Pigment: natural and synthetic substances that provide color
Overview of pigments: particulate colorants used in art and industry, natural and synthetic sources, their properties and production, historical development, applications, and safety and environmental issues.
Overview
A pigment is a solid material that imparts color to a surface, medium or material by selectively absorbing and reflecting visible light. Pigments differ from dyes in that pigments remain as dispersed particles, whereas dyes are generally soluble and form molecular solutions. Pigments are used in paints, inks, plastics, cosmetics, ceramics and many industrial coatings. They may be obtained from natural sources or manufactured synthetically to provide consistent hue, opacity, permanence and other performance characteristics.
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7 ImagesDefinitions and distinctions
Pigment commonly refers to an insoluble colored particle used to produce color by scattering and absorption. Dye refers to a soluble colored substance that bonds to a substrate at molecular level. The broader term colorant includes both pigments and dyes. Pigments can be classified as organic (carbon-based molecules) or inorganic (mineral or metal-based compounds), and they may be opaque, translucent or transparent depending on particle size and refractive index.
Natural sources
Natural pigments have been derived from minerals, soils and clays (for example ochres and earths), crystalline minerals such as lapis lazuli (the source of historic ultramarine), plants (indigo, madder), animals and insects (cochineal), and microorganisms. Many traditional pigments were prized for their color and permanence; for instance, ultramarine was historically valued for its vivid blue. Natural pigments often require processing such as grinding, purification or chemical treatment before use.
Synthetic pigments and historical innovation
The development of synthetic colorants in the 19th century transformed available colors and their cost. The discovery of mauveine, the first aniline dye, in 1856 is widely cited as the start of modern synthetic organic chemistry for colorants. Synthetic inorganic pigments—such as synthetic ultramarine, chromium oxides, iron oxides and titanium dioxide—were developed to offer consistent color, improved lightfastness and large-scale production. Modern organic pigment classes include azo, phthalocyanine and quinacridone pigments, each chosen for specific hues and durability.
Production and formulation
Pigment manufacture and preparation involve processes such as grinding and milling to obtain a fine particle size, precipitation and heat treatment for some inorganic pigments, and surface treatments or coatings to improve dispersion and stability. In paints and inks, pigments are dispersed into binders (oils, resins, acrylics) and additives which determine gloss, drying behavior and adhesion. The particle size distribution and surface chemistry strongly influence tinting strength, opacity (covering power) and weather resistance.
Special types and optical effects
Beyond simple colorants, there are pigments engineered to produce special visual effects: metallic pigments give a metallic sheen, pearlescent pigments use mica coated with metal oxides to create iridescence, and interference pigments produce color shifts by thin-film interference. Transparent and fluorescent pigments, as well as functional pigments that absorb ultraviolet radiation or provide corrosion resistance, expand the technical uses of pigments in industry and design.
Applications
Pigments are central to art, textiles, printing, plastics, cosmetics, automotive coatings and construction materials. Artists select pigments for permanence and handling qualities; manufacturers select pigments for color consistency, regulatory compliance and cost. In cosmetics and personal care, pigments must meet safety and purity standards. In printing and packaging, pigments are chosen for color reproducibility and compatibility with substrates and inks.
Safety, regulation and environmental concerns
Historically, some pigments contained toxic elements such as lead, mercury or cadmium and have been restricted or replaced for health and environmental reasons. Modern regulations control the use of hazardous substances and require testing for impurities. Pigment production and use are subject to occupational safety measures to limit inhalation of fine powders and to manage waste streams. Research into sustainable, bio-based and less hazardous colorants is ongoing.
Analysis and conservation
Analytical techniques such as microscopy, X-ray fluorescence and spectroscopy help identify pigment composition in artworks and manufactured goods; such analyses inform conservation decisions and provenance studies. Conservators consider pigment stability, interactions with binders and environmental factors when planning treatment and display conditions for colored objects.
Further reading and links
- Animal-derived pigments and sources
- Plant-based colorants and historical dyes
- Pigments from rocks and geological materials
- Mineral pigments and their chemistry
- Soil and earth pigments
- Clay and salt-based natural pigments
- Ultramarine: natural lapis lazuli and its color
- Powdered pigment handling and processing
- Blue pigments and optical properties
- Pigments in paint formulations
- Relationship between dyes and pigments
- The rise of synthetic pigments
- Organic chemical compounds used as colorants
- Benzene derivatives and industrial color chemistry
- Historic color terms and names
- Fading, permanence and conservation issues
Processing
Pigments typically arise in the form of the primary particles. The primary particles can grow together over their surfaces to form aggregates. One speaks of agglomerates when primary particles and/or aggregates are connected via their corners/edges. The pigment agglomerates are broken up by the dispersing process (dispersion) when the pigments are incorporated into an application medium. Smaller agglomerates, aggregates and primary particles are formed. These, if present, are wetted by a dispersing medium. In the process, they are ideally distributed statistically over the application medium.
In solid form, the pigment can be used pure (primary pigment), as a solid mixture of two or more pigments or as a mixture with one or more fillers. Mixing with fillers reduces the color strength, which makes it easier to dose small amounts. This option is used for powder coatings. Due to spatial proximity, primary pigments have a more intensive effect (simultaneous contrast).
For liquid coatings, (prepared) pigment preparations are often used that either contain binders or are binder-free. These pigment preparations are formulated like the paint itself; predispersed, they contain high pigment concentrations in additives, solvents, water or binders, depending on the application. The advantage of pigment preparations is the simple and exact incorporation, since the pigment is already dispersed and standardized. Additives can have a disadvantage, as the pigment preparation may no longer be compatible with all paint systems.
A tinting system is a combination of several (usually 12-20) pigment preparations, an automatic metering system and formulation software. This method is used for architectural paints. Pigment preparations can be present as a mixture with other pigments or fillers. In addition to the frequently used liquid pigment preparations, granulated preparations made with easily soluble binders are available if additional solvents are undesirable in the paint formulation.
A third option, which is particularly widespread in the plastics industry, is the use of solid or liquid pigment preparations, the masterbatches or liquid colors. In masterbatch production, the pigments are extruded or kneaded into a binder matrix at an elevated processing temperature. After cooling, the re-solid masterbatches are usually granulated so that they produce more accurate and reproducible shades when incorporated into the plastic. Masterbatches can contain several pigments or fillers, depending on the desired effect. Liquid pigment preparations are produced in batches at room temperature. For this purpose, the formulation components are distributed in a binder previously selected for the respective application and then dispersed. In this process, it is crucial to break up agglomerates as optimally as possible in order to ensure high effectiveness of the color concentrates and/or functional process additives. Dissolvers, bead mills and roller mills are usually used here.
Nomenclature
Pigments are usually named with trivial names, trade names or names from the Colour Index (C.I. Generic Name), since systematic nomenclatures according to IUPAC (International Union of Pure and Applied Chemistry) or according to CAS (Chemical Abstracts Service) lead to unwieldy and complicated names.
An example
- Trivial name: Brilliant yellow
- Trade Names: Aureolin, Benzimidazolone Yellow.
- Protected trade name: Hostaperm (TM) Yellow H4G
- C. I. Generic Name: C. I. Pigment Yellow 151
- IUPAC name: 2-[[1-[[(2,3-dihydro-2-oxo-1H-benzimidazol-5-yl)amino]carbonyl]-2-oxopropyl]azo]benzoic acid
- CAS index name: Benzoic acid, 2-[[1-[[(2,3-dihydro-2-oxo-1H-benzimidazol-5-yl)amino]carbonyl]-2-oxopropyl]azo]-
Classification according to properties
Pigments with common properties are combined into groups, which leads to different classifications depending on the intended use. DIN 55943 first divides colorants into organic and inorganic colorants. Each of the two groups is divided into colorants and pigments. The next level is the classification according to the optical effect. A distinction is made between white pigments, coloured pigments and dyes, black pigments and dyes, effect pigments and luminous pigments and dyes. The groups white pigments and effect pigments are not physically possible, since the effect as a pigment is based exclusively on scattering (white pigments) or reflection (effect pigments). This requires an interface, which the dissolved dyes do not have.
The inorganic colorants are not subdivided further, as this is a standard from the paint sector and no inorganic colorants are used there.
A list of individual pigments sorted by shade is given under List of Pigments.
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Author
AlegsaOnline.com Pigment: natural and synthetic substances that provide color Leandro Alegsa
URL: https://en.alegsaonline.com/art/76878
Sources
- straw.com : straw.com/sig/dyehist.html




