Blue-Color Pigment
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Boosting the Activity of Prussian-Blue Analogue As Efficient Electrocatalyst
www.nature.com/scientificreports OPEN Boosting the activity of Prussian- blue analogue as efcient electrocatalyst for water and urea oxidation Yongqiang Feng 1*, Xiao Wang1, Peipei Dong1, Jie Li2, Li Feng1, Jianfeng Huang1*, Liyun Cao1, Liangliang Feng1, Koji Kajiyoshi3 & Chunru Wang 2* The design and fabrication of intricate hollow architectures as cost-efective and dual-function electrocatalyst for water and urea electrolysis is of vital importance to the energy and environment issues. Herein, a facile solvothermal strategy for construction of Prussian-blue analogue (PBA) hollow cages with an open framework was developed. The as-obtained CoFe and NiFe hollow cages (CFHC and NFHC) can be directly utilized as electrocatalysts towards oxygen evolution reaction (OER) and urea oxidation reaction (UOR) with superior catalytic performance (lower electrolysis potential, faster reaction kinetics and long-term durability) compared to their parent solid precursors (CFC and NFC) and even the commercial noble metal-based catalyst. Impressively, to drive a current density of 10 mA cm−2 in alkaline solution, the CFHC catalyst required an overpotential of merely 330 mV, 21.99% lower than that of the solid CFC precursor (423 mV) at the same condition. Meanwhile, the NFHC catalyst could deliver a current density as high as 100 mA cm−2 for the urea oxidation electrolysis at a potential of only 1.40 V, 24.32% lower than that of the solid NFC precursor (1.85 V). This work provides a new platform to construct intricate hollow structures as promising nano-materials for the application in energy conversion and storage. Hydrogen energy has been considered as one of the most promising alternatives to traditional fossil fuels such as coal and oil which have inevitably involved in the tough environmental and unsustainable energetic issues1,2. -
Yinmn Blue Revolutionary Blue for Industrial and Artist Color Materials
YInMn Blue Revolutionary Blue for Industrial and Artist Color Materials In September 2017, The Shepherd Color Company The high temperature calcination production process makes announced the groundbreaking "YInMn Blue" technology for the Blue 10G513 highly inert. While it is highly IR refl ective, commercial sale for use in industrial coatings and plastics. it is extremely opaque in the visible and UV parts of the As of May 2020, YInMn has U.S. EPA TSCA approval. This solar spectrum. The inertness means that it can be used in means that YInMn blue is now fully approved for use in a wide range of coatings and plastics and have excellent industrial applications, including artist color materials. weathering properties. Commercially known as Blue 10G513, this pigment Blue 10G513 is ideal for: represents one example of Shepherd Color’s dedication • High-performance IR-refl ective building products to providing new and impactful pigment chemistries to the - Pre-painted metal coatings, plastics and other materials markets. YInMn Blue - Roofi ng granules 10G513 follows our one-of-a-kind NTP Yellow and RTZ - Polymeric roofi ng Orange, which together push the edge of the durable color - Roofi ng tiles envelope. • Anti-counterfeiting features • Glass enamels The new Blue is revolutionary because it is a new pigment - Spandrel and decorative chemistry that expands the range of colors available that • Artist color materials stay cooler when exposed to the sun, allowing building material manufacturers to meet regulatory requirements and building owners to potentially save energy. ABOUT THE SHEPHERD COLOR COMPANY Founded in 1981, The Shepherd Color Company produces a wide range of high-performance Complex Inorganic Color Pigments (CICPs) used in a variety of industries. -
Watercolor Basics with Susan Donohoe
Watercolor Basics with Susan Donohoe BASICS SUPPLY LIST FOR - TECHNIQUES - Day 1 The lists are long, beginners should bring what they have. They SHOULD NOT go out and buy supplies just to have them. I will bring supplies that they can use to fill in the blanks. Better for them to learn in the workshop what is best for them to buy instead of wasting their money. Personal Needs for each day: Please bring any of these items that you will require. A cushion for your chair, the day can get long for your backside. Your lunch each day. There is a microwave and a small refrigerator for your use. Keep it simple. Hydration-bring plenty of liquid to stay hydrated. A sweater or work shirt to stay comfortable as the room temperature may fluctuate throughout the day. Brushes: Preferred brands: Escoda, Holbein, Cheap Joe’s, Loew-Cornell, Da Vinci, Halcyon One of each if you have them: Round: #6, #10, #14, #18+ (the biggest round brush you own - no need to buy one.) Flat: 1/2”, 1”, 2”, Hake (if you have one) Scrubber brushes: assorted sizes. (These brushes can be purchased at Michael’s or JoAnn’s. They are stiff brushes similar to oil painting brushes. They are sometimes called fabric brushes.) Paper: Arches #140 - Cold Press - 1 full sheet. If you know how and wish to do so prior to class, you can tear the full sheet into 4 equal 1/4 sheet pieces. Paint: Artist Grade Paint only!!!! Preferred Brands: Holbein, Daniel Smith, Mission, Aquarelle Sennelier, M. -
45110 Ultramarine Violet, Reddish
45110 Ultramarine Violet, reddish Product name: Ultramarine Violet, reddish Chemical name: Sodium-aluminium-sulfo-silicate Color index: C.I. Pigment violet 15 : 77007 C.A.S. No.: 12769-96-9 EINECS No.: 2-358-110 Specification: Color shade DE CIEL (max): 1.00 lightening 1:5,4 with TiO2 in impact-resistant polystyrene Coloring strength (compared to standard): ± 5 % Oversize (45 µm): max. 0.05 % Volatile moiety (105°C): max. 1.30 % Free sulfur: max. 0.05 % Water soluble parts: max. 1.00 % Typical Data: Color grade: 49 Density: 2.35 Bunk density (g/cm 3) 0.63 Oil adsorption: 34.5 Middle particle size (µm): 1.85 Fastness/Resistance Temperature resistance: > 260°C Light fastness (full color): excellent (7 - 8) Light fastness (lightening): excellent (7 - 8) Alkali resistance: excellent Acid resistance: weak Safety Information Acute oral toxicity (LD50, rat): > 10 g/kg Skin irritation: not irritant and not sensitizing Eye irritation: not irritant Exposition limit: 6 mg/m 3 (MAK Value) Ecology: not hazardous Regulations Ultramarine violet is a non toxic pigment. It is universally authorized as coloring agent for objects being in contact with food and for the manufacture of toys. Storage, Stability and Handling Transportation and storage: Do not store near acid substances. Non-compatible substances: Acids. Decomposition products: Hydrogen sulfide is released after contact with acids. Special protective measures: None, however, avoid contact with excessive dust. Special measures in case of release: Clean-up immediately. Avoid spilling of large amounts of dust. Dispose of spilled material in accordance with local and national regulations. Page 1 of 1 Kremer Pigmente GmbH & Co. -
Tucson Art Academy Online Skip Whitcomb
TUCSON ART ACADEMY ONLINE SKIP WHITCOMB PAINTS WHITE Any good to professional quality Titanium or Titanium/Zinc White in large tubes(150-200ML) size. Jack Richeson Co., Gamblin, Vasari, Utrecht, Winsor & Newton are all good brands, as are several other European manufacturers. I strongly recommend staying away from student grade paints, they do not mix or handle the same as higher/professional grade paints. YELLOWS Cadmium Yellow Lemon Cadmium Yellow Lt. (warm) Cad. Yellow Medium or Deep Indian Yellow ORANGES Cadmium Yellow Orange (optional) Cadmium Orange REDS Cadmium Red Light/ Pale/ Scarlet (warm) Cadmium Red Deep Permanent Alizarin Crimson Permanent Rose (Quinacridone) BLUES Ultramarine Blue Deep or Dark Cobalt Blue Prussian Blue or Phthalo Blue GREENS Viridian Viridian Hue (Phthalo Green) Chrome Oxide Green Olive Green Sap Green Yellow Green VIOLETS Mauve Blue Shade (Winsor&Newton) Dioxazine Violet or Purple EARTH COLORS Yellow Ochre Raw Sienna Raw Umber Burnt Sienna Terra Rosa Indian Red Venetian Red Burnt Umber Van Dyke Brown BLACKS Ivory Black Mars Black Chromatic Black Blue Black MARS COLORS Mars Yellow Mars Orange Mars Red Mars Violet IMPORTANT TO NOTE!! Please don’t be intimidated by this list! You will not be required to have all these colors on hand for our class. This is intended to be a recommendation for the studio. Specific colors on this list will come in handy for mixing in certain color plans. I will be happy to make suggestions along the way A good working palette for the studio would be: Cad. Yellow Lemon, Cad. Yellow Pale(warm), and/or Cad. -
Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once. -
Notes on Colours and Pigments in the Ancient World
Journal of the International Colour Association (2012): 8, 61-67 Omarini Notes on colours and pigments in the ancient world Sergio Omarini National Institute of Optics – C.N.R. Florence, Italy Email: [email protected] There have been plenty of writings about ancient pigments, how to obtain them, what they contain, their physical and chemical properties, and how to identify them and, as they say, buckets of ink have been consumed in the process. What I feel needs emphasising here are some particular aspects that have been frequently overlooked. This paper is nothing other than a number of annotations about colours and pigments in the ancient world. The figurative expression of meaning is the first considered aspect. Blue ultramarine and purple are the two demonstrative considered examples where the “material meaning” is substituted by the “colour meaning”. The second considered aspect is the formulae uncertainty. This concerns the artificial pigments as the Ceruse or the Naples Yellow where the comprehension of the recipes is fundamental to understand the ancient composition. Prices, fashion and styles in the Roman world is the last considered aspect. This has strongly conditioned the diffusion of the pigments and, of course, of the colours. Published online: 29 June 2012 The figurative expression of meaning Ultramarine is an intense blue colour with some hints of violet; anyone going to a shop selling painting materials has no difficulty finding ultramarine, whether they are looking for chalk, pencils, paint in a tube or whatever. To tell the truth, the colour is not really codified and, for example, in the case of oil paint tubes, there are some differences between the various manufacturers. -
Origin of the Exotic Blue Color of Copper-Containing Historical
Article pubs.acs.org/IC Origin of the Exotic Blue Color of Copper-Containing Historical Pigments Pablo García-Fernandez,́ * Miguel Moreno, and JoséAntonio Aramburu Departamento de Ciencias de la Tierra y Física de la Materia Condensada, Universidad de Cantabria, Avenida de los Castros s/n, 39005 Santander, Spain *S Supporting Information ABSTRACT: The study of chemical factors that influence pigment coloring is a field of fundamental interest that is still dominated by many uncertainties. In this Article, we investigate, by means of ab initio calculations, the origin of the unusual bright blue color displayed by historical Egyptian Blue (CaCuSi4O10) and Han Blue (BaCuSi4O10) pigments that is surprisingly not found in other 6− compounds like BaCuSi2O6 or CaCuO2 containing the same CuO4 chromophore. We show that the differences in hue between these systems are controlled by a large red-shift (up to 7100 cm−1) fi 6− produced by an electrostatic eld created by a lattice over the CuO4 chromophore from the energy of the 3z2-r2 → x2-y2 transition, a nonlocal phenomenon widely ignored in the realm of transition metal chemistry and strongly dependent upon the crystal structure. Along 4− this line, we demonstrate that, although SiO4 units are not involved in the chromophore itself, the introduction of sand to create CaCuSi4O10 plays a key role in obtaining the characteristic hue of the Egyptian Blue pigment. The results presented here demonstrate the opportunity for tuning the properties of a given chromophore by modifying the structure of the insulating lattice where it is located. ■ INTRODUCTION even then they remained rare. -
Ultramarine Blue
SAFETY DATA SHEET According to OSHA 29 CFR 1910.1200 – GHS Revision date: September 7, 2015 Supersedes: November 13, 2014 ULTRAMARINE BLUE 1. PRODUCT AND COMPANY IDENTIFICATION Product name: Ultramarine Blue, Nubix, Nubiperf, Nubiflow, Nubicoat HRD, Nubicoat HTS, Nubicoat HWR Victoria Ultramarine Blue Use: Coloring agents, Pigments Company identification: NUBIOLA USA 6369 Peachtree Street Norcross, GA 30071, USA Tel +1 (770) 277-8819 [email protected] Emergency telephone number: 800-424-9300 (CHEMTREC, 24 hours) International call: 703-527-3887 (collect calls accepted) 2. HAZARDS IDENTIFICATION Classification of the chemical in accordance with Standard 29 CFR 1910.1200 (US-GHS) Not classified. Label elements (Hazard Communication Standard 29 CFR 1910.1200 (US-GHS) No labelling applicable. 3. COMPOSITION / INFORMATION ON INGREDIENTS Chemical name CAS No Concentration (%) RTECS No Ultramarine Blue 57455-37-5 100 --- (Pigment Blue 29, CI 77007) Substance / Mixture: Substance Synonyms: Blue sodium polysulfide aluminosilicate sodalite-type 4. FIRST-AID MEASURES Description of first-aid measures In case of inhalation: If breathing is difficult, remove to fresh air and keep at rest in a position comfortable for breathing. If you feel unwell, seek medical attention. In case of skin contact: Rinse skin with water. If skin irritation occurs, get medical advice. In case of eye contact: Immediately flush eyes with plenty of water for at least 15 minutes. Remove contact lenses, if present and easy to do. Continue rising. If eye irritation occurs, get medical advice. In case of ingestion: Rinse mouth. Do not induce vomiting unless directed to do so by a physician. If you feel unwell, seek medical attention. -
A New Evaluation of the Colors of the Sky for Artists and Designers
Sky Blue, But What Blue? A New Evaluation of the Colors of the Sky for Artists and Designers Ken Smith* Faculty of Art and Design, Monash University, Melbourne, Victoria, Australia Received 28 April 2006; accepted 21 June 2006 Abstract: This study describes a process of relating the solid that is capable of representing most of the colors of perceptual analysis of the colors of the terrestrial atmos- the sky using four of these pigments is proposed. phere to currently available pigments used in artists’ painting systems. This process sought to discover how the colors of the sky could be defined and simulated by these AN EMPIRICAL METHOD FOR ANALYZING pigments. The author also describes how confusion over SKY COLOR the bewildering choice of suitable pigments on offer in the market place can be clarified. Ó 2006 Wiley Periodicals, Science can explain why the earth’s atmosphere appears Inc. Col Res Appl, 32, 249 – 255, 2007; Published online in Wiley Inter- blue, the preferential scattering by air molecules of short 2 Science (www.interscience.wiley.com). DOI 10.1002/col.20291 wavelength light photons emitted from the sun. For artists the consequential questions are often more likely to Key words: art; design; sky color; perceived color; envi- be not why, but rather what; what are the blue colors that ronment; pigments; painting systems are perceived in the sky? These were the fundamental questions that lead to a reappraisal of how the colors of the sky can be represented by the pigments used in con- INTRODUCTION temporary painting systems. Before attempting to answer this question, a number of parameters had to be created. -
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. -
The Color and Electronic Configurations of Prussian Blue
Created by Erica Gunn at Simmons College ([email protected]) and posted on VIPEr (www.ionicviper.org ) on 1/5/15. Copyright Erica Gunn 2015. This work is licensed under the Creative Commons Attribution Non-commercial Share Alike License. To view a copy of this license visit http://creativecommons.org/about/license/ . The Color and Electronic Configurations of Prussian Blue Read the paper cited below and answer the discussion questions before class on _______ . Robin, M.L. The Color and Electronic Configurations of Prussian Blue. Inorganic Chemistry, 1, 1962, pp 337-342. DOI: 10.1021/ic50002a028 Discussion Questions: II III III 1. The authors mention that Prussian Blue, [K,Fe ,Fe ](CN) 6, can be synthesized from either Fe (ClO 4)3 II II III and K 4Fe (CN) 6 or from Fe (ClO 4)2 and K 3Fe (CN) 6. They also report the results of base hydrolysis of Prussian Blue. What do these two experiments tell us about the structure of the pigment, and why is this significant? 2. Draw the crystal field splitting diagram for high and low spin versions of Fe II and Fe III ions that have an octahedral coordination geometry. The paper states that there are two types of iron ion in the crystal structure of Prussian Blue. What is the difference between them? Which do you expect to have the larger ∆oct , based on what you know about the spectrochemical series? 3. How do the authors use the distinction between allowed and forbidden transitions to confirm the identity of Prussian Blue as ferric ferrocyanide? 4.