Search results for 'black pigments'

Pearl Lustre Pigments 7g. Colour swatch on the left indicates colour on a White Background and Colour on a Black Background on the right. Learn More

Pearl Lustre Pigments 1 kg. Colour swatch on the left indicates colour on a White Background and Colour on a Black Background on the right. Learn More

PBk9

Genuine Ivory Black is produced by burning reclaimed ivory, such as piano keys, and offers a higher carbon content and greater tinting strength than modern-day equivalents, which are usually derived from animal bones. It is a particularly slow-drying pigment.

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Spinel Black, sometimes known as Manganese Ferrite Black, is a synthetic mixed-metal oxide pigment. It provides a deep, cool, transparent black, which dries quickly in oil.

Toxicity: C

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PBk7

Carbon Black is an inorganic synthetic pigment, created by burning natural gases to form an almost pure carbon. It is semi-transparent, and in oil dries very slowly to a soft, brittle paint film. It requires a wetting agent, and can show in streaks, even when mixed with other colours. 

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Ivory Black is a natural pigment of impure carbon, derived from charred animal bones. It is semi-transparent, very lightfast, and offers good tinting strength. It is a particularly slow-drying pigment, which forms a soft, rather brittle paint film in oil.

Compared to other blacks, such as Vine Black, Ivory Black possesses warmer, brownish undertones. It should not be used at full-strength in an underpainting, as subsequent layers are likely to crack. Otherwise, it is a very useful all-purpose black for many types of paint, excluding mortar, fresco or cement.

Toxicity: B

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PBk 6

Lamp Black is an inorganic, synthetic, pure carbon pigment. Originally made from soot collected from oil lamps and fireplaces, its modern equivalent is derived from partly combusted mineral and vegetable oil. It is a cool, transparent, bluish black, with a good tinting strength, and stable in all media. It requires a wetting agent, and in oil it has a very high absorption drying very slowly.

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PBk8

Vine Black is derived from charred vines, forming an organic pigment of pure carbon. It has been in use since antiquity, providing a cold black with bluish undertones, which creates a blue-grey when mixed with white. It is a very lightfast, slow-drying colour with a medium tinting strength. It requires a wetting agent to disperse properly, and is not suitable for use in fresco, mortar or cement, as the water-soluble impurities within the pigment can create efflorescence. 

Toxicity: A

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PBk11

Mars Black is an artificial mineral pigment composed of hydrated ferric oxides. Like other Mars colours, it provides a very opaque, permanent colour, which is stable in all media. It has an average drying time in oil, forming a hard, fairly flexible film, making it more suitable for impasto application than carbon-based black pigments, which tend to be brittle. It also wets more easily than other black pigments, and possesses a warm, brownish undertone.

Toxicity: B

Limeproof

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Liquid Watercolour (series 27). 18 shades of highly concentrated organic pigment in a light acrylic base. Low dosage of the binder allows dried colour to be dissolved up to 24 hours after application. Colours retain their strength when diluted with water, Drying Retarder or Gloss Intensifier mediums. Undiluted applications may bronze when dry. Learn More

33 colours for restoration. Pigments, mastic resin and turpentine. Learn More

PW1

Flake White Pigment, sometimes referred to as Lead White or Cremnitz White, is an artificial mineral pigment, lead carbonate. It is no longer available as a paint, due to its extreme toxicity. For this reason, great care must be taken when handling the dry pigment.

It is not usuable in water-based media, but works well in oils. It creates a flexible paint film that dries quickly. Although opaque, small quantities do not dominate mixtures, and can help slow-drying pigments to dry. For this reason, it has been a popular mixing white historically; in fact, until the mid-19th century, Flake White was the only white pigment available to artists. Although varnishing is generally considered optional for oil paintings, it is recommended for works containing Flake White, as contact with sulphur in the atmosphere can cause it to blacken. It creates a warm white, which can yellow over time when mixed with linseed oil.

Toxicity: D

Permitted uses: Restoration of art works and protected buildings when alternatives unsuitable.

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