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| Photography of Lascaux animal painting*. Paintings of bulls, deer and horses were painted using basic earth pigments about 17,000 years ago in southwestern France. |
People have described pigments as powdered rock or dirt. In some cases
this is true. Many of the first pigments that men (in some cases, cavemen) used
were comprised of clays or ground up rocks. These pigments have been used for
painting for tens of thousands of years. These earth colors include Siennas,
Umbers and Ochres.
this is true. Many of the first pigments that men (in some cases, cavemen) used
were comprised of clays or ground up rocks. These pigments have been used for
painting for tens of thousands of years. These earth colors include Siennas,
Umbers and Ochres.
In large part, the coloration of the pigment is determined by the type
of iron oxide (in other words, rust) that it contains. The color of these
pigments can be altered by roasting the raw pigment with an absence of oxygen. This
process, known as calcination, alters the molecular structure and appearance of
the pigment.
of iron oxide (in other words, rust) that it contains. The color of these
pigments can be altered by roasting the raw pigment with an absence of oxygen. This
process, known as calcination, alters the molecular structure and appearance of
the pigment.
The wide range of these oxides provides an array of colors from yellows,
reds, browns and blacks. Originally, these colors were dug straight out
of the earth. Today, most of these earth colors are synthetic. Whether the
pigment is synthetic or natural, the earth colors are very durable, relatively opaque
and chemically resistant. Many of the old masters of the Renaissance used these
earth tones for their paintings because of the warm and natural tones they
produced, in addition to being readily available and inexpensive.
reds, browns and blacks. Originally, these colors were dug straight out
of the earth. Today, most of these earth colors are synthetic. Whether the
pigment is synthetic or natural, the earth colors are very durable, relatively opaque
and chemically resistant. Many of the old masters of the Renaissance used these
earth tones for their paintings because of the warm and natural tones they
produced, in addition to being readily available and inexpensive.
Semiprecious stones were also ground up to make pigment powders. Perhaps
the most prized stone was lapis lazuli, which was comprised of the ultramarine
lazurite and various impurities. This stone was only mined in a remote part of
northeastern Afghanistan. Traders transported the lapis lazuli for more than
3000 miles where it was sold to the merchants in Venice, where it was more
valued more highly than gold.
the most prized stone was lapis lazuli, which was comprised of the ultramarine
lazurite and various impurities. This stone was only mined in a remote part of
northeastern Afghanistan. Traders transported the lapis lazuli for more than
3000 miles where it was sold to the merchants in Venice, where it was more
valued more highly than gold.
Because lapis lazuli was so rare and so difficult to process in removing
impurities, the price was prohibitive. For this reason, some Renaissance
artists used less costly blue pigments, such as azurite or smalt (blue ground
glass). Another way to reduce the cost of painting an object with the
ultramarine lazurite (the blue component of lapis lazuli) pigment was to first paint it with a less expensive
blue and then overpaint it with an ultramarine blue glaze.
impurities, the price was prohibitive. For this reason, some Renaissance
artists used less costly blue pigments, such as azurite or smalt (blue ground
glass). Another way to reduce the cost of painting an object with the
ultramarine lazurite (the blue component of lapis lazuli) pigment was to first paint it with a less expensive
blue and then overpaint it with an ultramarine blue glaze.
Other pigments were byproducts of ceramics, glass making and smelting.
These pigments resulted from chemicals being fired at extremely high
temperatures. Many of these compounds contain heavy metals and high toxic
substances.
These pigments resulted from chemicals being fired at extremely high
temperatures. Many of these compounds contain heavy metals and high toxic
substances.
While we may associate synthetic pigments with the colorants, which
German and French chemists develop in the last 300 years, the first synthetic
colors were created more than 5000 years ago by the Egyptians. The most notable
of these synthetic colors was Egyptian Blue.
German and French chemists develop in the last 300 years, the first synthetic
colors were created more than 5000 years ago by the Egyptians. The most notable
of these synthetic colors was Egyptian Blue.
Synthetic colorants were also created through the trial and error
experimentation of alchemists in the Medieval and Renaissance periods. The
first modern synthetic pigment was developed in 1704 by a German chemist. This
scientist was attempting to manufacture a red pigment. By accident, he created
what became to be known as Prussian Blue.
experimentation of alchemists in the Medieval and Renaissance periods. The
first modern synthetic pigment was developed in 1704 by a German chemist. This
scientist was attempting to manufacture a red pigment. By accident, he created
what became to be known as Prussian Blue.
Experimentation in creating synthetic pigments accelerated, when the
French government offer prize money to the first person to develop a synthetic
Ultramarine Blue pigment, which would be a cost-effective alternative to lapis
lazuli.
French government offer prize money to the first person to develop a synthetic
Ultramarine Blue pigment, which would be a cost-effective alternative to lapis
lazuli.
Today sign makers and artists have many more colors from which to choose
because of the advances attained from the Industrial Revolution through the achievements
of modern chemistry in the 20th century. Everything a painter needs
is prepackaged in a tube or a can. Much of what is lost among artists and
artisans is the knowledge and craft of making paint.
because of the advances attained from the Industrial Revolution through the achievements
of modern chemistry in the 20th century. Everything a painter needs
is prepackaged in a tube or a can. Much of what is lost among artists and
artisans is the knowledge and craft of making paint.
* Photography of Lascaux animal painting by Prof saxx. The author permits further using of the picture for private, public or commercial purposes.
About Jim Hingst: After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.
Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer. Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.
Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 150 articles for publications, such as Signs Canada, SignCraft, Signs of the Times, Screen Printing, Sign and Digital Graphics and Sign Builder Illustrated. He also posted more than 450 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published. Vinyl Sign Techniques is available at sign supply distributors and at Amazon.
© 2017 Jim Hingst
