Color Index Name Code:
This is the official code given by the Color Index International for that particular pigment. The first 2 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.
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
CI (Color Index) Pigment Name:
This is the official name given in the Color Index (third edition, 1997), or the name the first manufacturer or original patent holder has given that pigment, in a few instances where neither of the previous are available, I have used the actual chemical name. Where a pigment has no color index name, I have used the traditional historic name or the mineral/chemical names.
Common, Historic and Marketing Names:
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 name but merely a collection of names that are in common usage or have been used. They have been culled (in order of importance) from paint manufacturer and supplier literature, The Color Index, Third edition (1997), Historical Books on pigments and art (see Free e-Books), and Artist manuals and handbooks (see the bottom of the Pigment Database's main page for a complete list of reference works). Marketing names given by paint manufacturers are often misleading, deceptive or descriptive of the color and not the actual pigment. Where there is a common historic name associated with that pigment I have used "GEN" to denote the generic common historically accepted name of that particular pigment. When a manufacturer has used a common historical name for a pigment that is not the accepted traditional historic pigment name, I have indicated it with the "(hue)" designation.
C.I. (Color Index) Pigment # (number):
These are the chemical composition number given that pigment by the Color Index International (see Colour Index Number Categories here)
Chemical Composition:
These are the basic chemical names, or mineral names along with chemical composition. Where I can fine them, I have included CAS numbers. Sometimes multiple names are given because chemical names can be stated in different ways or the pigment is a group of chemicals rather than a single one. I have not included detailed chemical descriptions or analyses but only basic information that should help you find further information. I have included references designated with "(Ref)" where further information can be attained.
Color Description:
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.
Opacity- Transparency*:
The opacity and transparency is only a general reference, where available, i have used the Color index's designation or manufacturers literature to arrive at this figure. Many pigments exist in both transparent and opaque versions, or can be manipulated by the paint or pigment manufactures for a particular purpose. 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:
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 ASTM rating, but a rating culled & averaged from other sources. Sources include individual paint brand ratings, my own personal tests, tests results in 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);
I = Excellent, II = Very Good, III = Fair, IV = Poor, V = 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. Note that some BWS will only have numbers for Full shade & 1/2 tint.
Oil Absorption: is in ml/100mg:
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).
When the specific numbers are unavailable: H = High, M = Medium, L = Low
Toxicity:
Under this heading will be a general rating of possible toxicity. It is assumed intelligent people will use at least ordinary care when handling all paints or dry pigments. A rating of 'A' in this database, does not mean the pigment is totally harmless, but only that there is low toxicity under reasonable use, it does not mean you can eat it, even so called "Food Colors" are not meant to be eaten in large quantities and may have unknown side effects or allergic reactions. There are no artists' pigments that are made to 'food grade' or 'pharmaceutical grade' standards, so even if a certain coloring is considered non-toxic, it does not mean it's OK to ingest it or carelessly handle. The designation rating of A (relatively non-toxic) to D (dangerous) has been determined from, the manufacturers and suppliers literature and MSDS/SDS sheets, Various books and articles on artist's materials and artist material retailer information.
More Heath and safety in the arts info can be found at:
Health & Safety Committee Conservation Wiki;
Health in the Arts Compendium
nontoxicprint.com in collaboration with Health in The Arts Institute at the University of Illinois Chicago.
Important Downloads:
Environmental Health & Safety in the Arts: A Guide for K-12 Schools, Colleges and Artisans; Proper Management of Waste and Residuals from Art Studios and Shop Practices PDF - An art safety handbook, prepared for the EPA by the Pratt Institute.
Art and Craft Safety Guide PDF by the U. S. Consumer Product Safety Commission
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.
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 friendly and safe way.
A = Low hazard, but do not handle carelessly; B = Possible Hazard if improperly or carelessly handled; C = Hazardous, use appropriate precautions for handling toxic substances; D = Extremely Toxic, only attempt working with this pigment (especially the dry form) in laboratory conditions and with proper safety equipment.
Side Notes:
These are typically interesting things I have read, or information collected on a pigment that may be worth further study. 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.
(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 source of the information I have given. or 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 reference, possible typo or other discrepancies in the manufacturer or other reference documentation. Further study is needed to clarify.
† 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 and more opaque; Darkens = Becomes darker but retains hue; Dulls = Loses chroma towards neutral; Blackens = Turns very dark or black losing chroma; Hue shift = Changes hue towards a different color |