Gamblin's organization of their color palette and the division of mineral and modern colors. This visual division of mineral and modern colors is unique in the art material industry, and it gives painters an insight into the makeup of pigments from which these colors are derived, as well as some practical information to help painters create their own personal color palettes. So, without further ado, let's take a look at the Gamblin Artists Grade Color Chart: The Mineral side of the color chart includes those colors made from inorganic pigments from earth and metals. These include earth colors such as Burnt Sienna and Yellow Ochre, as well as those metal-based colors such as Cadmium Yellows and Reds and Cobalt Blue, Green, and Violet. The Modern side of the color chart is comprised of colors made from modern "organic" pigments, which have a molecular structure based on carbon. These include the "tongue- twisting" color names like Quinacridone, Phthalocyanine, and Dioxazine. These two groups of colors have unique mixing characteristics, so this organization helps painters choose an appropriate palette for their artistic intentions. Eras of Pigment History This organization of the Gamblin chart can be broken down a bit further by giving it some historical perspective based on the three main eras of pigment history – Classical, Impressionist, and Modern.
    [Show full text]
  • Color Chart Includes Those Colors Made from Inorganic Pigments, That Is, Metal Ores Dug from the Earth
    GAMBLIN ARTISTS COLORS GAMBLIN ARTISTS OIL COLORS Artists Oil mineral inorganic colors modern organic colors Colors • All colors made from metals (Cadmium, Cobalt, Iron, etc.) are “inorganic” • Carbon based pigments are “organic” • 19th century colors of the Impressionists and the colors of Classical and Renaissance era painters • 20th century colors • High pigment load, low oil absorption • Most pigments available in a warm and cool version (ex. Phthalo Green, Phthalo Emerald) • Colors easily grey-down in mixtures, excellent for painting natural colors and light • Best choice for high key painting, bright tints • Mostly opaque with a few semi-transparent and transparent colors • Mostly transparent, with some semi-transparent colors Impressionist 20th Century CADMIUM CHARTREUSE CADMIUM LEMON CADMIUM YELLOW LIGHT CADMIUM YELLOW MEDIUM CADMIUM YELLOW DEEP HANSA YELLOW LIGHT HANSA YELLOW MEDIUM HANSA YELLOW DEEP INDIAN YELLOW CADMIUM ORANGE CADMIUM ORANGE DEEP CADMIUM RED LIGHT CADMIUM RED MEDIUM CADMIUM RED DEEP PERMANENT ORANGE TrANSPARENT OrANGE NAPTHOL RED NAPTHOL SCARLET PERYLENE RED white · grey · black ALIZARIN CrIMSON MANGANESE VIOLET COBALT VIOLET ULTRAMARINE VIOLET ALIZARIN PERMANENT QUINACRIDONE RED QUINACRIDONE MAGENTA QUINACRIDONE VIOLET DIOXAZINE PURPLE TITANIUM WHITE RADIANT WHITE TITANIUM ZINC WHITE QUICK DRY WHITE FLAKE WHITE REPLACEMENT ULTRAMARINE BLUE COBALT BLUE PrUSSIAN BLUE CERULEAN BLUE COBALT TEAL INDANTHRONE BLUE PHTHALO BLUE CERULEAN BLUE HUE MANGANESE BLUE HUE PHTHALO TURQUOISE FASTMATTE TITANIUM WHITE ZINC WHITE
    [Show full text]
  • A Short History of 18-19Th Century
    A SHORT HISTORY OF 18-19TH CENTURY BRITISH HAND-COLOURED PRINTS; WITH A FOCUS ON GAMBOGE, CHROME YELLOW AND QUERCITRON; THEIR SENSITIVITIES AND THEIR IMPACT ON AQUEOUS CONSERVATION TREATMENTS Stacey Mei Kelly (13030862) A Dissertation presented at Northumbria University for the degree of MA in Conservation of Fine Art, 2015 VA0742 Page 1 of 72 Table of Contents List of figures……………………………………………………………………………………...…2 List of tables……………………………………………………………………………………….....2 Abstract………………………………………………………………………………………………3 Introduction……………………………………………………………………………..………...…3 Research aims, methodology and resources………………………………………………….…....4 1. Aims……………………………………………………………………………………..…...4 2. Research Questions…………………………………………………………………..…...….4 3. Literature review……………………………………………………………………….....….5 4. Case Study Survey………………………………………………………………………..….5 5. Empirical Work……………………………………………………………………………....6 Chapter 1: A Brief History of Hand-coloured Prints in Britain………………………………....6 1.1 The popularity of hand-coloured prints…………………………………………………….....6 1.2 The people behind hand-colouring……………………………………………………..….….9 1.3 Materials and Methods……………………………………………………………………....14 Chapter 2: Yellow Pigments: A focus on Gamboge, Chrome Yellow, and Quercitron……….19 2.1 Why Gamboge, Chrome Yellow, and Quercitron……………………………………….…..19 2.2 Gamboge……………………………………………………………………………….....….20 2.2.1 History…………………………………………………………………………….…....20 2.2.2 Working properties…………………………………………………………………..…21 2.2.3 Physical and chemical properties…………………………………………………..…..21 2.2.4 Methods of
    [Show full text]
  • Textures of Williamsburg Handmade Oil Colors
    Textures of Williamsburg Handmade Oil Colors VERY FINE FINE MEDIUM COARSE Alizarin Orange Permanent Red-Orange Brown Umber Alizarin Crimson Brown Pink Bismuth Vanadate Yellow Permanent Yellow Deep Burnt Sienna Alizarin Yellow Dutch Brown (Transparent) Brilliant Yellow Extra Pale Permanent Yellow Light Burnt Umber Bohemian Green Earth Italian Pink Brilliant Yellow Pale Permanent Yellow Medium Cadmium Green Brown Ochre Olive Green Carl’s Crimson Persian Rose Cadmium Green Light Cyprus Orange Stil De Grain Cerulean Blue French Phthalo Blue Cadmium Lemon Earth Green Chromium Oxide Green Phthalo Green Cadmium Orange French Ardoise Grey Cinnabar Green Light Phthalo Green-Yellowish Cadmium Purple French Brown Ochre Cobalt Blue Phthalo Turquoise Cadmium Red Deep French Burnt Ochre Cobalt Blue Deep Provence Violet Bluish Cadmium Red Light French Burnt Umber Cobalt Green Provence Violet Reddish Cadmium Red Medium French Light Sienna Cobalt Teal Bluish Prussian Blue Cadmium Red Purple French Ochre Havane Cobalt Teal Greenish Pyrrole Orange Cadmium Red Vermilion French Raw Sienna Cobalt Turquoise Bluish Pyrrole Red Cadmium Yellow Deep French Raw Umber Cobalt Turquoise Greenish Quinacridone Magenta Cadmium Yellow Extra Deep French Rouge Indien Cobalt Violet Deep Quinacridone Red Cadmium Yellow Light French Terre Verte Cobalt Violet Light Quinacridone Violet Cadmium Yellow Medium French Yellow Ochre Deep Courbet Green Sevres Blue Canton Rose German Earth Dianthus Pink SF Cerulean Blue French Cerulean Blue (Genuine) Graphite Grey Egyptian Violet SF
    [Show full text]
  • Opaque Colors
    When glazing, it helps to know which colors are transparent and which are opaque. Whether a particular color is transparent or opaque has to do simply with its inherent chemical makeup. An opaque color will offer more coverage than a transparent one; that much is obvious. But it is important to remember that opacity and transparency have nothing to do with color saturation/intensity or color permanence. Both groups contain fugitive colors as well as powerful ones (red can fade quickly in UV light; blue used in even small quantities will turn the mixture strongly blue). This list is provided to help you determine which colors are best used for underpainting, which are best for glazing right out of the tube, and which may require the use of a glazing medium. Opaque Oil Colors Transparent Oil Colors Whites Whites lead white zinc white titanium white transparent white Yellows Yellows cadmium yellow (all tones) aureolin (cobalt yellow) Naples yellow Indian yellow yellow ochre transparent gold ochre jaune brilliant transparent oxide yellow nickel titanate yellow stil de grain jaune Reds and Oranges Reds and Oranges cadmium red (light and dark) alizarin crimson cadmium orange rose madder (light and dark) English red ultramarine red Mars red quinacridone red Venetian red quinacridone burnt orange terra rosa transparent red oxide vermillion naphthol scarlet anthraquinoid red perinone orange Greens Greens chromium green oxide viridian permanent green phthalo green cadmium green phthalo turquoise green gold terre verte Browns Browns burnt umber burnt sienna raw umber raw sienna Pozzuoli earth brown madder alizarin transparent brown stil de grain brun Blues Blues cerulean blue ultramarine blue cobalt blue phthalo blue manganese blue indanthrone blue indigo Violets Violets cadmium purple cobalt violet Mars violet manganese violet caput mortuum violet carbazole violet quinacridone violet rose dore’ dioxazine purple Blacks and Neutrals Blacks and Neutrals lamp black ivory black peach black Davy’s gray Mars black Paynes gray .
    [Show full text]
  • Artists Watercolour Chart.Pdf
    Artists’ Watercolour Colours 634***(o)A 637 ***(o)B 651***(t)A 611 ***(o)C 629***(o)(st)C 664***(t)(st)B 601**(t)(st)C 612***(o)C Naples Yellow Nickel Titanate Lemon Yellow Cadmium Yellow Bismuth Yellow Permanent Yellow Aureolin Cadmium Yellow Yellow Pale 620***(o)(st)B 613***(o)C 618***(o)(st)B 640***(t)(st)A 643***(t)(st)A 615***(o)C 619***(o)(st)B 633***(t)(st)B Cadmium Yellow Cadmium Yellow Cadmium Yellow Gamboge (Hue) Indian Yellow Cadmium Orange Cadmium Orange Warm Orange (Hue) Deep Deep (Hue) (Hue) 535***(t)(st)B 506***(o)(st)C 526***(o)(st)B 588***(t)(st)C 501***(o)(st)C 503***(o)(st)B 528***(t)C 502***(o)C Permanent Red Cadmium Red Pale Cadmium Red Pale Vermilion (Hue) Cadmium Red Cadmium Red Quinacridone Red Cadmium Red (Hue) (Hue) Deep 504***(o)(st)B 529***(t)(st)C 515***(t)(st)A 525***(t)(st)B 509***(t)(st)B 537***(t)(st)A 414***(t)B 409***(t)(st)B Cadmium Red Perylene Red Alizarin Crimson Alizarin Crimson Carmine Permanent Rose Quinacridone Permanent Deep (Hue) (Hue) Magenta Magenta 417***(t)(g)C 419***(o)(g)A 413***(t)(st)B 107***(t)B 135**(t)(st)A 127***(t)(st)A 139***(t)(st)A 140***(t)(st)A Cobalt Magenta Ultramarine Violet Permanent Mauve Indanthrene Blue Prussian Blue Indigo Phthalo Blue (Red Phthalo Blue Shade) (Green Shade) 121***(t)(st)A 111****(o)(g)B 109****(o)(g)C 116****(o)(g)C 137***(o)(g)A 123***(o)(g)A 155****(o)(g)C 156****(o)(g)C Manganese Blue Coeruleum Cobalt Blue Cobalt Blue Deep Permanent Blue French Cobalt Turquoise Cobalt Turquoise (Hue) Ultramarine (Red Shade) (Green Shade) 157***(t)(st)A 325****(o)(g)C
    [Show full text]
  • Watercolor Substitution Cheat Sheet * = Lindsay Recommended Color
    Watercolor Substitution Cheat Sheet * = Lindsay Recommended color *Phthalo Blue (Strong cool-green leaning-blue) Prussian Blue (also look for that pigment) AKA Pthalo blue GS Cyan Blue or green shade. Cerulean Blue (if it looks dark: Mission Gold) Helio Cerulean **This colors is great for mixing green when Winsor Blue (Winsor & Newton) paired with a cool yellow. Intense Blue (Winsor & Newton/Cotman) Azure (Yarka/White Nights) Turquoise Indigo (deep cool blue grey) Indanthrone Blue Payne's Grey+Prussian Blue *Ultramarine Blue (warm, purple bias red) Colbalt Blue Pthalo blue Red Shade (not my fave substitute) **This color is good for mixing violet with a cool Poland Blue red or gray with burnt sienna. ***This color granulates for textured washes. Cerulean Blue (Less intense cool blue) Manganese Blue Phthalo blue + white Cinerous Blue (Sennelier) *Quinacridone Rose (Cool red with violet Alizarian Crimson undertones) Carmine **This color makes lovely purples and mauve Crimson lake with blues. Rose Madder (weaker than AZ) *Cadmium Red or Cadmium red light Vermilion (Warm red with orange undertones) Scarlet Napthol Red **This color makes beautiful oranges when mixed Bright Red/ Brilliant Red with warm yellows. Pyrrole Red Permanent Rose Magenta *Cadmium Yellow (warm yellow) Gamboge Cadmium yellow medium/Cadmium yellow deep Indian Yellow Permanent yellow deep **This color makes beautiful oranges when mixed with warm reds or peach with cool reds *Hansa Yellow Light (cool yellow) Lemon Yellow (cool yellow) Cadmium yellow light, pale or Cadmium
    [Show full text]
  • North American Flora [Volume 10 76
    282 NORTH AMERICAN FLORA [VOLUME 10 76. CORTINARIUS * Fries, Epicr. Myc. 255. 1838. Agaricus § Corlinoria Pers. Syn. Fung. 276. 1801. Cortinaria S. F. Gray, Nat. Arr. Brit. PI. 1: 627. 1821. Agaricus § Telamonia Fries, Syst. Myc. 1: 210. 1821. Agaricus § Inoloma Fries, Syst. Myc. 1: 216. 1821. Agaricus § Phlegmacium Fries, Syst. Myc. 1: 226. 1821. Agaricus § Dermocybe Fries, Syst. Myc. 1: 227. 1821. Agaricus § Myxacium Fries, Syst. Myc. 1: 247. 1821. ? Telamonia Peck, Bull. N. Y. State Mus. I2: 8. 1888. ? Dermocybe Peck, Bull. N. Y. State Mus. V: 8. 1888. ? Hydrocybe Peck, Bull. N. Y. State Mus. V: 9. 1888. ? Myxacium Peck, Bull. N. Y. State Mus. Is: 14. 1888. Dermocybe Fayod, Ann. Sei. Nat. VII. 9: 372. 1889. Hydrocybe Fayod, Ann. Sei. Nat. VII. 9: 372. 1889. Telamonia Fayod, Ann. Sei. Nat. VII. 9: 373. 1889. Myxacium Fayod, Ann. Sei. Nat. VII. 9: 374. 1889. Phlegmacium Fayod, Ann. Sei. Nat. VII. 9: 375. 1889. Sphaerotrachys Fayod, Ann. Sei. Nat. VII. 9: 374. 1889. Inoloma P. Karst. Medd. Soc. Faun. Fl. Fenn. 18: 70. 1891. Hydrocybium Earle, Bull. N. Y. Bot. Gard. 5: 440. 1909. Bulbopodium Earle, Bull. N. Y. Bot. Gard. 5: 441. 1909. Pileus fleshy, putrescent, solitary, gregarious or cespitóse; surface dry or viscid, glabrous, silky or scaly; context floccose-fibrillose; lamellae persistent, dry, changing color during process of maturing, at length powdery with the cfinging spores, adnate to emarginate; stipe central, fleshy, at first connected with margin of pileus by a cobwebby cortina; universal veil present or lacking, usually evanescent, either gelatinous or fibrillose-interwoven in texture; spores cinnamon-brown to ferruginous in mass, mostly with roughened epispore.
    [Show full text]
  • Colour Chart.Indd
    The Paints, Past and Present Details and Descriptions of Colours This section gives assessments for certain determinable characteristics of all the colours presently in my range, as well as a few informal remarks on their qualities and idiosynchrasies when used. Following the pattern already laid out on all my tube and can labels, and on my more recent colour charts, I give: (1) The Colour Index Number: This is an international system for classifying and identifying pigments solely by their (often very complex) chemical formulae( e.g P(igment) R(ed) 106, Mercuric Sulphide known as Genuine Vermilion). The use of vague traditional or invented colour names is thus clarifi ed, and so, in theory at least, is the vexed matter of what pigments manufacturers actually put into their paints. If a colourman is honest, each constituent pigment in a paint can be specifi ed precisely, and the practice of secretly adulterating or even completely substituting cheaper alternatives is made impossible. Assuming, that is, the colourman is honest…I can certainly state that there are no secret additions to any of the paints in my range. What you read as the C.I number on the label is what you get. (2) Estimated Relative Drying Speed: Bearing in mind that all drying speeds will be affected by temperature, humidity and light levels, these give a broad calibration of comparative speeds, from the Very Fast, such as the Umbers, many of which, if used neat, will be touch dry within a hot summer day, to the Very Slow, which in unmixed state, might take up to a week.
    [Show full text]
  • Air Force Blue (Raf) {\Color{Airforceblueraf}\#5D8aa8
    Air Force Blue (Raf) {\color{airforceblueraf}\#5d8aa8} #5d8aa8 Air Force Blue (Usaf) {\color{airforceblueusaf}\#00308f} #00308f Air Superiority Blue {\color{airsuperiorityblue}\#72a0c1} #72a0c1 Alabama Crimson {\color{alabamacrimson}\#a32638} #a32638 Alice Blue {\color{aliceblue}\#f0f8ff} #f0f8ff Alizarin Crimson {\color{alizarincrimson}\#e32636} #e32636 Alloy Orange {\color{alloyorange}\#c46210} #c46210 Almond {\color{almond}\#efdecd} #efdecd Amaranth {\color{amaranth}\#e52b50} #e52b50 Amber {\color{amber}\#ffbf00} #ffbf00 Amber (Sae/Ece) {\color{ambersaeece}\#ff7e00} #ff7e00 American Rose {\color{americanrose}\#ff033e} #ff033e Amethyst {\color{amethyst}\#9966cc} #9966cc Android Green {\color{androidgreen}\#a4c639} #a4c639 Anti-Flash White {\color{antiflashwhite}\#f2f3f4} #f2f3f4 Antique Brass {\color{antiquebrass}\#cd9575} #cd9575 Antique Fuchsia {\color{antiquefuchsia}\#915c83} #915c83 Antique Ruby {\color{antiqueruby}\#841b2d} #841b2d Antique White {\color{antiquewhite}\#faebd7} #faebd7 Ao (English) {\color{aoenglish}\#008000} #008000 Apple Green {\color{applegreen}\#8db600} #8db600 Apricot {\color{apricot}\#fbceb1} #fbceb1 Aqua {\color{aqua}\#00ffff} #00ffff Aquamarine {\color{aquamarine}\#7fffd4} #7fffd4 Army Green {\color{armygreen}\#4b5320} #4b5320 Arsenic {\color{arsenic}\#3b444b} #3b444b Arylide Yellow {\color{arylideyellow}\#e9d66b} #e9d66b Ash Grey {\color{ashgrey}\#b2beb5} #b2beb5 Asparagus {\color{asparagus}\#87a96b} #87a96b Atomic Tangerine {\color{atomictangerine}\#ff9966} #ff9966 Auburn {\color{auburn}\#a52a2a} #a52a2a Aureolin
    [Show full text]
  • 2Bbb2c8a13987b0491d70b96f7
    An Atlas of Rare & Familiar Colour THE HARVARD ART MUSEUMS’ FORBES PIGMENT COLLECTION Yoko Ono “If people want to make war they should make a colour war, and paint each others’ cities up in the night in pinks and greens.” Foreword p.6 Introduction p.12 Red p.28 Orange p.54 Yellow p.70 Green p.86 Blue p.108 Purple p.132 Brown p.150 Black p.162 White p.178 Metallic p.190 Appendix p.204 8 AN ATLAS OF RARE & FAMILIAR COLOUR FOREWORD 9 You can see Harvard University’s Forbes Pigment Collection from far below. It shimmers like an art display in its own right, facing in towards Foreword the glass central courtyard in Renzo Piano’s wonderful 2014 extension to the Harvard Art Museums. The collection seems, somehow, suspended within the sky. From the public galleries it is tantalising, almost intoxicating, to see the glass-fronted cases full of their bright bottles up there in the administra- tive area of the museum. The shelves are arranged mostly by hue; the blues are graded in ombre effect from deepest midnight to the fading in- digo of favourite jeans, with startling, pleasing juxtapositions of turquoise (flasks of lightest green malachite; summer sky-coloured copper carbon- ate and swimming pool verdigris) next to navy, next to something that was once blue and is now simply, chalk. A few feet along, the bright alizarin crimsons slake to brownish brazil wood upon one side, and blush to madder pink the other. This curious chromatic ordering makes the whole collection look like an installation exploring the very nature of painting.
    [Show full text]
  • Product Catalog Product Catalog Product
    KREMER /// PRODUCT CATALOG www.kremerpigments.com PRODUCT CATALOG Table of Contents Pigments 01 TABLE OF Dyes & Vegetable Color CONTENTS Paints 02 Fillers & Building Materials 03 Mediums, Binders & Glues 04 Solvents, Chemicals & Additives 05 Ready-made Colors & Gilding Materials 3 01 Pigments 06 31 02 Dyes & Vegetable Color Paints Linen, Paper 35 03 Fillers & Building Materials & Foils 41 04 Mediums, Binders & Glues 53 05 Solvents, Chemicals & Additives 07 56 06 Ready-made Colors & Gilding Brushes Materials 66 07 Linen, Paper & Foils 08 69 08 Brushes Tools, Packaging & 74 09 Tools, Packaging & Supplies Supplies 10 82 Books & Color Charts 09 85 11 General Information Books & Color Charts 10 General Information 11 For further information and prices please visit us at www.kremerpigments.com 1 Icon-Legend ICON-LEGEND The following Icons are used in the brochure: Hazardous Item Read the Material Safety Data sheet carefully – you can find all Disclaimer product sheets under www.kremerpigments.com and consult our safe handling procedures – see Chapter 11. Not for home use! To buy this product you have to be over 21 years old. Please send us a copy of your identity card . These products require a Hazardous Item Disclaimer. Please fill out the form on page 116 or at www. kremerpigments. com and submit with your order. Cautionary Products may contain hazardous substances. Label Read the ACMI cautionary label carefully and consult our safe handling procedures – see Chapter 11. For further product-specific information please visit us at www.kremerpigments.com. Approved Products bearing the AP Product Seal of ACMI are certified in a Product program of toxicological evaluation By a medical expert to con- tain no materials in suMcient quantities to be toxic or injurious to humans or cause acute or chronic health problems.
    [Show full text]