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Green The
color of growth and life
Green is the most restful color on the eye. In nature the color is all
around us but as a pigment color it was elusive until recently. There
are only a few minerals that are green in color, and the plant kingdom
produced only weak dull greens that would fade quickly. Renaissance
masters became adept at 'making do' with greens. Verdigis was
unreliable and the more permanent greens such as malachite
insufficiently deep. Consequently glazing yellows over blue and other
indirect methods were common. It wasn't until the 19th century that the
'green problem' was finally solved.
Chromium Green Oxide PG
17 ASTM l
Chemical type and
description
Organic synthetic mixed metal oxide. Although discovered much earlier
than Viridian to which it is closely related, it was not introduced as
an artist's color until after Viridian. It is a dull, opaque willow
green color of great permanence. It has the unusual property of
photographing under infra red light the same shade as living foliage
and so is the most commonly used green for military camouflage. It is
average drying and makes a hard, fairly flexible oil paint. Suitable
for all purposes
Toxicity
Chromium is considered toxic, suspected carcinogen. Do not breath dust.
Media suitability
Linseed oil, Alkyd, Acrylic, Watercolor, Gouache, Tempera,
Encaustic, Fresco, Pastels, Chalk.
Viridian PG 18
ASTM l
Also called Guignet's Green (after the discoverer)
Chemical type and description
Inorganic synthetic chromium. A bright bluish emerald green color of
great permanence except for heat, as high temperatures turn it into the
duller Chromium Green Oxide. Introduced in 1859 it was the perfect
permanent deep green color artist's had needed since the dawn of time,
and has only ever been challenged in that role by the more pure and
brilliant Pthalo Green from the mid 20th century. When making oil paint
by hand it is advisable to choose Viridian since as with most mineral
colors as opposed to organics, it is generally easier to make into a
paint. However care must be taken when purchasing the pigment as it is
difficult for the manufacturer to purify the pigment and remove traces
of borate's and chromate's which if present can be problematic. It is
wise to pay a premium for the best grades. Viridian is not well suited
to acrylics, watercolors, gouache, or fresco. In oil it is average
drying and makes a hard and fairly flexible oil paint.
Toxicity
Chromium is considered toxic and a suspected carcinogen. Do not breath
dust.
Media suitability
Linseed oil, Alkyd, Tempera, Encaustic, Pastels, Chalk.
Cobalt Green PG 19 & PG
50
PG 50 is also known as Light Green Oxide
Chemical type and
description
Inorganic synthetic mixed metal oxides. Since these pigments share many
qualities I will deal with them both together. The main difference is
that the PG 19 has zinc as a component and PG 50 has titanium. Both are
very permanent bright mid greens of low tinting strength. The older PG
19 has never been a large part of artists ranges, but PG 50 seems to be
increasing in use as it has a popular and pleasing color and is a
little bit stronger. Both are average to fast driers and make hard and
fairly flexible oil paint. PG 19 is not suited to fresco, but apart
from that they are suited to most artist's media.
Toxicity
Cobalt is considered toxic. Do not breath dust.
Media suitability
Linseed oil, Alkyd, Acrylic, Watercolor, Gouache, Tempera,
Encaustic, Fresco, Pastels, Chalk.
Pthalo Green PG 7 & PG
36 ASTM l
Also known as Monastral Green
Chemical type and
description
Organic synthetic Pthalocyanine. A Chlorinated and Brominated version
of copper pthalocyanine. PG 7 is an intense clear bright emerald green
color that gains in popularity and usage year by year, and appears to
be displacing Viridian in most usage's. Manufacturers like it because
it
is a similar color but has none of the restrictions of Viridian being
suitable for all water based media as well as oil paint. PG 36 is a
yellow shade of Pthalocyanine that is an excellent mixing color and is
liked by many as it is not so powerful as the bluer version.
Toxicity
Copper may be a slight hazard. Do not breath dust.
Media suitability
Linseed oil, Alkyd, Acrylic, Watercolor, Gouache, Tempera,
Encaustic, Fresco, Pastels, Chalk.
Green Earth PG
23 ASTM l
Also known as Terre Verte, Bohemian Earth, Burnt Green Earth
Chemical type and
description
Inorganic ferrous silicates with aluminum and magnesium. A weak green
pigment made from small deposits of greenish clays of different color
depending on origin. Bohemian Earth appears to be yellower, while
Verona is more bluish. The weakness of the pigment means that many
artist's materials manufacturers put mixtures of Sienna and Pthalo
Green into tubes instead of the real thing. It is possible to find
Green Earth in which the color is developed by light calcining. It is
particularly well suited to Tempera and Fresco
Toxicity
Not considered toxic. Do not breath dust.
Media suitability
Linseed oil, Alkyd, Acrylic, Watercolor, Gouache, Tempera,
Encaustic, Fresco, Pastels, Chalk.
Other Greens A mixed bag
Hooker's Green
Originally this pigment was an unreliable mixture of Prussian Blue with
Gamboge. A pleasing and useful color for watercolorist's. Eventually a
reliable mixture of Cadmium Yellow and Pthalo Blue was an improvement.
But strangely (perhaps because it was cheaper) a newer pigment also
called Hooker's Green was introduced and given the color index PG 8
With an ASTM rating of lll this is a pigment to avoid. Look for
reliable mixtures or mix your own.
Cadmium Green (PG 14)
Mixing 2 expensive pigments was always going to be a hard sell and so
it has proved with this permanent mixture of cadmium Yellow and Cobalt
Blue. Sometimes mixtures with Pthalo Blue are marketed. Not easy to
find.
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Miscellaneous pigments
References
Alberti, L B, On Painting 1435
(Penguin Classics)
Cellini, B, The Life Of Benvenuto
Cellini, finished 1562 but not published until 1730
(Heron)
Cennini, C d'A, The Craftsman's
Handbook. 1437 (Dover)
Doerner, M, The Materials Of The Artist And Their Use
In Painting, 1921 (Harcourt Brace)
Eastlake, Sir C L, Materials For A History Of Oil
Painting, 1847 (Dover)
Feller, R L, Artists Pigments 1986
(National Gallery Of Art / Cambridge University)
Gettens, R J, and Stout, G L, Painting
Materials: A Short Encyclopedia, 1942
(Dover)
Gottsegen, M D, A Manual Of Painting Materials And
Techniques, 1987 (Harper & Row)
Maire, F, Colors: What They Are And What To Expect Of
Them, 1910 (Drake)
Mayer, R, The Artists Handbook Of Materials And
Techniques, fifth edition 1991 (Faber
& Faber)
Merrifield, Mrs. M P, Medieval And Renaissance Treatises
On
The Arts Of Painting 1849 (Dover)
Muther, R, The History Of Painting From The Fourth
Century To The Early Nineteenth Century, 1907 (Putnam)
Parkhurst, D B, The Painter In Oil 1898
(Lothrop, Lee & Shepard)
Patton, T C, Pigment Handbook, 1973
(Wiley)
Porter, N Webster's Revised Unabridged
Dictionary, 1913 (Merriam)
Pliny, The Elder (Gaius Plinius), Natural
History, 77 AD (Penguin Classics)
Roy, A Artist's Pigments: A Handbook Of
Their History And Characteristics, 1994
(Oxford University Press)
Taubs, F, A Guide To Traditional And Modern Painting
Methods, 1963 (Thames & Hudson)
Theophilus, On Divers Arts, 1125 (Dover)
Various, Encyclopedia Britannica,
fifteenth edition 1981 (Encyclopedia Britannica, Inc)
Various, Paint And Painting, 1982,
(Winsor & Newton / The Tate Gallery)
Various, The Artist's Colormen's
Story, 1984 (Winsor & Newton)
Vasari, G, The Lives Of The Most Excellent Painters,
Sculptors And Architects, 1568 (Penguin Classics)
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