Heucosin Pigment

The paint & pigment database color charts:

The color tables are sorted by the Color Index generic name (sometimes referred to as 'Colour Index International Generic Name' or 'CI pigment name'), making it easy to look up the C.I. pigment name that is usually printed on the labels of most professional grade paints, pigments or other media. The Color Index is an internationally recognized standard of pigment classification.

The Color Index generic name uses the pigments basic usage designation and hue plus the a unique pigment serial number (i.e. Pigment Red 102). These generic names are often abbreviated to the colors usage and hue initials, followed by the serial number. For example; NR 8 for Natural Red 8 also commonly known the naturally derived Alizarin Crimson. Another example would be; PB 29 for Pigment Blue 29, or also called Ultramarine Blue. See the Colour Index International web site for more thorough explanation and reference 'The Color Index Classification System and Terminology' document.

To open a pigment color page simply use the navigation menu above and click on the color of interest. The Pigment Database was designed to help creative artists, craftsmen or craftswomen that are looking for information on the pigments used in their creations. This site is for information only, I do not sell pigments. When possible, I have added links to to find additional info or to an artist supply company, where the pigment or paint can be purchased at a discount. If you would like to obtain specific paints or pigments click on the art material manufactures and media code next to the pigment name (click here for the key), in most cases, it will take you off site to an pigment supplier or art supplier's site who stocks the specific paint or pigment by that paint manufacturer.

Pigments that are included in the database:

Only single pigment artist paints or pigments will be listed in pigment charts, except in a few cases were a co-precipitated pigment or an intimate pigment mixture were given a distinct color index generic name or number. One example of a pigment mixture with a C.I. index name is Pigment Green 15, abbreviated PG15. Pigment Green 15, known by the common name of 'Chrome Green', is a mixture of the two pigments Chrome Yellow and Prussian Blue. In the past some common historical mixtures were given CI Generic Names, but that is not usually done anymore. Reference 'The Colour Index Classification System and Terminology'.

I have also included in the database some historical pigments, natural pigments and minerals of varying composition that are not listed in the Color Index but have been traditionally or currently used as pigments. These types of pigments may be of interest to creative artists in DIY homemade paints and fine art works.

The Column Headers:

The first column is CI Generic Name Abbreviation: this is explained above.

The Second Column is the CI or Historical common name: The pigments common name is usually the same common name that is described in the official Color Index. If that name is not available, It may be the commonly excepted historical name, chemical name, or the name given it by the first manufacturer or inventor.

The historic, common usage and manufacturing name column: There are many different and confusing names given to pigments and the paints made from them. This multitude of different names can be due to many factors. The pigment names in this column are not intended to be an indorsement of acceptable use, but only to list the names that a pigment has been called by at one time or another. This is often due to marketing decisions, regional and international language differences and historical variations in common usage. All these different names for the same pigment or paints made from them can be confusing, especially when different pigments may be marketed under the same name by different companies. This confusion is precisely why the Color Index was developed, and is one of the reasons it is wise to check the label for the Color Index Names to find the actual pigment being used.

Manufacturing techniques and chemical composition variations are typical reasons for alternate names, and in addition, different manufacturing processes can yield widely different hue variations. The pigments hue or shade is often used to name paints instead of the pigment used. Often pigment and paint makers and suppliers name their products entirely due to marketing and branding considerations. For example; different manufactures have substituted the terms 'Primary Blue', 'Lapis Lazuli', 'Permanent Blue', and even 'Cobalt Blue Hue' for the pigment most often known as 'Ultramarine Blue' or Pigment Blue 29. Historically 'Lapis Lazuli' is correctly used only for the natural pigment derived from the semi-precious stone of the same name, but I have seen some manufacturers who have labeled the much cheaper synthetic PB29 as 'Lapis Lazuli'. You can more info on marketing and other paint nomenclature at the handprint.com site here.

Pigments are also often named by the country or place of origin, where the pigments was first found or synthesized. As an example PR102 or 'Pigment Red 102' is a natural iron oxide red that comes from mines all over the world and each one has a slightly different shade of red that can go from a bright orange shade to a deep purple. These types of natural pigments are often named for the location of origin such as 'Sienna', 'French Ochre' and 'Italian Pompeii Red' or for there color such as 'Red Ochre'. Different global regions may have developed different historic common usage names too, for instance 'Terra Rosa' is simply Italian for 'red soil' or 'Earth Red'.

The codes next to a particular name indicate the manufacturer(s) or supplier(s) that have used that name for the that pigment, or a paint made from it. Refer to the key for a full explanation of these abbreviations. Only manufacturers that adhere to ASTM standards will be included. I have tried to include most of the better known retail brands of pigment suppliers and paint makers, but adding all the pigment manufacturers in the world would be an almost impossible task and of little use for the artist. Some well known, and apparently highly rated, artist grade paint makers do not conform to accepted ATSM standards and do not list the actual pigments on the paint label or any of their available color charts. These manufactures will not be included in this database because there is no way to know what pigment is used, and to be frank, if they refuse to put the pigment name on the label, they are, more likely than not, mixing 2 or more different pigments and/or substituting other cheaper pigments for what the marketing name may imply.

The CI chemical constitution numbers and the chemical names, and pigment composition: These have specific meaning indicating chemical composition. A basic explanation of what these numbers mean can be found on The Colour Index International Constitution Numbers page.

The color description column: gives a general idea of the pigments color, but note that pigment color can vary widely. Pigment manufacturers accomplish this by varying the exact manufacture method or chemical proportions used when synthesizing the pigments in order to get many useful shades and hues. Mineral and natural pigments also have many variations. The binder or medium used in making the paint can alter the shade or hue color ether subtly or significantly. In Addition, the particle size can also play a big role in the exact hue produced. As the primary purpose of this database is to focus on generalized pigment properties, rather than individual final paint formulations or pigment products, you should consult the manufacturers or retailers literature for hue information on the specific product your interested in.

The basic opacity & transparency info: is rated 1 through 4, with 1 as being opaque and 4 meaning transparent . The information included in the pigment database is a general guide as to the transparent, translucent or opaque nature of the raw pigment and most paints made from it, however it is important to note that the paint or pigment manufacturing method, particle size, even how how long it was mulled or ground can effect it's transparency. Additives such as Aluminum Hydrate, chalk, and paint binders or mediums, can all play a big role in the transparency of a particular pigment after it has been made into a paint, ink or pastel.

The light fastness ratings:

The light fastness ratings can only be a general guide, the only reliable way to confirm lightfastness in your paints and your preferred medium is to make your own tests on the paint brand or pigment you have. I have used the ASTM rating when possible, but The ASTM has not rated all pigments, and stopped rating pigments entirely sometime in the late 90's early 2000's. The ASTM stopped rating pigments because it is not possible to test every pigment & shade of pigment in every binder and have the results mean anything in the real world. The ASTM now advises that the manufacturer of a brand make their own tests according to the ASTM D4303-10 guidelines and submit them to the ASTM for approval. However I don't know of any company that has done this. The ASTM lightfastness ratings were never a perfect way to determine light fastness of a pigment that has been used in a unique paint brand formulation.

For the reasons above, the rating in this database, will not always be the official ASTM rating but a rating culled & averaged from other sources such as individual paint brand ratings, my own personal tests, tests results in other sources such as books, artist forums and websites like Handprint.com and/or pigment manufactures literature and blue wool scales. The ASTM ratings have a 5 increment scale and the blue-wool scale is 8, in this database I will use the same scale as the ASTM for light fastness ratings, even though they may not be ASTM ratings. Very often, pigments in tints are less light fast than in full masstone and this should be taken into account when determining if a pigment or paint will meet your needs. ASTM ratings only have a rating for full shade or masstone. I can not cover every possible paint, binder, or pigment formulation in this chart as it would take too much time and space. Many factors can influence the light fastness of any particular paint formulation, for instance, the quality of the actual pigment manufacture and amount & type of impurities has much influence on a pigments fastness to light. Particle size, extenders, binder, and additives play a role in light fastness too. Most artist paint brands and the ASTM do not test for the effects of heat, moisture, pollution or other environmental factors. Whether a paint is watercolor, oil color, tempera, etc. has an effect on light fastness. Varnishes and other treatments to the painting surface or support can have an influence too. As a general rule (but not always the case) oil, alkyd and acrylic binders add some degree of protection and will be slightly more light fast than watercolors.Reference the following: (ASTM D4303 - 10, Standard Test Methods for Lightfastness of Colorants Used in Artists' Materials, or ASTM D01.57, the Subcommittee on Artists' Materials doc here, opens new window);

Blue Wool Scales will be added when found, but be aware that most of these will be tests performed by the pigment manufacturer on a single formulation that could be results from melamine (Plastic), alkyd, oil, water or acrylic emulsions and may not be indicative of it's use in all / or any particular artist paint brand or binder.

ASTM scale or equivalents (see the table below for conversion to & from the Blue Wool Scale):

I = Excellent, should last over 100 years in Museum conditions
II = Very Good, should show no signs of change for 50–100 years in Museum conditions
III = Fair, should show no signs of change for 15–50 years in Museum conditions
IV = Poor, should last 2–15 years in Museum conditions
V = Fugitive or very poor, will show changes in 2 years or less in Museum conditions

BWS = Blue wool scale

7-8 = ASTM I, Excellent
6 = ASTM II, Very Good
4-5 = ASTM III, Fair
2-3 ASTM IV, Poor (Impermanent)
1 = ASTM V, Very Poor (fugitive)*

*When known, blue wool scale ratings will be given for tints in the following format: Full;1/2 tint/;1/4 tint (i.e. Cadmium Red would be 8;8;8 with excellent light fastness in all tints). Note: these may from tests on a single formulation or pigment brand, and may not be valid for other brands or binders.

The fastness to light is extremely valuable for artists wishing to make permanent works, but remember that many factors contribute to the final light fastness of any particular formulation. Manufacturing processes, chemical purity and the art medium or binder used will all have an effect the light fastness of each particular paint product to some degree. In an example: the light fastness of 'Prussian Blue' seems to be directly related to its chemical purity (see PB27), and there are many other fugitive or poor performing pigments that are suspected of being greatly effected by purity and manufacturing methods. In addition, it is worthy to note that some pigments generally said to have poor light fastness have been found hundreds of years later seemly bright as the day they were created. It is always advisable to make your own tests on the specific paint formulation you have.

Oil absorption: is given as grams of oil per 100 grams of pigment, or as sometimes as simply High, Medium and low, if I can't find exact ratios. The oil absorption will be most useful to oil painters in determining the drying time and is also useful reference those experimenting in making their own oil paints. The particle size of a specific pigment can alter the oil absorption. The finer a pigment particle is, it will usually absorb more oil because of the additional surface area of the individual pigment particles that the oil needs to coat.

The info on toxicity, links to MSDS sheets, health and safety: This is rated for A for non-toxic, to D indicating toxic or poisonous. This info is included as a resource for artists to help determine for themselves, the environmental, safety or health impact of art materials. All art materials should be handled with care and could kill you if handled carelessly. All dry powdered pigments should be handled with extreme care, even those known as non-toxic. If carelessly handled, the fine particles of dry pigments could be inhaled, or spread to other areas. Always work with paints and especially dry pigments in an separate area of your studio away from food, children, or pets.

The notes column: is a place for useful references, notations of discrepancies found in product information, compatibility or incompatibility issues, old wives tales and any other interesting pigment info I have found that is not covered under one of the other columns. These are not necessarily proven facts, but only items that need further research or have been said about a pigment. I have added links to references when known as (Ref).

Check the full Pigment Key found here for more detailed information on the database's pigment property data, column headings and other information

Additional Notes:

The marketing names of artist's pigments including oil paints, watercolors and acrylics, often have little or no relationship to the pigment chemicals they are actually made from. Art material suppliers and pigment manufacturers may name their paints anything they choose and often will name the pigments and paints with misleading color names, or names that are descriptive of the 'hue' color and not the actual pigment used. Fortunately most companies conform to the ASTM standards and print the actual pigment C. I. names (color index pigment names) on the dry pigment, oil paint or watercolor tube/pan/container/etc. The Color Index Generic Names and Color Index Constitution Numbers are voluntary standards of ASTM (American Society for Testing and Materials), CII (Colour Index International), AATCC (American Association of Textile Chemists and Colorists), and the SDC (Society of Dyers and Colourists). For more information on the ASTM standards and Color Index International Pigment Names you should check out their websites, in which i have linked to above.

I only buy artist's pigments and paints that conform to the ASTM specification D 4302-05 and include the CI pigment names and generic pigment names on the label. Without the pigment names or C. I. numbers, as stated above, you have no way of knowing what's in the paint and if you are actually getting what you pay for. If your are paying $50.00 or more for a 37 ml tube of labeled 'Cerulean Blue', it should be PB35, not actually filled or adulterated with the cheaper PB36 (Cobalt Chromite) or worse yet; Phthalo Blue mixed with Titanium White. If the paint label doesn't point out that it is a hue, or substitute, you could be getting ripped off.

The only way to make sure artist paint manufacturers conform and include proper pigment labeling is to demand to know what pigments they are using in the paints you buy and refuse to buy from the paint makers and colormen that don't conform to ASTM specification D 4302-05 and do not include pigment info on the label. The argument that they will be giving away a trade secret, is not legitimate in my view, at least not if the paint is truly made of a single pigment. How can it be giving away a trade secret by printing the pigment on the label? If a paint marketed as 'Cerulean Blue' is really made with Cerulean Blue or 'PB35' what is there to hide? When an art material manufacturer does not conform to the ASTM D 4302 or confirm the actual pigment used, it indicates, to me at least, that it is almost certainly a mixture or substitute.

Not to say all mixed pigments are bad, and mixtures are can be found in most professional artist paints and art student grade products. Pigment mixes are convenient if you often use a certain color. When a paint is created with a mix of pigments at the manufacturing level, the mixture has been thoroughly ground together to a much greater degree than possible in the artist's studio and the resulting paint is often much brighter, purer in hue and intense than could be made by mixing on the palette in one's studio. Manufacturers will commonly use pigment mixtures to fill in the gaps in the color wheel of their product line because sometimes there is simply no available single pigments with the required hue, or in some cases, would make the product prohibitively expensive. Pigment mixtures are also useful in artist paints as a substitute for a historical pigment; when the original historic single pigment is toxic. As an example; any color labeled with the name 'Emerald Green' the common historic name for Copper Arsenite, a rat poison, will certainly be a substitute made with less toxic pigments (be advised that it is possible in that a very old product, say, a old tube of paint found in great granny's attic, could be the real thing). Pigment substitution and mixes are also often used when the historic pigment is fugitive (i.e. using the extremely light fast natural earth pigments for the fugitive pigments 'mummy' and 'Van Dyke Brown').

Most of the information in the Pigment Database was collected from the pigment specifications published by the manufacturers or art material suppliers. I have also compiled information from many historical or contemporary art books including pigment & industrial coatings trade magazines & internet references.

Disclaimer:

The database's list of Color Index names and color index numbers, and table columns on covering power, light fastness, chemical formulas, and the hazards of art materials is meant to provide you with resource for pigment information that may be used as a starting point for your own research and tests. There are so many factors that can influence paint properties that it is impossible to give an absolute degrees of light fastness, safety or color hue for every brand of paint or pigment. It should also be noted that many pigment qualities such as durability and how the pigment originated are rumors or myths and misconceptions repeated over and over until they accepted as fact without any scientific proof.

Some of the paint or pigment manufacture links may be affiliate links. You can help support this site by purchasing thru those links. However they do not influence the content of this database at all.

I have included references when available, in the database tables and i have linked to the reference source with (Ref) in parentheses. Please see the notes below and my Free art books page for more reference and resource information.

Although I have made every effort to insure all pigment information and reference specifications are correct (see bibliography for more complete reference sources), I can not guarantee the accuracy of the Information or the suitability for any particular artistic application or process. If you notice any errors or omissions please write me so that I can keep the Color of art Pigment Database up to date, most accurate and thorough reference of it's kind anywhere in the world for free: toxicgraphix@gmail.com.

Notes on the Free Art eBooks Page! I have compiled a list of free art related e-books, and have made the reference list available for your own personal use. Many of the books on the page are classic and vintage art books, with some written by the Old Masters themselves, but not all of these books or e-books are in the public domain. Many works are still in copyright and have been made available by the authors for strictly personal use only. DO NOT assume that the inclusion of any e-book, book, website or link in the free e-book page, means that a work is out of copyright. Moreover all books, e-books, magazines, journals, thesis, website links or download links inclusion on the 'free book' page list are intended for your own personal use, and does not imply, nor is it intended to imply, that a work is in the public domain or out of copyright.Copyrighted works are always the exclusive property of the copyright holder and can not be sold, compiled, or added to another work without the permission in writing by the copyright owner, any other use may constitute a crime or copyright infringement.