* The level of opacity can vary from one extreme to the other even in the same pigment. Chemical variations, additives, crystal or particle shape and size are commonly used by pigment manufactures to tailor the pigment to a specific application. Variations in pigment composition from natural sources, impurities and purification can also effect opacity. The binders used and amount of grinding effect transparency of the paint, a pigment in watercolor may be opaque where the same pigment in oil paint may be transparent. I have used mostly the paint or pigment manufacturers rating, published refractive index numbers or other pigment/paint manufacturer info of the most common pigment forms used by artists to determine transparency. Your results may vary.

** Light fastness can vary widely even within the same pigment. Particle size, binder, additives, purity can all have an effect on light fastness and pigment stability. I have used the ASTM light fastness test results when available, and when unavailable, I have used the manufacturer data sheets and/or individual tests for the ratings. Use the information provided only as a general indication and starting off point for your own tests on the final paint formulation.

*** The actual toxic hazards of artist materials in real world practice can be debated. Many pigments are toxic if you ate them, but with a little common sense there is really very little hazard especially with pre-made paints. Do not smoke, eat or drink in or near the vicinity of pigments, paints and solvents. Do not put your hands or brushes in your mouth or near your face. Dry pigment powders pose the greatest hazard because they can easily be inhaled or ingested. Powdered pigments can also cling to hands or clothing and are easily spread and blown about to contaminant other areas. However some simple basic safety precautions and procedures can eliminate or reduce hazards to minimal levels. Do not smoke, eat or drink in or near the vicinity of powdered pigments. Do not put your hands in your mouth or near your face. Wash your hands often or use protective gloves. Wash clothes separately from other clothes. Work in an area safely away from food, pets and children. It is wise to wear rubber gloves and a dust mask whenever working with powdered pigments even those thought to be generally safe.

Some information may be incomplete. A blank cell means the information is not available to me or it is not applicable (N/A). Pigments that have little potential value to artists have been omitted, but may be added at a later date if the pigment has been discovered to have artistic value. Many pigments have been withdrawn from the color index but are still included here as one may find old storage of pigment and paints. I have also indicated the marketing name brand of paints and pigments that are no longer available too, as old paint tubes and pigments may be still be found.

The word (hue) in parenthesis denote a hue approximation of an historical color that is not actually part of the paint or pigment manufacturers marketing name. Not including the word hue in the historical paint or pigment name may mislead some to believe it is the genuine historical pigment. When not in parenthesis, it is actually used as part of the paint/pigment manufacturers color name as per ASTM guidelines. Some other words paint and pigment manufacturers use for hue are: Extra, Substitute, Modern, Nova, and also the historical name followed or prefixed by part of the real pigment name (i.e. Cerulean Blue Phthalo). I believe that some of these pigment hue name designations to be a little less than honest.

Concerning the notes column: The notes here in are not to be considered the final say of fact. My notes are intended as additional pigment information that may be worth further study. Many of these notes may be opinion (not necessarily my own), rumor, word of mouth or personal experience and meant as nothing more of than an indication of the possibilities for further research. If possible, next to the comment in parenthesis (Ref), I have included a link to a reference source. Although I have tried to be as accurate as possible a full note for note listing of sources (see below for a reference list) is beyond the scope of this document. One should be wary of any definitive statements on art materials because many of the "facts" may be debatable even amongst experts. The information here is free and provided "as is", I make no warranty as to the accuracy of the statements. Pigments and paint making are a hobby of mine, I am not, nor do I purport to be an expert authority, and this document should be read with that in mind. However if you find any inaccuracies or mistakes please email me and I will research the information and correct or add to it if I feel it's needed.