Notebook, 1993-



Obviously, an artist's pigment should contain no impurities. In some cases, the addition of certain admixtures is a technical necessity, for several pigments have such enormous staining power that they can tolerate the addition of extenders quite well, especially when they are used for s subordinate purposes. Special cases, such as mural decoration, actually require the inclusion of such additives. This should, of course, be reflected in the price. Adulteration, or thinning, of a pigment, however, is considered fraud, such as when a pigment normally known for its reliability is dyed with coal-tar dyes to simulate better quality.

Even a high-quality artist's pigment need not be chemically pure. It is quite sufficient if it is technically pure. Excessively small particles are not always desired. On the other and, coarse, gritty pigment cannot be used even for fresco painting. Powder colors should be evenly fine and as soft as possible in order to be easily ground in media. Naturally, to prepare watercolors, the most finely levigated material must be used. [p. 59]

[Wehlte, Kurt. The Materials and Techniques of Painting. Translated by Ursus Dix. New York: Van Nostrand Reinhold Company. 1975.]



The contents of this site, including all images and text, are for personal, educational, non-commercial use only. The contents of this site may not be reproduced in any form without proper reference to Text, Author, Publisher, and Date of Publication [and page #s when suitable].