PO Orange Pigments The Color of Art Pigment Database: Pigment Orange, PO

Artist's Paint and Pigments Reference: Color Index Names, Color index Number and Pigment Chemical Composition

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Pigment Orange PO Orange Pigments
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Jump to CI Pigment Orange Number:
NO 2. NO 4, NO 5, NO 6,
PO 1, PO 2, PO 3, PO 5, PO 13, PO 16, PO 17, PO 17:1, PO 20, PO 20:1, PO 21, PO 21:1, PO 23, PO 23:1, PO 34, PO 36, PO 38, PO 40, PO 41, PO 43, PO 45, PO 46, PO 47, PO 48, PO 49, PO 51, PO 52, PO 53, PO 59, PO 60, PO 61, PO 62, PO 64, PO 65, PO 66, PO 67, PO 68, PO 69, PO 71, PO 72, PO 73, PO 74, PO 75, PO 77, PO 78, PO 79, PO 80, PO 81, PO 84, PO 86, PO 107,
Antimony Orange; Chamotte; IRGAZIN Orange 2037; Kibeni Orange; Lead-tin Orange; MayaCrom Orange OR2800; Mineral Orange; Realgar;

Where applicable, you can click on the artist paint or pigment company code found in the "Common Historic and Marketing Name Column" next to the pigments name. The links will take off site where you can find more specific paint, binder, and pigment properties, including MSDS sheets or a retailer that stocks that brand of paint or pigment. Just hit your back button to return. See the Key at the bottom of any page for the artist media or binder company codes and links to the brands websites. NOTE: d in italics indicates a discontinued paint or pigment, all other medium or binder codes in italics mean the pigment/paint is in the student grade, not the "artist's" professional premium paint. See the Key (at the bottom of the page) for artist media and binder codes.

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Historic Orange Pigments Historic Orange Pigments without Color Index Names
Historic Orange Pigments Without C.I. Names  |  CI Natural Orange  |  CI Pigment Orange  | KEYPage Top^

Color Index Generic Name
CI Common or Historical Name
Common, Historic and
Marketing Names
C.I.
Constitution Number
Chemical Composition
Color Description
† = Long Term Effects of Light
Opacity
1 = opaque
4 = trans.
Light
Fastness
I = excell.
IV=Fugitive

Oil Absorption
g/100g
Toxic
Side Notes

N/A

Antimony Orange

Antimony Orange;

Antimony Vermilion;

Golden Sulphur of Antimony;

Golden Yellow;

Goldschwefel;

Lymphoscan;

Pigment Red 107

77060

Antimony trisulphide;

Sulfide of Antimony

Bright Orange

1

I

-

D

Decomposed by alkalis

N/A

Chamotte

Chamotte [KP.p]

N/A

Ground ceramic refractory brick; mostly clay, color probably from iron oxides

light red orange

-

I

-

A

used as an additive for lime mortars to increase the stability and add colour

N/A

IRGAZIN Orange 2037

IRGAZIN Orange

N/A

Diketo-pyrrolo-
pyrrole/Isoindoline

Bright Orange

1

I

55

A

-

N/A

Kibeni Orange

IWA-Enogu® [KP.p];

Kibeni Orange;

Vanadium-Chromite Spinel

N/A

Vanadium-Chromite Spinel;

Cadmium glass powder

Mid Orange

-

I

-

-

-

N/A

Lead-tin Orange

Arancione di piombo-stagno;

Blei-Zinn Orange;

Lead-tin Orange [NP.o.p];

Lead-Tin Yellow;

Orange de plomb étain;

N/A

Lead-Tin Oxide;

Lead Stannate;

CAS 12036-31-6

Bright Yellowish Orange

1

I*

16

C

Siccative in oil paint.
*May darken by atmospheric hydrogen sulfide

N/A

MayaCrom® Orange OR2800

MayaCrom® Orange OR2800*;

Mayan Orange [DS.w**]

N/A

Patented Organic-Inorganic hybred based on the chemistry of Mayan Blue with a unique nano crystal lattice. Tech data sheet for reference, also Reference the Patent application.

Article about Hybred Pigments and Mayan Blue in New Journal of Chemistry 2005, 29, p.57–58 (Article Reference PDF);

Bright yellow orange

3

I

65

A

MSDS

* Other pigments of this type have color index names granted (ie, PR287), this color may receive one at a later date, but not yet awarded a CI name. Currently recommended for plastics but has good potential value as artist pigment.

"evolved from work done at the University of Texas-El Paso to reconstruct the unique vibrant blue color developed by the Maya civilization more than 1000 years ago, using an inorganic and organic component to produce a highly stable hybrid pigment."

TOR Minerals International Press release, (Ref Mayan Pigments, Inc.);
** more info on the Dan Smith "Mayan" PrimaTek™ artist paints and other minerals used for art pigments at the watercolor Handprint.com site.

N/A

Mineral Orange

Mennige;

Mineral Orange;

Mineral Red;

Minium;

Orange lead;

Pigment Red 105

Red Lead;

Saturn Red;

Saturnrot

N/A

Lead tetraoxide;

CAS 1314-41-6

Red to Mid Orange

1

II*

8

C

*May be affected by hydrogen sulfide. Also It may react with pigments that contain free sulfur; More permanent in oil (Ref)

N/A

Realgar

Arsenic Orange;

Realgar [GEN | NP.p];

Red orpiment

N/A

Arsenic sulfide, Natural mineral Realgar (Ref);

CAS 1303-33-9

Orange; †Hue Shift yellowish

1

III*

-

D

Said to be incompatible with lead or copper pigments. (Ref Natural Pigments);

*light exposure may convert it to orpiment and arsenious oxide (Ref NP); See Pararealgar under Yellow.

Natural Orange Pigments Natural Orange - Color Index Name: NO
Historic Orange Pigments Without C.I. Names  |  CI Natural Orange  |  CI Pigment Orange  | KEYTop ^

Color Index Generic Name
CI Common or Historical Name
Common, Historic and
Marketing Names
C.I.
Constitution Number
Chemical Composition
Color Description
† = Long Term Effects of Light
Opacity
1 = opaque
4 = trans.
Light
Fastness
I = excell.
IV=Fugitive

Oil Absorption
g/100g
Toxic
Side Notes

NO2

Kamala

Kamala;

Natural Orange 2;

Resina Kamala [KP.p]

-

From the fruit of the plant Mallotus philippensis

Brilliant yellow to red orange

4

III

-

B*

*Used as a treatment for worms, Paralysis of the intestinal tract is a side effect.

NO4

Annatto

Annatto;

Annatto extract;

C.I. Natural

Orange 4;

Natural Orange 4;

75120

Extract of the seeds of the plant Bixa orellana; Norbiksiini annatto; Primary coloring due to bixin and norbixin; A bright orange lake is prepared by precipitating annatto on alumina trihydrate.

Annatto- A natural orange dye obtained from the lipstick plant which is a small tree, Bixa orellana, native to Central and South America. (Ref at Boston Fine Arts CAMEO Database);

CAS 8015-67-6

 

Bright Orange brown to golden yellow

4

III

-

A

-

NO5

Carajurin

Carajurin;

Carucru;

Chica;

C.I. Natural Orange 5;

Natural Orange 5

75180

Xanthone Carajurin; Extract from the leaves of Bignonia Chica

Red, Orange Yellow

4

III

-

A

-

NO6

Henna

C.I. Natural Orange 6;

Henna;

Lawsone;

Natural Orange 6

75486

Lawsonia Inermis;

2- hydroxy-1, 4- naphthoquinone;

lawsone:

CAS 83-72-7;

Yellow brown

4

III

-

A

-

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Natural Orange Pigments Pigment Orange - Color Index Name: PO
Historic Orange Pigments Without C.I. Names  |  CI Natural Orange  |  CI Pigment Orange  | KEYPage Top^

Color Index Generic Name
CI Common or Historical Name

 

Common, Historic and
Marketing Names
C.I.
Constitution Number
Chemical Composition
Color Description
† = Long Term Effects of Light
Opacity
1 = opaque
4 = trans.
Light
Fastness
I = excell.
IV=Fugitive

Oil Absorption
g/100g
Toxic
Side Notes

PO1

Hansa Orange

C.I. Pigment Orange 1;

Dinitroaniline orange;

Hansa Yellow 3R;

Pigment Orange 1;

Orthonitroaniline Orange

11725

Monoazo;

Dinitroaniline; orthonitroaniline;

mono-nitro compound, specifically ortho-substituted

CAS 6371-96-6

Bright yellowish orange

-

II-III

-

A

-

PO2

Pigment Orange 2

C.I. Pigment Orange 2;

Hansa Orange RN;

Federal Orange 1002;

Kromon Azo Orange;

Orthonitraniline Orange;

Orthotone Orange Toner RA 5630;

Ozark Orange X 1481;

Permanent Orange;

Pigment Orange 2

 

12060

Monoazo;

Orthonitraniline;

Naphthol;

Mono-nitro compound, specifically ortho-substituted;

Prepared by coupling o-nitroaniline with -naphthol (Ref Pigment Compendium, Copyright © 2008, p.38)

2-Naphthalenol,1-[(2-nitrophenyl)azo]- (9CI); 2-Naphthol, 1-(o-nitrophenylazo)- (6CI);

1-[(2-Nitrophenyl)azo]-2-naphthol;1-[(o-Nitrophenyl)azo]-2-naphtho

 

NSC 65821

CAS 6410-09-9

Bright reddish orange

-

II

-

A

-

PO3

Hansa Orange

C.I. Pigment Orange 3;

Dinitroaniline Orange;

Pigment Orange 3;

Orthonitroaniline Orange

12105

Monoazo; Orthonitroaniline;

Dinitroaniline Orange;

(Ref GuideChem.com);

(Ref from dyestuffintermediates.com)

CAS 6410-15-7

Brite reddish orange

-

II

-

A

Fluorescent Color often used as a brightener

PO5

Hansa Orange RN

Azo Orange;

C.I. Pigment Orange 5;

D & C Orange No. 17;

D.N.A. [GU];

Dinitraniline Orange [KA.p];

Dinitroaniline Orange;

Dinitroaniline Red;

Dinitronialine Orange [KA.ad];

DNA Orange [GU.ad];

DNA Orange RN-B;

Firewall Red [MA.o(HD)];

Hansa Orange;

Oasis Orange;

Permanent Orange [KA.o];

PERMANENT ORANGE 5;

Permanent Red GG;

Permanent Red Light [LKd];

Permanent Red Orange [WL.o];

Pigment Orange 5;

Seville Red [MA.o(Med)];

Studio Orange [KP.p];

Vermilion (hue) [CR.ao.o];

Vermilion Orange [CR]

12075

Monoazo; 2-Naphthalenol; 1-[(2;4-dinitrophenyl) azo;

Dinitroaniline;

Orthonitroaniline;

Magruder® Pigments for imagination "Oasis Orange" (PO5) technical bulletin

 

C16H10N4O5

 

CAS 3468-63-1

Bright reddish orange;

†Fades

3

II-III*

BWS
6;5-6;5* (CR)

BWS
6;5**

BWS
6;5;4***
(guerra paint)

40-53

A

MSDS

MSDS

* AMST II, Light fastness questionable in watercolor paints, (Ref handprint.com watercolor paints); Poor results above may be due to testing on a single watercolor formulation, performance in oil paints may be different. May be advisable to make your own tests before using.

*BWS from Chroma archival oil colors line

** Blue Wool Scale from Lansco Pigment Info

*** BWS
(guerra paint)

PO13

Benzidine Orange

Brilliant Orange [HO.g];

Cadmium Red Orange Hue [SE.o];

C.I. Pigment Orange 13;

Diarylide Orange;

Disazo Orange;

FAST ORANGE RG;

Orange [AS | HO.ag];

Orange Lake [MH];

Orange Lake Light [WN.g];

Orange no.204;

Permanent Orange G;

Persian Orange Light [LB.o];

Pigment Orange 13;

Pyrazolone Orange;

Red Orange [SCH];

Spec Orange [AS];

Vibfast Orange 4051

21110

Dichlorobenzidine;

Pyrazolone;

Disazopyrazolone;

CAS 3520-72-7

Bright reddish orange

3

II

BWS
5-6;3*

55

A

MSDS

* BWS from Lansco Pigment Info

PO16

Benzidine Orange

Benzidine Orange R;

C.I. Pigment Orange 13;

Dianisidine Orange;

Dianisidine Orange 2915;

Fast Orange RDN;

Orange (Turner);

Orange Lake Light;

Pigment Orange 16

21160

Disazopyrazolone;

(Ref: Lansco Pigment tech specs);

CAS 6505-28-8

Bright yellowish thru reddish orange

2

IV

BWS
4-5;2-3

45

A

MSDS

-

PO17

Persian Orange

C.I. Pigment Orange 17;

Persian Orange;

Pigment Orange 17;

Pigment Orange G

15510

Monoazo;

Barium lake of azomethine dye;

CAS 15782-04-4

Bright orange to reddish

-

II

39

A

-

PO17:1

Persian Orange

C.I. Pigment Orange 17:1;

Persian Orange;

Pigment Orange 17:1

15510:1

Monoazo;

Barium lake of an azo dye

Bright reddish orange

-

II

-

A

-

PO20

Cadmium Orange

C.I. Pigment Orange 20;

C.P. Cadmium Orange [GO.a.ag.ao | SQ.a | TA.a. | WL.o.p ];

Cadmium Orange [GEN | AS | BX.o.w | CAS.k | CR.a(jo).ao.o | DR.a.t | DSd | DV.k.o.w | GB.o | GR.o?* | HO.o | JO.a | LK | LQ.a | MA.o.o(artis).p.w | MG.a.g.o.w | MH.o | MR.o | MT | RGH.o.p | RF.e | RT.a.o.wo | SCH.a.g.o.o(Mus).p | SE.a.os | SH.w | SQ.a | UT.a.o.w | WL.o.p | WN.a];

Cadmium Orange (CP) [GO.a.ao];

Cadmium Orange Dark Xtra [GU];

Cadmium Orange Deep [GB.o | KA.o.p | SCH.w];

Cadmium Orange Light [BR | KA.o.p | LA.a | SCH.w];

Cadmium Orange Light CP [GU];

Cadmium Orange Medium [BR | LA.a];

Cadmium Orange Medium CP [GU];

Cadmium Orange Medium CP (red shade);

Cadmium Orange Medium Xtra [GU];

Cadmium Orange Pure [ UT.o.w];

Cadmium Orange Xtra Light C.P. [GU];

Cadmium Orange Yellow [HO.o | SE.p];

Cadmium Orange Yellow Shade [BR | HO.o];

Cadmium Red Light [GR.a?* | LK | SE.a | SCH.a.o.p];

Cadmium Red Orange [BX.o.w | DB.o | SCH.w | SE.a.o.p | SQ.a];

Cadmium Red Orange Genuine [SCH];

Cadmium Red Scarlet;

Cadmium Scarlet;

Cadmium Selenium Sulfide;

Cadmium Sulfide;

Cadmium Yellow Extra Deep;

Cadmium Yellow Deep [AS | HO.o.wo | LK | SCH.a.g.o.p | UT.a.o.w];

Cadmium Yellow Deep Pure [UT.o.w];

Cadmium Yellow 3 Deep [ SCH.o(Mus)];

Cadmium Yellow Orange [BX.w | LB.o | SE];

Cadmium Yellow Orange Genuine [SE.t];

Chinese Orange;

Greenokite;

Orange Cadmium (Genuine) [CH];

Orange Cadmium Yellow [PF.w];

True Cadmium Orange [PF.o];

Pigment Orange 20

77202

Inorganic;

Cadmium Selenosulphide;

LBNL Pigment Database Spectral radiative properties;

Cadmium Orange;

How Cadmium yellow/red is made at webexhibits.org;

Some brands of cadmium paints may in fact be composed of Cadmium-Barium Pigments even if indicated on the label as pure PO 20 (Reference: A Critical Analysis of Commercial Pigments, by M. Pérez, K. Castro, M.D. Rodríguez2, MA. Olazabal and J.M. Madariaga, University of the Basque Country, Dept. Analytical Chemistry and Dept. Painting).

CAS 12656-57-4

Bright yellowish thru to reddish orange

†Fades, may fade when exposed to very damp conditions and excessive light (Ref)

1

I

BWS
8;8;8 (CR)

BWS
8;8;8
(guerra paint)

17-20

B

?* It seems the Grumbacher website no longer shows pigment color index names.

The information on the Blick Art site, Grumbacher Cadmium are indicated to be cadmium barium pigments but are given the CI name of pure cadmium colors. The MSDS from the Grumbacher web site also states they are "coprecipated with barium sulfate" (Ref: MSDS Sheet) But, that would make them "Cadmium-Barium" Pigments should be indicated with :1 after the color index name. (ie. PO20 should be PO20:1). In the following pigment info the for pre-tested oil paint they they indicate the cadmium yellows with correct cadmium barium names, but the the reds and oranges are all designate as PO-40 instead of PO-40:1allthough the literature states, it to a cadmium barium pigment. (Ref: Grumbacher Pre-Tested Pigment Info dating around 2010-12)

See below for more info on cadmium barium pigments, and why it matters.

PO20:1

Cadmium-Barium Orange

Cadmium-Barium Maroon [GR.o.wo?*];

Cadmium-Barium Orange [GR.o.wo?*];

Cadmium-Barium Red Deep [GR.o.wo?*;

Cadmium-Barium Red Light [GR.o.wo?*];

Cadmium-Barium Red Medium [GR.o.wo?*];

Cadmium-Barium Red (Vermilion Hue) [GR.o.wo?*];

Cadmium-Barium Yellow Orange [GR.o.wo?*];

Cadmium litho Orange Dark [GU];

Cadmium litho Orange Light [GU];

Cadmium litho Orange Medium [GU];

Cadmium Orange (hue) [DB.a | CL | SV];

Cadmium Orange #1, medium (hue) [SI.p];

Cadmium Orange dark LITHO (red shade);

Cadmium Orange Light LITHO (yellow shade);

Cadmium Orange medium LITHO (red shade);

Cadmium Orange No.0 Very Light (hue) [KP.p];

Cadmium Orange No. 0.5, light (hue) [KP.p];

Cadmium Orange No. 1, medium (hue) [KP.p];

Cadmium Orange No. 2 Deep (hue) [KP.p];

Cadmium Red Medium (hue) [GR.o?*];

Cadmium Red Pale (hue);

C.I. Pigment Orange 20:1;

Vermilion (hue);

Pigment Orange 20:1

77202:1

Inorganic; Cadmium Selenosulphide

co-precipitated with Barium Sulfide

Bright Yellowish thru to reddish orange

1

I

BWS
8;8;8
(guerra paint)

17-20

B

Cheaper, Slightly less saturated and slightly less tinting strength as PO20;

Some Cadmium-Barium pigments can be up to almost 60% barium sulphate. (Ref: Painting Materials, A Short Encyclopedia, By Rutherford John Gettens, George Leslie Stout)

 

?* It seems the Grumbacher website no longer shows pigment color index names.

The information on the Blick Art site, Grumbacher Cadmium are indicated to be cadmium barium pigments but are given the CI name of pure cadmium colors. The MSDS from the Grumbacher web site also states they are "coprecipated with barium sulfate" (Ref: MSDS Sheet) But, that would make them "Cadmium-Barium" Pigments should be indicated with :1 after the color index name. (ie. PO20 should be PO20:1). In the following pigment info the for pre-tested oil paint they they indicate the cadmium yellows with correct cadmium barium names, but the the reds and oranges are all designate as PO-40 instead of PO-40:1allthough the literature states, it to a cadmium barium pigment. (Ref: Grumbacher Pre-Tested Pigment Info dating around 2010-12)

 

PO21

Chrome Orange

American Vermillion (hue);

Australian Cinnabar (hue);

Austrian Red;

Austrian Cinnabar (hue);

Chinese Red;

Chrome Cinnabar (hue);

Chrome Red;

Chrome Scarlet;

Chrome Orange;

Chrome Yellow;

Chromorange;

C.I. Pigment Orange 21;

Crocoite*;

Derby Red;

Garnet Chrome;

Golden Orange Yellow;

Lead Oxide Chromate;

Laque Mineral;

Molybdate Chrome Orange;

Molybdate Orange;

Molybdate Red

Orange Chrome;

Orange Paste;

Persian Red;

Pigment Orange 21;

Pigment Orange 45;

Pigment Red 103;

Pigment Red 104;

Red Lead;

Rouge de Perse;

Rosetto Chrome;

Ruby Red Chrome;

Vauquelin;

Victoria Red;

Vienna Red

77601

Basic lead (II) -chromate;

Method of making Chrome orange at webexhibits.org

CAS 1344-38-3

Bright intense yellowish thru reddish Orange

1

II-III

30

C

* Crocoite is a natural mineral containing lead chromate (Ref)

PO21:1

Chrome Orange

Chrome Orange;

C.I. Pigment Orange 21:1;

Pigment Orange 21:1;

 

lead (II) -chromate precipitated onto a silica base (Pigment Compendium, Ref)

Bright intense yellowish thru reddish Orange

1

II-III

-

C

-

PO23

Cadmium Vermillion Orange

Cadmium Cinnabar;

Cadmium Mercury Orange;

Cadmium Mercury Sulfide;

Cadmium Vermillion Orange;

Cadmium Yellow Orange;

C.I. Pigment Orange 23;

Mercadium Orange;

Mercadium Orange Dark [GU];

Mercury Cadmium Sulfide;

Pigment Orange 23

77201

Concentrated Cadmium Sulfide plus Mercuric Sulfide;

Calcined coprecipitate of Cadmium sulfide and Mercuric sulfide. The greater the mercuric sulfide content the deeper and redder the hue. (Ref Color index 3rd Ed., V.4, Inorganic colorants CI 77201)

CAS 1345-09-1

Bright yellow to red orange

1

I

17-20

D

Causes skin allergies;

forms hydrogen sulfide in combination with stomach acid

PO23:1

Cadmium-Barium Vermillion Orange

Cadmium-Barium Vermillion Orange;

Cadmium Mercury

Lithopone Orange;

C.I. Pigment Orange 23:1;

Mercadium Litho Orange Medium [GU];

Mercadium Lithopone Orange;

Pigment Orange 23:1

77201:1

Concentrated Cadmium Sulfide plus Mercuric Sulfide co-precipitated with Barium Sulfate

Bright red orange

1

I

17-20

D

Causes skin allergies; forms hydrogen sulfide in combination with stomach acid.;

Cadmium-Barium pigments can be up to almost 60% barium sulphate. (Ref: Painting Materials, A Short Encyclopedia, By Rutherford John Gettens, George Leslie Stout)

PO34

Pyrazolone Orange

Azo Red Light [RT.o];

Cadmium Orange (hue);

Cadmium Red Light Hue [LK];

C.I. Pigment Orange 34;

Cinnebar Red (hue) [LKd];

FastOrangeRL;

Marigold Opaque Orange [SI.p];

Permanent Orange RL;

Permanent Orange RLO;

Pigment Orange 34;

Pyrazolone Orange;

Pyrazalone Orange RL-70;

Pyrazalone Orange RLO;

Scheveningen Red Scarlet [OH.o.w];

Vermilion (hue) [LK | RT];

Vermilion Light (hue) [LK];

Vermilion Red (hue);

Vermilion Red Light (hue)

21115

Disazopyrazolone;

Pyrazolone (Diarylide)

CAS 15793-73-4

Bright orange to orange red;

†Fades

RL: 3

RLO: 2

II*

BWS
5-6;4-5**
6-7;5-6***

 

40

A

*ASMT II, Lightfastness Questioned in watercolors (Ref handprint.com) may be due to testing on a single formulation in watercolor, performance may be better in oil paints. This pigments is also available in different grades and opaqueness. Light fastness may be better in the redder, more opaque grades (Ref at Paint & Coatings Industry Magazine, article "Evaluation of Various Organic Color Pigments"January 1, 2010 ). May be advisable to make your own tests before using.

**BWS from transparent form Lansco Pigment data

***BWS from opaque form at Lansco Pigment Data

PO36

Benzimidazolone Orange HSL

Benzimida Orange Deep [DV.o.w];

Benzimidazolone Orange [WN];

Benzimidazolone Orange HL [GRd];

Brilliant Orange [MA.a.];

Cadmium Orange Hue [MR.o];

Cadmium Red Pale Hue;

C.I. Pigment Orange 36;

Fast Orange GWT;

Imidazolone Orange [HO.wo];

Orange Red [HO.a];

Permanent Orange [MA.w];

Permanent Orange HSL [GU];

Persian Yellow [MR.o];

Pigment Orange 36;

Red Orange [SCH.p];

Scarlet Orange [CAS.k];

Vermilion Permanent (hue) [AS]

11780

Monoazo; Benzimidazolone;

CAS 12236-62-3

Red shade scarlet orange

2-3

I-II

BWS
8;7-8*
6-7;6-7*

BWS
8;8;8**
(guerra paint)

55-72

 

A

* 1st set of BWS from Alkyd paint, 2nd set from offset ink, at Lansco pigment Data. It appesrs this pigment may be more light fast in oils or Alkyd paints.

**BWS from
(guerra paint) puts it as excellent in their pigments dispersions in water. ? Seems to contradict Lansco test result data.

PO38

Naphthol Orange

Azo Burnt Orange [BR];

Azo Burnt Orange Transparent [RGH.o.p];

C.I. Pigment Orange 38;

Pigment Orange 38;

Naphthol Orange

12367

Naphthol AS;

CAS 12236-64-5

Bright reddish to yellowish orange

4

II

87

A

-

PO40

Pigment Orange 40

C.I. Pigment Orange 40;

Pigment Orange 40;

Vat Orange 9

59700

Unsubstituted pyranthrone;

Pyranthrene-8, 16-dione

CAS 128-70-1

-

 

II

-

-

production discontinued

PO41

Pigment Orange 41

C.I. Pigment Orange 41;

Pigment Orange 41;

Vat Orange 9

59700

Pyranthrone;

Pyranthrene-8, 16-dione

CAS 128-70-1

-

-

-

-

-

Apparently the same pigment as PO40?

PO43

Perinone Orange

Brilliant Orange [MA.a];

Cadmium Orange Hue [WN.wo];

Cadmium Red Light Azo (hue);

C.I. Pigment Orange 43;

Indanthrene Orange [MA.o(artis)];

Indo Orange Red [DB.a | LQ.a | UT.a];

Orange [RT];

Orange Lake [MA.o.w];

Perinone [GU];

Perinone Orange [CAS.k | DS.a.o.w | DR.a| MW.o | WN | UT.w];

Permanent Red Light [MA];

Permanent Orange [MA.p];

Permanent Red Orange [MA.o];

Pigment Orange 43;

Vat Orange [ GO.a.af.ag ];

Vat Orange 7;

Vermilion (hue) [RT.wo]

71105

Organic synthetic Anthraquinone;

Isoindoline-Methine

Perinone;

CAS 4424-06-0

Mid to red shade orange;

†Fades, darkens slightly

2-4

I-II*

BWS
5-6;6-7**

BWS
6-7;7;8***
(guerra paint)

48-83

A

Dye Vat Orange 7

*ASMT rated I

**BWS data from Alkyd paint, appears to be most lightfast in tints (Ref: Lansco Pigment Data)

***BWS
from (guerra paint) seems to confirm this pigment is much more light fast in tints

PO45

Chrome Orange

American Vermillion (hue);

Chrome Orange;

Chrome Yellow;

Chromorange;

C.I. Pigment Orange 45;

Crocoite*;

Derby Red;

Molybdate Chrome Orange;

Orange Chrome;

Persian Red;

Pigment Orange 21;

Pigment Orange 45;

Rosetto Chrome;

Vauquelin;

Victoria Red

77601

lead chromate;

CAS 1344-38-3

Bright intense yellowish thru reddish Orange

1

III

30

C

* Crocoite is a natural mineral containing lead chromate (Ref)

PO46

Pigment Orange 46

C.I. Pigment Orange 46;

Clar-All Red;

Clarion Red;

Lake Orange B;

Sunset Yellow;

Sunbright Yellow;

Pigment Orange 46

15602

Monoazo;

Beta Naphthol;

CAS 63467-26-5

Bright reddish orange

3

IV

 

A

MSDS

-

PO47

Quinacridone Orange

C.I. Pigment Orange 47;

Pigment Orange 47;

Quinacridone Orange [GU];

Quinacridone Orange (red shade)

-

Quinacridone

Bright reddish orange

4

I

BWS
8;8;8
(guerra paint)

-

A

-

PO48

Quinacridone Gold

ACRA Gold;

C.I. Pigment Orange 48;

Cinquasia Gold YT-923-D;

Cinquasia® Gold, red-gold [KP.p];

Cinquasia Red Gold [KP.p];

Golden Orange [TA.a.af];

Monastral Gold;

Pigment Orange 48;

Quinacridone Burnt Orange [CAS.k | DS.a.o.w | DV.w];

Quinacridone Orange [GR.o.wo];

Quinacridone Red Gold [GU];

Quinacridone Red Orange [OH.a];

Quinacridone Rust [MG.w];

Quindo Gold

73900+ 73920

Mixed crystal phase Quinacridone;

CAS 1047-16-1;

CAS 1503-48-6;

CAS 71819-74-4

Deep golden reddish orange

4

I

40-50

A

MSDS

Unique hue

PO49

Quinacridone Deep Gold

C.I. Pigment Orange 49;

CIinquasia® Gold [KP.p];

Golden Lake [MA.o.w];

Monastral Deep Gold;

Pigment Orange 49;

Quinacridone Deep Gold;

Quinacridone Gold [DS.a.o.w | GU | MA.a* | WN.a];

Quinacridone Gold (GS/Green Shade) [DS.a.o.w];

Quinacridone Sienna;

Quindo Gold Deep;

Quindo Red Gold;

Rowney Transparent Brown [DR.o]

73900+ 73920

Synthetic organic; Quinacridone;

CAS 71819-75-5

Deep golden yellowish orange

4

I

BWS
8;8;8
(guerra paint)

H

A

Unique hue;

This pigment is no longer manufactured, Some color producers still have stocks of the pigment (DB Ref Dick Blick)

PO51

Pyranthrone Orange

C.I. Pigment Orange 51;

Paliogen® Orange [KP.p];

Paliogenorange;

Pigment Orange 51;

Pyranthrone Orange [GU]

-

2, 10 dichloropyranthrone derivative

Mid shade to reddish orange

3

I

BWS
8;8;8
(guerra paint)

-

-

-

PO52

Pyranthrone Orange, red shade

C.I. Pigment Orange 52;

Pigment Orange 52;

Pyranthrone Orange Red Shade

-

CAS 61512-62-7

Reddish orange

-

I

-

-

-

PO53

Pyranthrone Orange

C.I. Pigment Orange 53;

Pyranthrone Orange;

Pigment Orange 53

-

Pyranthrone

-

-

-

-

-

Chemical structure has not been disclosed

PO59

Pigment Orange 59

C.I. Pigment Orange 59;

Dinitraniline Orange;

Organic Nickel Orange [GU];

Paliotol® Orange [KP.p];

Permanent Orange;

Pigment Orange 59

12075

Organic synthetic monoazo nickle complex;

Metal Complex/Azo Methine;

yellowish to red orange

3

I

BWS
8;8;8
(guerra paint)

-

B

Requires wetting agent; Withdrawn

PO60

Benzimidazolone Orange HGL

Azo Orange;

Benzimidazolone Orange;

Cadmium Orange Tone (hue);

C.I. Pigment Orange 60;

Midazo HGL [GU];

Pigment Orange 60

11782

Monoazo; Benzimidazolone;

CAS 68399-99-5

Yellow to red shade orange

4

I

BWS
8;8;8
(guerra paint)

-

A

-

PO61

Isoindolol Orange

Chinese Lake [SE.o];

C.I. Pigment Orange 61;

Cromophtal Orange 2G [GU];

Isoindoline Orange 61;

Indolinone Orange [OH.a];

Isoindolor Orange [KP.p];

Permanent Orange;

Pigment Orange 61

11265

Organic;

Tetrachloro-isoindolinone;

CAS 40716-47-0

Reddish dark orange

4

I

-

A

MSDS

-

PO62

Benzimidazolone Orange H5G

Azo Orange [MG.w];

Benzimida Orange [DV.a.o.w];

Benzimidazolone Orange [WN];

Brilliant Orange;

Cadmium Orange (hue);

Cadmium Orange Hue [DV];

Cadmium Orange Tone [SCH.g];

Chrome Orange (hue) [SCH.w];

Chrome Orange, no lead [SCH.w];

C.I. Pigment Orange 62;

Helio Genuine Orange [LK];

Mono Orange [GB.o];

Novoperm Orange H5G;

Orange [DV | MA.g | SCH.p];

Orange HG5;

Orange Light [SCH];

Orange Yellow [MA.a];

Permanent Orange [AS | BX.o.w | DS.o.w. | MA.w | SQ.a];

Permanent Yellow Deep [LK];

Pigment Orange 62;

Pure Orange;

Trinacria Orange [MA.o(Med)];

Winsor Orange [WN.w.wp.];

Yellow Orange [LK]

11775

Organic;

Monoazo;

Benzimidazolone;

 

C17H13ClN6O5

 

CAS 52846-56-7

Light yellowish to mid-orange

2*

I

BWS
8;7;7
(guerra paint)

65-70

A

MSDS

* The yellowish orange varieties are more transparent

Benzimidazolone Orange has excellent lightfastness and outstanding heat and solvent stability for a monoazo pigment (Ref: Dick Blick pigment info)

PO64

Benzimidazolone Orange

Benzimidazolone;

Benzimida Orange [DV];

C.I. Pigment Orange 64;

Cromophtal Orange GP;

Pigment Orange 64

12760

Monoazo; Benzimidazolone;

CAS 72102-84-2

Bright reddish orange

2

I-II

BWS
7;6 *

58

A

* bws from offset printing ink data

PO65

Benzimidazolone Orange

Benzimidazo Orange [GU];

C.I. Pigment Orange 65;

Cojanil Red;

Golden Barok Red [OH.w];

Irgazin Orange 3GL;

Nickel Orange Deep [GU];

Nickel Red;

Pigment Orange 65

48528

Azomethine nickel complex;

CAS 20437-10-9

Dull red orange

3-4

I-II

BWS
8;7;7
(guerra paint)

-

A

-

PO66

Isoindoline Orange

C.I. Pigment Orange 66;

Irgazin orange 3GL;

Isoindoline Orange Deep [GU];

Pigment Orange 66

48210

Diketo-pyrrolo-

pyrrole/Isoindoline

Red Orange

1-2

I

BWS
8;8;8
(guerra paint)

37

A

Withdrawn from market?

PO67

Pyrazoloquinazolone Orange

Brilliant Orange [SCH.a];

C.I. Pigment Orange 67;

Chrome Orange Tone [SCH.o(Mus)];

Coral Orange [OH.o.w];

Enceprint Orange 2953;

Mono Azo Orange [GR.o];

Monoazo Orange [GR.o];

Paliotol Orange D 2953;

Paliotol Orange L;

Paliotol® Orange L 2930 HD;

Pigment Orange 67;

Pyrazolo -

Chinazolone Orange;

Pyrazoloquinazolone Orange;

Scheveningen Red Scarlet [OH];

Sico Fast Orange L2952HD;

12915

Organic; Isoindolinone; Pyrazoloquin-

azolone;

Quinazolo- pyrazolone;

Pyrazolo - Chinazolone Orange;

CAS 74336-59-7

Saturated red-orange;

†Darkens

1

II

48

A

MSDS

-

PO68

Sandorin Orange

Azo Methine Orange [GU];

C.I. Pigment Orange 68;

Pigment Orange 68;

Sandorin Orange;

486150

Nickel complex Methine;

CAS 42844-93-9

Reddish orange

4

I

BWS
8;7;7
(guerra paint)

-

B

-

PO69

Isoindoline Orange

Cadmium Red Orange Hue;

C.I. Pigment Orange 69;

Isoindolinone Orange [GU];

Naphthol red;

Paliogen Orange;

Pigment Orange 69;

Pyranthron Orange;

Pyranthrone orange [KP.p];

Scarlet;

Scheveningen Orange [OHd]

56292

Isoindolinone; Pyrazoloquinazolone;

CAS 85959-60-0

Saturated red-orange;

†Darkens in masstone, Fades in tints

1

I-II-III?*

BWS
8;7;7
(guerra paint)

-

A

MSDS

*Lightfastness Questioned in watercolors (Ref) may be due to testing on a single formulation. May be advisable to make your own tests before using. The Blue wool Scale Data from (guerra paint) seem to indicate excellent lightfastness.

PO71

Pyrrole Orange

Cadmium Orange Hue [LK];

C.I. Pigment Orange 71;

Cromophtal DPP Orange TR;

Irgazin DPP Orange 398;

Orange [SCH];

Permanent Orange [LK];

Pigment Orange 71;

Poppy Red [SCH.o];

Translucent Orange [SCH.a.g.o(Mus).w.];

Transparent Orange [DB.w];

Transparent Indian Orange [LB.o];

Transparent Permanent Orange [TA.a.af];

Transparent Pyrrol Orange [DS.w | GO.a.af]

561200

Diketopyrrolopyrrole orange

Dull Mid-Orange;

†Darkens

2-4*

I

-

A

* Varies by manufacture

PO72

Hostaprint Orange H4GL 32

C.I. Pigment Orange 72;

Hostaprint Orange H4GL 32;

Pigment Orange 72

-

Benzimidazolone;

CAS 78245-94-0

Brilliant orange

-

I

-

A

-

PO73

Pyrrol Orange

Aritint Orange;

Bright Orange;

Cadmium Orange Hue [DB.a | LQ.a];

C.I. Pigment Orange 73;

Da Vinci Orange [DV.w];

Dipyrrolopyrrol Orange;

Irgazin Orange;

Irgazin DPP Orange 16A;

Irgazine® Orange DPP RA [KP.p];

Matisse Orange DPP [MT];

Orange [JO.a];

Permanent Orange [MH.o | WL.o];

Permanent Vermilion (hue) [RT.o];

Pigment Orange 73;

Pyrrol Orange [DS.a.o.w | LQ.a];

Pyrrole Orange [CR | GO.a.ab.af.ao | LA.a | OH.a | TA.a. |WN.a];

Red Orange [SE.a];

Scarlet Pyrrol [MG.w];

Scheveningen Orange [OH.o];

Transparent Perinone Orange [CR.ao.o | GO.a];

Transparent Pyrrole Orange [GO.a];

Unisphere DPP Orange;

Vermillion (hue) [RT.a.o | SQ.a];

Vermillion Pyrrolo [BX.o.w];

Warm orange [DR.w];

Winsor Orange [WN.o.w]

Winsor Orange (red shade) [WN.o.w.wp.]

561170

Diketopyrrolopyrrole orange;

CAS 71832-85-4

Light bright Saturated red shade orange

†Fades in tints

2-3

I

BWS
8;8;7-8

51

A

MSDS

Excellent lightfastness and beautiful bright vermillion hue in artist paints.

PO74

Pigment Orange 74

C.I. Pigment Orange 74;

Graphtol Orange;

Pigment Orange 74

-

Azo;

CAS 85776-14-3

Bright reddish orange

1

II

-

A

-

PO75

Cerium Sulfide Orange

Cerium Sulfide Orange;

C.I. Pigment Orange 75;

Neolor Orange

Pigment Orange 75

77283:1

Inorganic; Cerium Sulfide;

CAS 12014-93-6

Reddish orange

-

I

20-28

A

-

PO77

Vat Orange 23

C.I. Pigment Orange 77;

Pigment Orange 77;

Vat Orange 1;

Vat Orange 23;

59105

Dibromo derivative of Anthanthrone;

CAS 1324-11-4

Bright yellowish orange

4

-

-

A

-

PO78

Cerium Sulfide Orange

Cerium Sulfide Orange;

C.I. Pigment Orange 78;

Neolor Light Orange S;

Pigment Orange 78

77285:0

Inorganic;

Cerium Sulfide;

CAS 12014-93-6

Mid-shade orange

1

I

20-28

A

-

PO79

Pigment Orange 79

C.I. Pigment Orange 79;

Engeltone Brilliant Orange;

Pigment Orange 79

-

Azo metal salt;

CAS IES 12736

Bright mid-shade orange

-

-

-

A

-

PO80

Pigment Orange 80

C.I. Pigment Orange 80;

Pigment Orange 80

-

thiazine indigo

-

-

-

-

-

-

PO81

IRGAZIN Orange 2038

Irgazin Orange;

Pigment Orange 81

55714

Diketo-pyrrolo-pyrrole

Bright reddish orange

1

I

53

A

-

PO84

MayaCrom® Orange OR7500

C. I . Pigment Orange 84;

MayaCrom® Orange OR7500

-

Patented Organic-/Inorganic hybred based on the chemistry of Mayan Blue with a unique nano crystal lattice. Reference the Tech data sheet, and Patent application.;

Article about Hybred Pigments and Mayan Blue in New Journal of Chemistry 2005, 29 , p.57–58 (Article Reference PDF);

Bright yellow orange

-

I

65

A

MSDS

"evolved from work done at the University of Texas-El Paso to reconstruct the unique vibrant blue color developed by the Maya civilization more than 1000 years ago, using an inorganic and organic component to produce a highly stable hybrid pigment."

- TOR Minerals International Press release, (Ref Mayan Pigments);

PO86

Isoindoline Orange Light

C.I. Pigment Orange 86;

Isoindoline Orange Light [GU];

Nova Palm Orange HL.HL-70;

Pigment Orange 86

-

Isoindoline

Bright reddish orange

3

I

BWS
8;8;8
(guerra paint)

-

-

-

PO107

Pigment Orange 107

 

C.I. Pigment Orange 107;

Experimental Orange 107;

Experimental Orange RL 107

IRGAZIN® DPP Cosmoray Orange?;

Pigment Orange 107;

Pigment Orange 767B;

Transparent Orange [WN.w*?];

 

-

Organic;

high-performance orange
diketo-pyrrolo-pyrrole (DPP) pigment,

Substituted pyrrol

(Ref: Ciba® IRGAZIN® DPP Cosmoray™ Orange - PDF);

Irgazin is a range of high performance organic pigments from selected chemical classes with a broad range of colors, highly indicated for applications where resistance to extreme conditions and/or coloristical, tinctorial properties and high transparency are required.(Ref from BASF site)

(Ref: Australian NICNAS, National Industrial Chemicals Notification and Assessment Scheme - PDF report); (Ref: BASF press release);

Bright Reddish Orange 4 I   A

* Only avaliable in the Winsor & Newton 'Professional Water Colours Limited Edition' line that came out in 2007 (Ref W&N page);

? IRGAZIN® DPP Cosmoray Orange has mica flakes added for metallic effect?

 


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PAINT AND PIGMENT REFERANCE TABLE KEY:    Page Top^
Jump to : Supplier\Manufacturer Codes  |  Binder/Medium Codes

Opacity

1 = opaque
4 = trans.

Light
Fastness

I = excel.
IV=Fugitive

Toxic


Color Index Generic Name:
  Key Top ^ Page Top^
This is the C.I. Generic Name (abbreviated) given by the ASTM and Colour Index International (CII) for that pigment. The first 2 or 3 letters describe the general pigment color and the number is the individual pigment identifier. N/A (not applicable) means that pigment has not been given a color index name or number.

Natural Dye and Solvent Pigments
These are naturally occurring organic pigments and dyes. With a few exceptions, most are plant or animal extracts or dyes that need to be fixed to a substrate to become pigments (i.e. Madder Lake). A few are organic natural earths such as Cassel earth (Van Dyke Brown). They are designated with C.I. Generic name of which consists of the usage class "Natural" and basic hue, followed by the CI serial number (i.e. Natural Brown 8). Natural pigment CI generic names are often abbreviated with the usage class N + the hue abbreviation + the serial number. (i.e. NBr 8)
  Pigment
Pigments can be organic or Inorganic. Most modern pigments are given this usage designation by the Color Index. They can be completely synthetic, naturally occurring minerals, or lakes based on the synthetic derivatives of natural dyes. Pigments are designated with C.I. Generic name which consists of the usage class "Pigment" and the basic hue followed by the CI serial number (i.e. Pigment Red 106, Cadmium Red). The pigment CI generic names are often abbreviated with the usage class P + the hue abbreviation + the serial number. (i.e. PR83 for Pigment Red 83)

 

NY = Natural Yellow;
NO = Natural Orange;
NR = Natural Red;
NV = Natural Violet;
NB = Natural Blue;
NG = Natural Green;
NBr = Natural Brown;
NBk = Natural Black;
NW = Natural White;

 

 

PY = Pigment Yellow;
PO = Pigment Orange;
PR = Pigment Red;
PV = Pigment Violet;
PB = Pigment Blue;
PG = Pigment Green;
PBr = Pigment Brown;
PBk = Pigment Black;
PW = Pigment White;
PM = Pigment Metal

 

The CI (Color Index) Common Pigment Name:   Key Top ^ Page Top^
In this database the common name is the name given in the Color Index (third edition, 1997) by the Color Index International published by the Society of Dyers and Colourists and the American Association of Textile Chemists and Colorists, and are also used by the ASTM International, American Society for Testing and Materials.

When the Colour Index (3rd edition) has not specified a name, I have used the name that the first manufacturer, inventor or original patent holder has given that pigment. In the case of ancient pigments, historic pigments, minerals or other odd pigments, I have used the most commonly used traditional historic, mineral or chemical name as determined by my research.


Common, Historic and Marketing Names:   Key Top ^ Page Top^

These are the various names that have been used for that pigment whether or not it is the correct usage. This is NOT an endorsement of any particular name, but merely a collection of names that are in common usage or have been used in the past according to historic pigment books & references, paint sales literature, and pigment manufacturers references. They have been collected (in order of importance) from

1.) Paint manufacturers, pigment manufacturers and/or other pigment supplier literature;

2.) Various web sites in particular AMIEN.org, Dick Blick Artist Supply, Handprint.com, Kremer Pigments, Natural Pigments, Kama Pigments, Sinopia Pigments, PCImag.com and along with internet forums on art and painting, web sites of paint manufacturers, paint suppliers, chemical manufactures and pigment manufacturers;.

3.) The Color Index, Third edition (published by the Colour Index International, 1997);

4.) Historical books on pigments, oil painting, watercolor painting and other art forms (see Free Art e-Books);

5.) Artist manuals and handbooks (see the bottom of the Pigment Database's main page for a complete list of reference works);

6.) Various dictionaries and encyclopedias (both historic and contemporary).

 

(hue):
When a manufacturer has has used a common historical name for a pigment that is not the accepted traditional historic pigment name and has not clearly indicated it to be a hue or substitute, I have indicated it with the "(hue)"* in parenthesis. For example calling\naming a paint made with Phthalocyanine Blue as "Azure", "Smalt" or "Cobalt Blue".

*In order to stay within ASTM specification D 4302-05, manufactures are encouraged to use the word "hue" when the paint or pigment marketing name is not the real name of a paint or a pigment. Substitute and tone could be also considered acceptable means of indicating a hue substitute for the actual color. However, the ASTM specifications are usually voluntary and there is little means to enforce them. Also because of language differences, changes in the paint or pigments common identification because of contemporary usage (often perpetrated by manufacturer's incorrect color marketing names), and last but not least - the sheer multitude of historically used paint names for any given paint\pigment, it's nearly impossible to prove or say a manufacturer of art materials is being purposely deceptive.

 

C.I. Constitution Number or Colour Index Constitution Number (chemical composition):   Key Top ^ Page Top^

These are the chemical constitution numbers given that pigment by the Color Index International published by the Society of Dyers and Colourists and the American Association of Textile Chemists and Colorists, and are also used by the ASTM International, American Society for Testing and Materials. Each of the numbers in the "Colour Index Constitution Number" has a specific chemical or compositional meaning; for more information see the Colour Index Number Chart or go to the Color Index International and ASTM, American Society for Testing and Materials web sites (these links open in a new window)..

Chemical Composition:   Key Top ^ Page Top^

These are the basic chemical names, or mineral names along with chemical composition. I have also included CAS numbers, when I can fine them. Sometimes multiple names are given because chemical names can be stated in different ways and can also give an indication of the manufacture method. Very often a pigment can be a group of related compounds rather than one specific chemical. I have not included detailed chemical descriptions or analyses, but only basic information that should help you to find further information. I have included references designated with "(Ref)" where further information can be attained.
Adulterants, extenders and other additives may be added to artistic paints to improve the paint rheology, transparency, and\or drying time. Often inert pigments, extenders and fillers are added to the color pigments in student grade paints or to modify paint pigments with overly strong tinting strength, i.e. the Phthalocyanine Blues and Greens.
These extra ingredients are rarely listed of the label.

Color Description:   Key Top ^ Page Top^

This is a general attempt to explain the hue in plain English. The perception of color is as individual as the the people viewing it and any such description can not be completely accurate, but merely give a general idea of the what color looks like to the average person. Many pigments have a range of shades and hues. This range in hues can be due to many things such as different manufacturing processes, exact chemical composition and crystal shape. In most cases, i have not used any of the attempted means of standardizing color descriptions for this (such as the Munsell system), but where the pigment is included in the Color Index International Pigments and Solvent Dyes (The Society of Dyers and Colourists, third edition 1997), I have used that description, when there is no color hue description in the Color Index, I have used other reference sources in particularly manufacturer or supplier literature.

† = Effects of long term light exposure are given when known, this may allow an artist to anticipate color changes and possibly use them as an advantage. These effects are all relative to the pigments inherent light fastness and may take decades or even centuries in museum conditions to be visible.

Fades = Becomes more Transparent
Lightens = Loses chroma but maintains relative transparency or opaque character;
Whitens = Becomes lighter towards white and more opaque;
Darkens = Becomes darker but retains hue;
Dulls = Loses chroma towards neutral but maintains the relative tone;  
Blackens = Turns very dark or black losing chroma;  
Hue shift = Changes hue towards a different color

Opacity - Transparency:   Key Top ^ Page Top^

This designation is only a general reference to the most common encountered opacity or transparency inherit to the pigment. In paints, the transparency of a pigment can change due to what is used as the painting medium or binder (i.e., oil color, watercolor, encaustic, acrylic, etc.). There are many pigments that are opaque in watercolor but transparent or semi-transparent in oil paints. The transparency of a paint or pigment can often be manipulated by the manufacturing process for a particular purpose. The addition of inert pigments or other modifiers can also change the perceived transparency of a paint formulation or pigment.
When available, i have used the Color index's designation or manufacturers literature to arrive at this figure. When the Color Index description is unavailable i have arrived at a general figure by manufacturer literature or personal experience. A general designation such as given will not always be the case in any particular formulation.
 
1 = Opaque,
2 = Semi-Opaque,
3 = Semi-Transparent,
4 = Transparent

Light Fastness Rating:   Key Top ^ Page Top^

The light fastness rating can only be a general guide, when available, i have used the ASTM rating or manufacturers literature to arrive at this figure. The ASTM has not rated all pigments, and I believe will no longer be rating pigments. For that reason the rating in this database will not always be the ASTM rating but a rating culled from other sources, most importantly manufactures literature. The ASTM ratings have a 5 increment scale and the blue-wool scale is 8, in this database lightfastness ratings have been condensed or averaged to a less specific 4 designations. Very often, pigments in tints are less light fast and this should be taken into account when determining if a pigment or paint will meet your needs. I can can not cover every possible paint, binder, or pigment formulation in this chart as it would take too much time and space. In particular the quality of the actual pigment manufacture has much influence on a pigments fastness to light, heat and other chemicals. Additives, binder, and many other factors all have a influence on light fastness or fastness to other environmental influences. 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. The only way to be sure, is to make your own tests on the paint or pigment you have. 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); or this (AMIEN.org Thread - opens new window). Blue Wool Scale will be given when known, but be aware that these may be from tests on a single formulation, and may not be the same for all brands or binders.
 
I = Excellent,
II = Good,
III = Poor (may last many years in museum conditions, but should be used with caution for permanent works of art)
IV = Fugitive/Very Poor

 

BWS = Blue wool scale

7-8 = Excellent,
6 = Very Good,
4-5
= Fair (Impermanent),
2-3 Poor (fugitive),
1
= 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.

 

Oil Absorption: is given in g/100g or grams of oil per 100 grams of pigment   Key Top ^ Page Top^
or as H, M, L (see below)

The oil absorption figure has been arrived at from the pigment manufacturer's literature or artist reference sources (see the bottom of the Pigment Database's main page for a complete list of reference works). The higher the oil absorption, generally, the longer it will take to dry when used in oil painting. The addition of driers, siccatives, retardants and other additives can effect the drying time of any specific formulation, or they can be added by the artist to speed up or slow down the drying of oil paints. In some literature the oil absorption rate is given as ml/100g, although not technically the same as g/100g, for the purposes of this database they are close enough.

Depending on the specifications i have available I may also use the following designations:
H = High;   - These pigments absorb a lot of oil.
M = Medium;    - Average drying or cure rate
L = Low;    - Usually very fast driers

Toxicity:   Key Top ^ Page Top^

Under this heading will be a general designation of a possible hazard. It is assumed intelligent people will use at least ordinary care when handling all paints or pigments. The designation has been arrived at from, in most cases, the manufacturer's literature, art books and art reference works (see the bottom of the Pigment Database's main page for a complete list of reference works), MSDS sheets, the EPA manual: Environmental Health & Safety in the Arts: A Guide for K-12 Schools, Colleges and Artisans (full PDF here), The Art & Creative Materials Institute, Inc. (ACMI), The Health and the Arts Program - Great Lakes Centers at the University of Illinois at Chicago School of Public Health (UIC SPH), The American Institute for Conservation of Historic & Artistic Works has a collection of articles on art safety, The Consumer Product Safety Commission's Art and Craft Safety Guide (PDF, 250 KB) and Art Materials Business Guidance

All paints and especially dry pigments can be hazardous if carelessly handled, but, if handled properly with common sense all but the most dangerous pigments can be used safely. Very few pigments used in the arts are edible, and even so called "Food Colors" are not meant to be used in large quantities and may have unknown side effects or allergic reactions.

WARNING: Always use a dust mask when working with any dry pigments. Work in a separate area of your studio away from children, pets or other living things. Do not smoke, eat or drink around any art materials. Dispose of all waste materials in an environmentally safe way.

A = Low hazard, but do not handle carelessly;
B = Possible hazard if carelessly handled, ingested in large amounts or over long periods of time;
C = Hazardous, use appropriate precautions for handling toxic substances; 
D = Extremely Toxic, only attempt working with these pigments (especially the dry form) in laboratory like conditions with proper safety equipment (see "Prudent practices in the laboratory: handling and disposal of chemicals" at google books opens new window); or the PDF - Booklet Safe Handling of Colour Pigments Copyright © 1995: BCMA, EPSOM, ETAD, VdMI - link from VdMI


The Side Notes Column:   Key Top ^ Page Top^

These are typically interesting things I have read, or information collected on a pigment that may be worth further study. Please remember that they are NOT statements of absolute fact. Many pigment qualities are rumors, old wife's tales and misconceptions repeated over and over until they accepted as fact without any scientific proof. References (Ref) may be provided for further info.

Miscellaneous:

(hue) = When the word "hue" in in parenthesis (hue), it refers to a hue color not designated on the label, when the word "hue" is not in parenthesis is part of the pigment name as per ASTM guidelines.

(Ref) = A link to a reference source. This may be the reference source of the information that I have given, or just a link to more detailed information.

? = a question mark next to a name, note, or data code indicates that it may or may not be correct information due to conflicting information, questionable references, possible typo or other discrepancies in the manufacturer or other reference documentation. Further study is needed to clarify.

Paint or Pigment Manufacturer Code & Art Medium:*****   Key Top ^ Page Top^
Paint/Pigment Manufacturer Code:
The manufacturer code is to indicate companies that make or supply paints or pigments using the particular pigment. Only those products that are single pigments will be indicated in this database. In a few cases, the Color Index International has listed a mixture of pigments or chemicals under a single color index pigment name or code, and these will also be designated as if they were a single pigment. The codes next to the pigments in above Color of Art Database may take you off sight where you can find more info or even purchase, if you so desire. These codes are not part of any standard, but were made up by me for this database, with purpose of making them as short as possible.
The links below next to the manufacturer code below are to the official manufacturer web site and will open in a new window.

DG = Daniel Green (discontinued?)

EP = Earth Pigments

GB = Gamblin

GEN = Common Generic term

GO = Golden

GR = Grumbacher

GU = Guerra Paint & Pigment

HO = Holbien

JO = Jo Sonja

KA = Kama Pigments

KP = Kremer Pigmente  (USA site)


Paint medium or binder code:  Key Top ^ Page Top^

Clicking on the paint or pigment manufacturer code next to the pigment name will take you off site where more information can be found. The link will most often take you to an art supplier where you can find more specific art medium or paint binder info, purchasing source, pigment properties, pigment history, MSDS sheets, and whether it is the artist premium or student economy grade. If you find this site helpful you can help support this site by purchasing through these links.

d in italics next to the pigment manufacturer or art supplier code indicates a discontinued pigment or paint.
All other art medium or binder codes in italics mean the pigment under that name is in the "student" or economy grade, not the "artist's" grade paint.

a = Acrylic Paint, heavy body;

ab = Acrylic Airbrush colors;

ad = Aqueous pigment dispersions;

af = Fluid Acrylics;

ag = Matte Acrylic or Acrylic Gouache;

ao = open acrylics or slow drying

k = Alkyd paints;

c = Casein or milk paint;

d = Discontinued

e = Encaustic paints;

g = Traditional water color Gouache;

i = Ink (printing ink or pigmented drawing inks);

o = Oil Paint;

p = Dry Pigment;

t = Artist Professional Tempera or Egg Tempera;

w = Watercolor Paint in tubes;

wp = Watercolor Pan; wp = 1/2 pan, wp(f) = full pan, wp(L) = large pan

wo = Water mixable oil paint or water soluble oil paint.

 

am = Acrylic medium, may have a wide variety of ingredients or uses

om = Oil painting Medium, may have a wide variety of ingredients or uses

wm = Watercolor Medium, may have a wide variety of ingredients or uses

GEN = Where there is a generally accepted common historic name associated with a pigment, I have used "GEN" to denote the generic or common historical name of a particular pigment.


Other than gouache, only single pigment paints and pigments are included. Gouache is designated distinct from watercolors because it is often mixed with white or additives to make it matte and/or opaque and that is not usually indicated on the paint manufactures literature. Other art material or medium forms such as pastel, oil pastels, oil bars, dyes and ceramic glazes will not be designated with a artists medium or binder code, but may still be listed under the pigment name with a company code.

 


©2013 by David Myers, All Rights Reserved. Please email me with corrections, additions or comments.

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Artist Reference Resources:

Historical Artist and Pigment Reference Sources:  
This is just a partial list, for a more complete listing of Historical Pigment References see the
Free Art Books Page.

  1. The Industrial and Artistic Technology of Paint and Varnish,
    By Alvah Horton Sabin, Published by J. Wiley & Sons, 1904
  2. The Painters' Encyclopaedia,
    By Franklin B. Gardner, Published by M.T. Richardson, 1887
  3. The Science of Painting,
    By Jehan Georges Vibert, Published by P. Young, 1892
  4. A Treatise on Painting,
    By Cennino Cennini, Giuseppe Tambroni, Mary Philadelphia Merrifield, Translated by Mary Philadelphia Merrifield, Published by Lumley, 1844
  5. A Treatise on Painting,
    By Leonardo Da Vinci, John Francis Rigaud, Published by J.B. Nichols and Son 1835
  6. The Book of the Art of Cennino Cennini,
    By Cennino Cennini, Cennini, Christiana Jane Powell Herringham, Translated by Christiana Jane Powell Herringham, Published by G. Allen & Unwin, ltd., 1899
  7. The Chemistry of Paints and Painting,
    By Arthur Herbert Church, Published by Seeley, 1901
  8. A Handbook for Painters and Art Students on the Character and Use of Colours,
    By William J. Muckley, Published by Baillière, Tindall, and Cox, 1880
  9. The Household Cyclopedia,
    By Henry Hartshorne 1881
  10. The Chemistry of Pigments,
    By Ernest John Parry, John Henry Coste, Published by Scott, Greenwood, 1902
  11. Facts about Processes, Pigments and Vehicles: A Manual for Art Student,
    By Arthur Pillans Laurie, Published by Macmillan, 1895
  12. The Manufacture Of Earth Colours:
    By DR. JOSEF BERSCH, translated by CHARLES SALTER,SCOTT, GREENWOOD & SON , 1921 Link
  13. Materials for Permanent Painting,
    By Maximilian Toch 1911

 

Modern Pigment and Artist Reference Sources:

  1. The Artist’s Handbook,
    by Pip Seymour, Arcturus Publishing (September 16, 2003)
  2. The Artist's Handbook, Revised Edition,
    Ray Smith; DK Publishing 2003
  3. The Artist's Handbook of Materials and Techniques,
    Third edition, by Ralph Mayer; Viking Press 1979
  4. Artists' Pigments: Volume 1: A Handbook of their History and Characteristics
    Edited by Robert L. Feller
  5. Artists' Pigments: Volume 2: A Handbook of their History and Characteristics
    Edited by Ashok Roy (Oct 2, 1993)
  6. Artists' Pigments: Volume 3: A Handbook of their History and Characteristics
    Edited by Elisabeth West Fitzhugh (Oct 1997)
  7. Artists' Pigments: Volume 4: A Handbook of their History and Characteristics
    Edited by Barbara Berrie (Jun 7, 2007)
  8. Collins Artist's Colour Manual,
    Simon Jennings; HarperCollins Publishers 2003
  9. Color Index International Pigments and Solvent Dyes,
    The Society of Dyers and colourists, third edition 1998
  10. A Dictionary of Art Terms and Techniques,
    Ralph Mayer, Harper and Row Publishers, New York, 1969
  11. The Materials and Techniques of Painting,
    by Jonathan Stephenson (May 1993)
  12. The Painter's Handbook,
    Mark David Gottsegen; Watson-Guptill Publications 1993
  13. Painting Materials A Short Encyclopaedia,
    by Rutherford J. Gettens and George L. Stout; Dover Publications 1966
  14. Pigment Compendium,
    by Nicholas Eastaugh, Valentine Walsh, Tracey Chaplin, Ruth Siddall; Butterworth Heinemann 2004

 

 

Web Resources and Art Suppliers with Excellent Reference Materials:

  1. American Institute for Conservation of Historic and Artistic Works (AIC):

    National membership organization in the United States dedicated to the preservation of cultural material, establishes and upholds professional standards, promoting research and publications, educational opportunities, and fostering the exchange of knowledge among conservators, allied professionals, and the public.

  2. AMIEN:
    a resource for artists dedicated to providing the most comprehensive, up-to-date, accurate, and unbiased factual information about artists' materials
  3. Blick Art Materials;
    has done a extremely thorough job of indicating the pigments used in most of the paints they sell, making the Dick Blick art supply website much more than just a store to purchase paint and art supplies.
    Dick Blick also has the MSDS sheets
    for of most of the products they sell , making the Blick site a valuable resource for toxicity info and the health and safety of artist materials.
  4. Coloria.net,
    a large and thorough site on pigments, in Finnish http://www.coloria.net/index.htm
  5. Conservation and Art Materials Encyclopedia Online (CAMEO), The Materials Database,
    developed at the Museum of Fine Arts, Boston (MFA), to be a more comprehensive and well-rounded encyclopedic resource for the art conservation and historic preservation fields. The MATERIALS database contains chemical, physical, visual, and analytical information on over 10,000 historic and contemporary materials used in the production and conservation of artistic, architectural, archaeological, and anthropological materials.
  6. Conservation OnLine (CoOL):
    A freely accessible platform to generate and disseminate vital resources for those working to preserve cultural heritage worldwide.
  7. The Handprint,com;
    site by Bruce MacEvoy has loads of excellent information on watercolor pigments and Has a excellent color wheel showing where the actual pigments are in color space. Truly an awesome site, the site is directed at watercolors, but is a good general reference for any paints or pigments.
  8. Webexhibits.org;
    Great pigment sight that even includes step by step instructions for making you own pigments.
  9. The Real Color Wheel;
    by Don Jusko is also a great color site.
  10. Studiomara;
    has a fantastic pigment reference database sorted by the marketing paint color name and brand.
  11. Health and Safety in the Arts;
    A Searchable Database of Health & Safety Information for Artists
  12. Household Products Database;
    Health and safety information on household products from the US Department of Health and Human Services
  13. Natural Pigments:
    One of the best sources of rare natural and historical pigments and information.
  14. Pigments and their Chemical and Artistic Properties; by Julie C. Sparks, is part of The Painted Word Site. Wonderful stuff.
  15. Paintmaking.com: By Tony Johansen, Great Paint making site with all types of useful pigment and binder information for the artist.
  16. PCImag.com; Paint & Coatings Indusry
        2010 Additives Handbook by Darlene Brezinski, Dr. Joseph V. Koleske, Robert Springate, June 4, 2010;
        A History of Pigment Use in Western Art Part 1;
        A History of Pigment Use in Western Art Part 2
  17. Dick Blick Artist Supply:
    Full Range of art supplies at discount prices and has pigment info on most paints they sell
  18. Kremer Pigmente EuropeKremer Pigments USA site;
    Has a huge amount of pigments and information.
  19. Earth Pigments:
    Specializes in earth pigments.
  20. Guerra Paint and Pigments:
    Many rare and out of production Pigments mostly in aqueous dispersions
  21. Sinopia:
    Lots of Pigments & info

Health and Safety in the Arts References and Info:

  1. Art and Craft Safety Guide (PDF, 250 KB)
    Consumer Product Safety Commission
  2. Art Materials Business Guidance
    Consumer Product Safety Commission
  3. Art Safety
    Environmental Protection, Health & Safety, California State University at Monterey Bay
  4. Artist Safety
    Center for Research on Occupational and Environmental Toxicology, Oregon Health & Science University
  5. Environmental Health & Safety in the Arts: A Guide for K-12 Schools, Colleges and Artisans
    U. S. Environment Protection Agency
  6. Exposing Ourselves to Art (PDF, 6.83 MB)
    Scott Fields. Environmental Health Perspectives Volume 105, Number 3, March 1997
  7. Health & Safety Bibliographic Resources and Resource Guides in Art Conservation
    CoOL – Conservation Online, Stanford University Libraries
  8. Health and Safety Guides and Publications
    American Institute for Conservation of Historic and Artistic Work
  9. Art Safety
    Office of Environmental Health and Safety, Connecticut College
  10. Health and the Arts Program
    The Occupational Health Service Institute, University of Illinois at Chicago
  11. Online Health and Safety in the Arts Library
    The Occupational Health Service Institute, University of Illinois at Chicago
  12. Arts, Entertainment and Recreation
    New York Committee for Occupational Safety and Health
  13. Studio Safety
    Gamblin Artists Colors

 

 

*other ASTM specifications used the the labeling of artists materials are:

 

D4236-94(2011) Standard Practice for Labeling Art Materials for Chronic Health Hazards

D4302-05(2010) Standard Specification for Artists' Oil, Resin-Oil, and Alkyd Paints

D4303-10 Standard Test Methods for Lightfastness of Colorants Used in Artists' Materials

D4838-88(2010) Standard Test Method for Determining the Relative Tinting Strength of Chromatic Paints

D4941-06(2010) Standard Practice for Preparing Drawdowns of Artists' Paste Paints

D5067-05(2010) Standard Specification for Artists' Watercolor Paints

D5098-05a(2010) Standard Specification for Artists' Acrylic Dispersion Paints

D5383-02(2010) Standard Practice for Visual Determination of the Lightfastness of Art Materials by Art Technologists

D5398-97(2010) Standard Practice for Visual Evaluation of the Lightfastness of Art Materials by the User

D5517-07 Standard Test Method for Determining Extractability of Metals from Art Materials
See also WK41263 proposed revision

D5724-06(2010) Standard Specification for Gouache Paints

D6801-07 Standard Test Method for Measuring Maximum Spontaneous Heating Temperature of Art and Other Materials

D6901-06 Standard Specification for Artists' Colored Pencils
See also WK27266 proposed revision

D7354-11 Standard Guide for Artists’ Paint Waste Disposal in Private, Non-Commercial Settings

D7355-10 Standard Guide for Artists' Paint Waste Disposal in Smaller Commercial or Educational Settings

D7733-12 Standard Specification for Acrylic Dispersion Ground

WK28388 New Specification for Traditional Artists Watercolor Paints
WK37409 New Test Method for Measuring Aspiration Potential of Aerosol Products
WK37916 New Specification for Standard Specification for Artists Pastels

 

I hope you you have found the Pigment Database useful info for oil painting and watercolor painting, acrylic painting or indeed any painting medium; I have tried to make this a good resource for the fine arts, that has the important information on toxicity of paint and art materials including the hazards of some craft materials used by decorators, interior designers, illustration and graphic designer;

 

© 2013 by David Myers all rights reserved

 

 

 

 


This page of the Color of Art Pigment Database was designed for C.I. Pigment Orange.

CI Pigment Orange is indicated with the pigment code "Pigment Orange" followed by the color index international's pigment identification code number or pigment ID number. The full color index name or generic pigment name is usually shortened to the Color Index code which for pigment orange is "PO" plus the color index # (after the "PO" pigment orange code designation there is the Color index identifying number code for the specific pigment, i.e. "PO 20" or "PO 21"). All artist paints and pigments that are ASTM International (American Society for Testing and Materials) and ASTM D4236 - 94* compliant that are sold in the United States must have the pigment identification number or generic chemical names of the orange pigments that were used to make the orange paints or dry pigments (either powdered pigments or in the commonly found "pigment dispersions") and should be have the generic pigment name printed on the paint label. The "orange oil paint" tube or "orange oil color" paint label, along with the label on tubes of acrylic paints, and on the label on tubes of watercolor even when found as pans, half-pans or dry cakes and often sold as a complete color palette or "watercolor set", will have the pigment or pigments index name on the label, or printed directly on the paint tube.

This color database is a also a great pigment reference made for DIY artist's and artisans that make their own paints with raw pigments and grind or mull the pigments into homemade paints giving them complete control over the paints grind, texture, and color. Making your own paints (paint making) by mulling the pigment in with a binding medium can be a rewarding and fun creative experience. The artist is involved in the process of creation, from the beginning with only the raw dry pigments and proceeding on to grinding pigments with a binding media (usually shortened to "binder"). For making oil paints, linseed oil is the most common binder (or medium). Walnut oil is also common oil used in making oil colors in the art studio and is less yellowing than linseed oil, There are other less common drying oils and some new alkyd resins the are sometimes used in making oil colors in the studio. Making (or grinding) watercolor paint is also fun and easy. The most common formula for making homemade watercolors is mostly water with some dissolved gum arabic (the glue that holds the paint together when dry). Honey and glycerin are common additives used in varying proportions to adjust the drying time and re-wetability of the dried watercolor. See the Art is Creation Recipe page and the free book page for more info and paint making or grinding medium recipes. Egg-oil tempera and other media can be made in the art studio by DIY artists and it is creative and fun to make your very own paints. It is a very rewarded creative experience to grinding (mulling) your own paints and then finally making a painting or work of art, all entirely created by the artist themselves from start to finish.

Reference resources and info on pigments used for artist paint, student paints, oil color including:

  • Oil Paints
  • Watercolors
  • Acrylic Paint
  • Pigments used in making paint
  • Dry Pigments and Powders
  • Aqueous Pigment Dispersions
  • Fluid Acrylics
  • Airbrush Paint
  • Acrylic Gouache
  • Matte Acrylic Paints
  • Acrylic Vinyl
  • Acyclic paint or Alkyd Oils
  • Casein or Milk Paint
  • Encaustic painting
  • Gouache
  • Printing Inks or Pigmented Drawing inks
  • Oil sticks or Oil Bars
  • Oil Base Pigment Stick
  • Tempera or Egg Tempera
  • Watercolor Sticks
  • Watercolor Pigment Sticks or Bars
  • Water mixable oil paint or water soluble oil paint