PBr Brown Pigments The Color of Art Pigment Database: Pigment Brown, PBr

Artist's Paint and Pigments Reference: Color Index Names, Color index Number and Pigment Chemical Composition

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PBr - Pigment Brown Brown Pigments

Historic Brown Pigments Without C.I. Names  |  CI Natural Brown  |  CI Pigment Brown

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Jump to CI Pigment Brown Number:
NBk 6*, NBr 3, NBr 6, NBr 7, NBr 8, NBr 9, NBr 11,
PBr 1, PBr 6, PBr 7, PBr 8, PBr 9, PBr 10, PBr 11, PBr 12, PBr 22, PBr 23, PBr 24, PBr 25, PBr 27, PBr 29, PBr 30, PBr 31, PBr 33, PBr 34, PBr 35, PBr 37, PBr 39, PBr 40, PBr 41, PBr 42; PBr 43, PBr 44, PBr 45, PBr 46, New! PBr48
Augite; Bronzite; Egyptian Mummy; Goethite; Hematite; Manganous Chromate; Sicklerite; Siderite; Tigers Eye

Where applicable, you can click on the artist paint or pigment company code found in the "Common Historic and Marketing Name Column" next to the pigments name. The links will take you off site where you can find more specific paint, binder, and pigment properties, including MSDS sheets and/or retailers that stock that brand of paint or pigment. Just hit your back button to return to this site or right click to open in a new window. Many of the links and ads are Affiliates of this site. You can purchase items directly at no extra cost and you can help support this site by purchasing items through these Affiliate links. All Blick art materials links are Affiliate links, and the Blick Art Materials site is a great resource of more pigment and paint information. See the Key at the bottom of any page for the artist media or binder company codes and links to the brands websites. NOTE: d in italics indicates a discontinued paint or pigment, all other medium or binder codes in italics mean the pigment/paint is in the student grade, not the "artist's" professional premium paint. See the Key (at the bottom of the page) for artist media and binder codes.


Historic and Natural Earth Brown Pigments Historic Brown Pigments and Mineral Pigments without Color Index Names
Historic Brown Pigments Without C.I. Names  |  CI Natural Brown  |  CI Pigment Brown  | KEYPage Top^

Color Index Generic Name
CI Common or Historical Name
Common, Historic and
Marketing Names
C.I.
Constitution Number
Chemical Composition
Color Description
† = Long Term Effects of Light
Opacity
1 = opaque
4 = trans.
Light
Fastness
I = excell.
IV=Fugitive

Oil Absorption
g/100g
Toxic
Side Notes

N/A

Augite

Augite;

Augite Crimson Shade from Armenia [SI.p];

Augite Purple;

Augite Violet from Armenia [SI.p];

N/A

Silicate mineral composed of varying amounts of aluminum,iron ,calcium, magnesium, and sodium {Ref), (Ref)

Deep Green to Deep Violet Brown

4

I

-

A

-

N/A

Bronzite

Bronzite;

Bronzite Genuine* [DS.w];

Burnt Bronzite Genuine* [DS.w];

N/A

"A ferriferous variety of enstatite" -Wikipedia;

(Ref) from Mindat.org

Light Metalic Red Brown; Copper Bronze

4

I

-

A

* more info on the Dan Smith PrimaTek™ artist paints and other minerals used for art pigments at the watercolor Handprint.com site.

N/A

Egyptian Mummy

Caput Mortuum;

Egyptian Mummy;

Mummy

N/A

The ground up bodies of mummies, containing asphaltum and embalming resins*

Dark Dull violet Brown

4

III

-

A

* I'm skeptical as to whether this color was really mummies or just rumors. Usually imitated with asphaltum or earth brown pigments.

N/A

Goethite

Brown Ochre Goethite [DV.o];

Dark Goethite [DV.o];

Goethite**;

Goethite - Brown Ochre [DS.w];

Goethite Genuine [DV.o];

Iron Oxide Brown;

Iron Oxide Hydroxide;

Pigment Brown 6;

Pigment Black 11;

Pigment Yellow 43;

Van Dyke Brown [MGd]

77491

77492

77499

Inorganic; Natural and/or synthetic Feric oxide and Ferroso-ferric hydroxide;

CAS 52357-70-7

Brown to dull red to black*

1-3

I

28-43

A

* Oil paints and watercolors using PBr6 and PBr 7 exist in almost any shade of yellow, orange, red and violet brown to green brown to black.

** {Ref at Mindat.org}

N/A

Hematite

Bloodstone;

Blue Ridge Violet Hematite [NP.p];

Burnt Hematite [DV.o];

Hematite [DS.o | NP.o.p];

Hematite Burnt Scarlet [DV.o];

Hematite Burnt Scarlet Genuine*[DS.o.w];

Hematite Genuine*[DS.w | DV.o];

HematiteViolet [DV.o];

Hematite Violet Genuine*[DS.w];

Iron Rose;

Pigment Brown 7;

Violet Hematite [NP.o.p] compare with PBr7

N/A

Natural Brown Iron Oxide (Mineral Reference at mindat.org), (Ref wikipedia);

dark reddish to blackish brown

3

I

46

A

* more info on the Dan Smith PrimaTek™ artist paints and other minerals used for art pigments at the watercolor Handprint.com site

N/A

Manganous Chromate

Basic Manganous Chromate;

Manganese Chromate;

Manganous Chromate

77735

Manganese Chromate, Basic Manganous Chromate. Black or red-brown powder of variable composition (Reference: Tables of Properties of Over Fifteen Hundred Common Inorganic Substances, By Wilhelm Segerblom, 1909)

Black to reddish brown

-

-

-

-

-

N/A

Sicklerite

Manganese Sicklerite;

Sicklerite [DS.w];

Triphylite

N/A

Lithium Manganese Iron Phosphate; Phosphate formed as a result of the alteration of other phosphate minerals in granite pegmatites (Ref);

Mineral: (Ref), (Ref), (Ref)

Dark brown

4

I

-

A

The Daniel Smith watercolor paint appears to be the only way this mineral was ever used as a pigment. May act as a drier in oil paint due to it's high Manganese content.

N/A

Siderite

Aerosiderite;

Bemmelenite;

Chalybite;

Eisenpath;

Fer Carbonaté;

Gyrite;

Iron Spar;

Junckérite;

Pelosiderite;

Siderite [NP.p];

Sparry Iron;

Spatformig Jernmalm;

Spathic Iron;

Spathos eIron;

Thomaîte

N/A

Natural Iron Carbonate

Light yellowish brown to gray to greenish brown to reddish brown

1

I

M

A

-

N/A

Tigers Eye

African Cat's-eye;

Australian Tiger's Eye;

Burnt Tiger Eye;

Burnt Tigers Eye Genuine* [DS.o.w];

Cat's-eye;

Crocidolite;

Golden Tigers Eye;

Marra mamba tiger iron;

Tigereye;

Tiger Eye;

Tigers Eye;

Tigers Eye Genuine* [DS.o.w];

Tiger-Eye TYOUJICHA, No. 12 [KP.p.p];

Tiger iron

N/A

Quartz silicon with yellowish and brown parallel layers, a mixture of Chalcedony and Riebeckite (Ref). The yellow-gold color is due to iron oxides.

Brown with yellowish to red- violet undertone

4

I

L

A

* more info on the Dan Smith PrimaTek™ artist paints and other minerals used for art pigments at the watercolor site Handprint.com.

Natural Brown Pigments - NBr Natural Brown - Color Index Name: NBr
Historic Brown Pigments Without C.I. Names  |  CI Natural Brown  |  CI Pigment Brown  | KEY |  Page Top^

Color Index Generic Name
CI Common or Historical Name
Common, Historic and Marketing Names
C.I. Constitution Number
Chemical Composition
Color Description
† = Long Term Effects of Light
Opacity
1 = opaque
4 = trans.
Light
Fastness
I = excell.
IV=Fugitive

Oil Absorption
g/100g
Toxic
Side Notes

NBk6

Asphaltum

Alfalto (It.);

Antwerp Braun;

Antwerp Brown;

Asfalt (Ned.);

Asfalto (Port.);

Asphalt paint;

Asfalto (Port.,Esp.);

Asfaltos (Gr.);

Asphalte (Fr.);

Asphaltum [KP.p];

Asphaltite;

Bitume (It.);

Bitumen** [ KA.ad.o.p | MA.o(artis) | MR.o];

Bitumen of Judea;

C.I. Natural Black 6;

Brown

Erdpech;

Gilsonite;

Gilsonite (Asphaltum) [NP.p];

Goudron;

Jew's Pitch;

Mineral Pitch;

Natural Black 6;

Pissasphaltum;

Shilajit;

Uintaite;

-

The natural form of a resinous hydrocarbon similar to petroleum asphalt; (Reference Pigment Compendium, 2008);

Asphaltum is defined by Child (per 1995) as different from petroleum asphalt. 'Asphaltum' being defined as the naturally occurring material (Nbk6), and the term 'asphalt' meaning those products derived from of coal tar. (Ref Pigment Compendium, 2008, p.32);

(Mindat.org Mineral Ref);

(Ref Natural Pigments);

(Ref: The Manufacture of Varnishes and Kindred Industries: Vol. 2, 1908 By Achille Livache);

(Asphaltum Ref at Boston Fine Arts, CAMEO: Conservation & Art Materials Encyclopedia Online);

(Bitumen Ref at Boston Fine Arts, CAMEO: Conservation & Art Materials Encyclopedia Online);

(Ref: Asphaltum: Bitumen - Mineral Pitch - Antwerp Brown - Mummy - Mumie section of The Chemistry of Paints and Painting, By Arthur Herbert Church)
More Info on the free art e-books page.

Dark blackish red-brown with a yellow undertone

4

III?*

N/A

A

Usually substituted with more permanent earth colors or iron oxides in artist paints.;

*Although dark brown in color and sometimes confused with PBr6, Asphaltum is Color index Natural Black 6.;

?* Unrated by ASTM, Asphaltum is reportedly light fast when used as oil color but has problems with shrinkage and cracking: see Wetcanvas.com Thread (Ref).;

Reportedly the oil paint never dries and causes "dripping" (Ref:Color: A Natural History of the Palette, By Victoria Finlay, ©2002, p.104);

Highly refined asphaltum may be more stable when used in oilcolors. (Ref: Natural Pigments).

** Bitumen is actually a range of compounds described in the Pigment Compendium, 2008 as 'a complex group of synthetic or natural, solid or high viscosity mixtures of hydrocarbons and volatile substances, that include the asphalts'.

In an artistic sense, as a pigment , it most often refers to Asphaltum, but has also been used as a name for humic earths (eg. Cassel Earth, Van Dyke Brown) and lignites. (Reference Pigment Compendium, 2008)

NBr3

Catechin

Black Catechu;

Catechin;

Catechou [KP.p];

Catechu [KP.p];

Catechu-Arten;

C.I. Natural Brown 3;

Cutch;

Gambier;

Katha;

Kattha;

Kavari;

Natural Brown 3

75250

Catechinic acid from the left over of katha made from Acacia catechu;

CAS 154-23-4 (Hydrate)

CAS 100786-01-4

Brown

4

-

-

A

MSDS

-

NBr6

Ganga

C.I. Natural Brown 6;

Ganga;

Harda;

Natural Brown 6

 

Chebulinic Acid; Extracted from the dried fruits of Terminalia chebula (Myrobalan);

CAS 114921-10-7

Yellow brown

4

-

-

A

-

NBr7

Juglone

Akhnot;

C.I. Natural Brown 7;

Iuglon;

Juglane;

Juglone;

Natural Brown 7;

Natural walnut stain powder [KA.p];

Oil Red BS;

Nucin;

Regianin;

Walnut extract;

Yuglon

75500

Extract from the nut-shells, roots, leaves, bark and wood of trees of the Juglandaceae family, usually Black Walnut.; Naphtoquinone;

CAS 481-39-0

Dark brown

4

IV

-

A*

Historically used for inks and stains more than artist's paint. Sometimes used as a natural herbicide.

* (Ref)

NBr8

Van Dyke Brown

Bruno Vandyck;

Caledonian Brown;

Cappagh Brown;

Cassel Brown;

Cassel Brown, Van Dyck Brown [KP.p];

Cassel Earth [NP.p];

Cassel's Earth [KA.p];

Cassel Umber;

Caste Earth;

Castle Earth;

C.I. Natural Brown 8;

Coal Brown;

Cologne Brown;

Cologne Earth;

Cologne Umber;

Collens Earth;

Cullen Earth;

Cullens Earth;

Czechia;

Genuine Cassel's Earth [KA.p];

Humic Earth;

Kassel Earth;

Kassel Umber;

Lignite;

Mineral Brown;

Natural Brown 8;

Preto de Frandes;

Rubens' Brown;

Sap Brown;

Spanish Brown;

Terre de Cassel;

Terra di Colonia;

Ulmin Brown;

Van Dyck Braun;

Van Dyck Brown [KP.p];

Van Dyke Brown [GEN, HO.w | NP.p | SH.w | WL.o];

Vandyke brown [HO.w | SH.w];

77727

Lignite;

Brown earth with Peat and Coal residues (Ref @ CAMEO Art Material Database);

Composition varies;

Making pigments: Van Dyke Brown?* at webexhibits.org;

CAS 72669-22-8

Dull dark earth brown

2

II-III-IV? (NR)*

BWS
8; 7; 7
(Kremer)

M

A**

Named after the artist Van Dyke who used it extensivly;

May be as much as 90% organic matter (Ref. webexhibits.org)

Genuine Van Dyke Brown is NBr8. Sennelier's Van Dyck Brown dry pigment, Utrecht's Van Dyke Brown oil paint and Schminke's Cassel Earth oil color all indicate they are PBr8, which is a more stable pigment but not the genuine Van Dyke Brown.

The Color Index (Third Edition 1997) lists Van Dyke Brown or Cassel Earth as Natural Brown 8 (NBr8), and lists Pigment Brown 8 (PBr8) as Manganese hydroxide and oxides (the natural form usually also contains iron oxides and clays).
This seems to be a common point of confusion even among pigment and paint manufacturers. see PBr8

* Not rated by the AMST, usually though of as fugitive, but some old paintings have survived in fairly good shape, though it can cause sagging in oil paints. Kremer's BWS seems to indicate excellent lightfastness.
Rated III (fair) in lightfastness tests on watercolor by Bruce MacEvoy @ handprint.com. See Natural Brown 8 @ Handprint.com;

May be more stable in oil paints when mixed with resins (Ref. Natural Pigments);

NBr9

Sepia

C.I. Natural Brown 9;

Natural Brown 9;

Sepia [KP.p];

Sepia fine [KP.p];

Sepia Ink [KP.p];

Sepia very fine [KP.p];

75500

from the ink sac of adriatic cuttlefish; Sepia Officinalis;

CAS 8030-69-1

Dark Reddish Brown black

4

IV

-

A

-

NBr11

Bistre

Birchwood Soot;

Bister;

Bister Ink [KP.p];

Bistre [KP.p];

C.I. Natural Brown 11;

Genuine Birchwood Soot;

Soot of Wood

-

Prepared from birchwood soot (Ref)

Deep brown

4

IV

-

A

MSDS

Used in water colour painting (Ref);

Artist's Network University 728x90

PBr - Pigment Brown Pigment Brown - Color Index Name: PBr
Historic Brown Pigments Without C.I. Names  |  CI Natural Brown  |  CI Pigment Brown  | KEYPage Top^

Color Index Generic Name
CI Common or Historical Name
Common, Historic and
Marketing Names
C.I.
Constitution Number
Chemical Composition
Color Description
† = Long Term Effects of Light
Opacity
1 = opaque
4 = trans.
Light
Fastness
I = excell.
IV=Fugitive

>
Oil Absorption
g/100g
Toxic
Side Notes

PBr1

Permanent Brown FG

BON Brown;

C.I. Pigment Brown 1;

Microdis Brown MGR;

Permanent Brown FG;

Pigment Brown 1

12480

Monoazo;

Azomethine;

CAS 6410-40-8

Reddish brown

-

-

-

A

-

PBr6

Iron Oxide Hydroxide Brown

Antique Cypress Bark;

Antique Smoked Bamboo;

Blue Ridge Burnt Umber [NP.p];

Blue Ridge Raw Umber [NP.p];

Brown Iron Oxide [SCH.a];

Brown Magnetite Iiron Oxide;

Brown Ochre [DS.o];

Brown Ochre Goethite [DV.o];

Brown Oxide [KA.p];

Brown Oxide Medium [GU];

Brown Ochre Goethite [DV.o];

Burnt Sienna [GEN];

Burnt Umber [GEN | DR.a(s3hb).a(s3mb) | HO.ag.a(gesso)];

Burnt Umber Xtra Dark [GU];

C.I. Pigment Brown 6;

Cyprus Burnt Umber [NP.p];

Cyprus Burnt Umber Warm [NP.p];

Cyprus Raw Umber Light [NP.p];

Cyprus Raw Umber Medium [NP.p];

Cyprus Raw Umber Dark [NP.p];

Dark Goethite [DV.o];

Deep Brown [LA.a];

Dutch Brown [WL.o];

Dutch Brown (Transparent) [WL.p];

Dutch Brown (Transparent) [WL.o];

Enviro-Friendly Brown Iron Oxide [DS.o.w];

Enviro-Friendly Iron Oxide [DS.o.w];

Enviro-Friendly Red Iron Oxide [DS.o.w];

Enviro-Friendly Yellow Iron Oxide [DS.o.w];

Environox Dark Brown1 [EP.p];

Ferric oxide;

German Umber [KA.p];

Goethite;

Goethite Genuine [DV.o];

Iron Oxide Brown;

Iron Oxide Hydroxide;

Italian Burnt Sienna [NP.p];

Italian Raw Sienna [NP.p];

Italian Burnt Umber [NP.p];

Italian Burnt Umber Warm [NP.p];

Italian Green Raw Umber [NP.p];

Italian Raw Umber [NP.p];

Light Brown [LA.a];

Luberon Burnt Sienna [NP.p];

Luberon Burnt Umber [NP.p];

Luberon Raw Sienna [NP.p];

Luberon Raw Sienna Light [NP.p];

Luberon Raw Umber [NP.p];

Magnetite;

Maroon Oxide [GU];

Mars Brown;

Mars Yellow [GO.a.ao];

Mineral Brown;

Monte Amiata Natural Sienna [DS.w];

Natural Black Iron Ore;

Natural Brown Oxide [CAS.k];

Nicosia Burnt Sienna [NP.p];

Nicosia Burnt Sienna Dark [NP.p];

Nicosia Raw Sienna [NP.p];

Nicosia Burnt Umber CC [NP.p];

Nicosia Burnt Umber NC [NP.p];

Nicosia Burnt Umber WN [NP.p];

Nicosia Burnt Umber WW [NP.p];

Nicosia Raw Umber [NP.p];

Oxide Brown Medium [LA.a];

Pigment Brown 6;

Pompeii Red;

Raw Siena [KA.o];

Raw Sienna [NP.p | KA.o];

Raw Umber [NP.p | KA.o];

Rhombehedral Magnetite;

Red Oxide Dark [GU];

Turkey Umber;

Van Dyke Brown (hue) [ KA.o.p | MGd]

Van Dyke Brown (Synthetic) [CAS.k];

77491

77492

77499

Synthetic Inorganic;

Brown magnetite iron oxide

"Produced by controlled oxidation of Pigment Black 11(Black Iron Oxide). Chemically Fe2Oa-xFeO.yH20."
(Ref. Paint and Coating Testing Manual: 14th ed. of the Gardner-Sward handbook/Joseph V. Koleske, editor; p.212)

Synthetic Feric oxide and Ferroso-ferric hydroxide;

The Preparation of Magnetite, goethite, hematite and magnemite of pigment quality from mill scale iron waste.

Goethite - (Ref at Mindat.org)

Magnetite - (mindat.org Ref);

Making pigments: Umbers at webexhibits.org;

Fe2O3, FeO·Fe2O3, Fe(OH)2·Fe2O3

CAS 52357-70-7

EU 257-870-1

Brown to dull red;

Very staining, w/ good tinting strength

† Fades in tints;

Oil paints and watercolors using PBr6 and PBr 7 exist in almost any shade of yellow orange, red and violet brown to green brown, depending on the ratios of hydrated iron (yellower) to anhydrous iron (Redder), and other clays & minerals in the sample.

1-3

Transparency depends on many factors, particle size, binder, fillers, and extenders and the composition of the base clay in the natural product.

I (AMST oils & acryl., not rated in WC)*

BWS
8; 8; 8
(Guerra)

BWS
8; 8; 8
(colorrich)

20-43

A**

MSDS

1 Environox Dark Brown from Earth Pigments is Iron Oxide produced from reclaimed iron sludge.

* Rated with 'very good' (equivalent AMST II) in lightfastness tests on watercolor by Bruce MacEvoy @ handprint.com. See Pigment Brown 6 @ Handprint.com;

** Excess iron can cause the skin to take on a 'ruddy' appearance if ingested in large quantities.

Do not ingest in large quantities;

Avoid dust.

PBr7

Brown Iron Oxide

Antique Cypress Bark [HO.w(ant)];

Antique Smoked Bamboo [HO.w(ant)];

Bauxite Mummy [NP.p*];

Bloodstone;

Blue Ridge Violet Hematite [NP.p];

Bohemian Green Earth [SCM];

Burnt Hematite [DV.o];

Bauxite;

Brown Earth [CR.a(jo) | JO.a];

Brown Earth from Florence [MA.o];

Brown Earth from Otranto [KP.p];

Brown Ochre [BX.o | RGH.o.p | SE | WL.o.p | WN.o.o.w.wp];

Brown Orche Deep [OH.o];

Brown Ochre from Elba [KP.p];

Brown Ochre Light [BX.o | OH.o.w | WNd];

Brown Umber [WL.o.p];

Burnt Hematite [DV.o];

Burnt Natural Earth;

Burnt Sienna No.3 [KP.p];

Burnt Sienna [GEN | BA.a.w | CAS.k | CR.a(jo).a ao.o | DS.a.o.i.w | DV.a.af.k.o.w | GB.o.o.p | GO.a.ab.af.ag.ao | GR.w.w | GU | HO.a.o.o.w.wo| JO.a | KA.ad.o.p | KP.p | LB.o | LK | LQ.a | MA.o(It).o(Puro).o(artis).o.p.w.w | MG.a.g.o.w | MH.o | MR.o | OH.a.o.w | PF.o.o | MW.o.wo | RF.e | RGH.o.p | ROSS.o | RT.o.w | SCH.o.p | SH.w | SE.p.t.w | SQ.a | TA.a.af | UT.w | WL.o.p | WN.o];

Burnt Sienna Dark [GU];

Burnt Sienna Deep [BX.o.w];

Burnt Sienna, England , brown-red [KP.p];

Burnt Sienna, from England [KP.p];

Burnt Sienna, from France [KP.p];

Burnt Sienna Light [BX.o.w];

Burnt Sienna Natural [AS];

Burnt Umber [GEN | AS | BA.a.o.w | BX.o.w | CAS.k | CL | CR.a(jo).a ao.o | DR.a.g.o.o(georg).o. w.w.t | DS.a.i.o.w | DV.a.af.k..o.w | GB.o.o.p | GO.a.af.ag.ao | GR.o.o.w.w.wo | GU | HO.g.o.o.w.wo.| JO.a | KA.ad.o.p | LB.av.o | LQ.a | MA.o.o(artis).o.p.w.w | MG.a.g.o.w | MH.o | MR.o | MT | MW.o.wo | OH.a.o.w | PF.o | RF.e | RGH.o.p | ROSS.o | RT.o.w |SCH.o.o(Mus).p.w | SE.p.t.w | SH.w | SV | SQ.a | TA.a.af | UT.a.o.w | WL.o.p | WN.a.a.k.o.wo.w.wp.wp(L)];

Burnt Umber Dark [RGH.o];

Burnt Umber Dark Brown [KP.p];

Burnt Umber (Cyprian) [KP.p];

Burnt Umber, Cyprian, dark brown [KP.p];

Burnt Umber Light [GO.a.af | GU];

[GU];

Calcined Earth;

Calcined Natural Sienna;

Calcined Natural Umber;

Calcined Original Natural Earth;

Caledonian Brown;

Cappagh Brown;

Cassel Earth [BX.o | CH | MA.p | MR.o | NP.p];

Cassel Brown Earth;

Cat-Tail Brown [GU];

Chestnut Brown;

C.I. Pigment Brown 7;

Colonial Burgundy [EP.p];

Colonial Burnt Umber [EP.p];

Colonial Raw Umber [EP.p];

Colonial Red [EP.p];

Colonial Violet [EP.p];

Cote d'Azur Violet (Natural Light Caput Mortuum) [DS.w];

Cyprus Burnt Umber [NP.p];

Cyprus Burnt Umber Green [NP.p];

Cyprus Burnt Umber Warm [NP.p];

Cyprus Orange [WL.o];

Cyprus Raw Umber Dark [NP.p];

Cyprus Raw Umber Medium [NP.p];

Cyprus Raw Umber Light [NP.p];

Cyprus Umber;

Dark Sienna [ROSS.o];

Deep Ochre [OH.o];

Euchrome;

Elba Brown Ochre [KP.p];

French Burnt Sienna [NP.p];

French Raw Sienna [NP.p];

French Raw Umber [NP.p];

Gamboge Hue [MA.o(artis)];

Genuine Cassel's Earth [KA];

German Greenish Raw Umber [DS.w];

German Umber [KA];

Gold Ochre [BX.o.w];

Green Ochre [WL.o];

Green Umber [KA.p];

Grüne Erde natur [SCH];

Hematite [DS.o | NP.o.p];

Hematite Burnt Scarlet [DV.o];

Hematite Burnt Scarlet Genuine[DS.o.w**];

Hematite Genuine[DS.w** | DV.o];

Hematite Violet [DV.o];

Hematite Violet Genuine[DS.w**];

Iseo Brown [KP.p];

Italian Burnt Sienna [DS.w | KP.p | NP.p | WL.o.p];

Italian Brown Earth;

Italian Earth [BX.o.w | OH.o.w | SQ.a];

Italian Green Ochre [WL.p];

Italian Raw Sienna [NP.p];

Italian Raw Umber [WL.o];

Jacaranta Brown;

Mars Brown [RGH.o.p];

Monte Amiata Natural;

Monte Amiata Natural Sienna [DS.w];

Mummy [NP.o];

Mummy Bauxite [DS.w**];

Mauve Umber [RGH.o];

Native Earth;

Natural Bohemian Green Earth [SCH.o(Mus)];

Natural Brown Iron Oxide;

Natural Burnt Sienna [SCH.o(Mus);

Natural Burnt Umber [SCH.a.o(Mus)];

Natural Earth;

Natural Green Earth [SCH.a];

Natural Iron-Manganese Oxide;

Natural Iron Oxide;

Ocher;

Ochre [GEN] [OH.o.w];

Old Holland Ochre [OH.o.w];

Original Natural Earth;

Pigment Brown 7;

Pompeii Red [DS.w];

Raw Brown;

Raw Sienna [GEN | AS | BA.a.w | CAS.k | CR.a(jo) | DR.o.w | DS.a.i.o.w | DV.a.af.k.o.w | GB.o.o.p | GR.a.o.o.w.wo | JO.a | KA.p | LB.o | LK | LQ.a | MA.o.o.p.w.w | MG.a.g.o.w | MH.o | MR.o | MW.o.wo | OH.a.o.w | PF | RF.e | RGH.o.p | SCH.p.w | SE.p.t.w | SQ.a | TA.a.af | UT.a.o.w | WL.o.p | WN];

Raw Sienna Dark [CR.ao.o];

Raw Sienna Deep [MA.o.p | OH.o];

Raw Sienna Natural Dark;

Raw Sienna Light [MA.o.o(artis).p | OH.w];

Raw Umber [GEN | AS | BA.a .o | CAS.k | CL | CR.a(jo).ao.o | DS.a.i.o.w | DR.a.a(s3hb).a(s3mb).o.o.w.w.t | DV.a.af.k.o.w | GB.o.o.p | GO.a.ab.af.ag.ao | GR.o | GU | HO.a.g.o.o.w.wo | JO.a | KA.ad.p | LB.o | LQ.a | MA.o.p.w.w | MG.a.g.o.w | MH.o | MR.o | MT | MW.o.wo | OH.a.o.w | PF.w | RF.e | RGH.o.p | ROSS.o | RT.o.w | SCH.a.o.w | SE.p.t.w | SV | SH.w | SQ.a | TA.a. | UT.a.o.w | WL.o.p | WN.a.a.o.wo.w.w.wp.wp(L)];

Raw Umber Greenish [SCH.p];

Raw Umber (Green Shade) [WN.o];

Raw Umber Light [SCH.o(Mus) | WN.a.o.w];

Raw Umber Natural [ DV.w];

Raw Umber (Rare Earth) [GU];

Red Brown [SE];

Red Ochre [WL.o];

Red Umber [MH.o | OH.o.w | WL.o];

Sard Red Earth [MA.o];

Sardinian Red Earth [MA.o];

Sienna;

Sicilian Brown;

Spanish Earth [MH | WL.p];

Spanish Earth (Purple Ochre) [WL.o];

Terra d'Ombre;

Terre d'Ombre Brulee (Brûlée) [LB.o];

Terra Di Sienna;

Terre de Sienne Brulee (Brûlée) [LB.o];

Transparent Brown Iron Oxide[GO.a];

Transparent Red Oxide [CL];

Turkey Brown;

Turkey Umber [RGH.o | WL.o];

Turkey Umber Greenish [RF.e];

Umber [GEN | HO.w];

Van Dijck Brown (hue) [BX]

Van Dyck Brown (hue) [BXw | DS.o | GR | LK | MR.o];

Van Dyke Brown (hue) [TA.a. | KA.p | MT];

Velvet Brown;

Violet Hematite [NP.o.p]

Yavapai Genuine [DS.w];

Yellow Ochre Burnt [ OH.o.w | WL.o]

77491

77492

Processed Inorganic;

"Ferrosoferric oxide produced from ores containing 25% manganese dioxide with a distinct composition as Fe2Oa.xMnO in varying proportions of clay. Classical names include such as raw umber, burnt umber, and Turkish umber." (Ref. Paint and Coating Testing Manual: 14th ed. of the ASTM Gardner-Sward handbook / Joseph V. Koleske, ed.; p.212)

Natural Brown Iron Oxide and/or Calcined natural Iron Oxide, usually with varying ratios of hydrated Iron Oxide to anhydrous Iron Oxide, along with Manganese Oxide, Aluminum, silica clays and other natural minerals depending on mine site.; Many brands substitute or confuse the synthetic pigment for the natural one, giving both the same Common names and C.I. names interchangeably, PBr7 is the name for the Natural Pigment & PBr6 is the synthetic one.

LBNLPigment Database Spectral radiative properties;

Burnt Sienna;

Raw Sienna;

Raw Umber

How Umber is made at webexhibits.org;

CAS 12713-03-0

Yellow brown to brown to dull red (see above);

Staining to non-staining w/ weak to good tinting strength;

Oil paints and watercolors using PBr6 and PBr 7 exist in almost any shade of yellow orange, red and violet brown to green brown, depending on the ratios of hydrated iron (yellower) to anhydrous iron (Redder), and other clays & minerals in the sample.

1-4;

Trans. varies widely depending on mineral content, particle size, processing, amount of silica & other impurities.

I (ASTM)*

BWS
8;8;8
(Guerra);

BWS
8; 8; 8
(Kremer)

60-80

A?**

MSDS

MSDS

MSDS

Natural product can contain Manganese which acts as a drier in oils;

Brown Iron Oxide (PBr7) watercolor swatches, brand comparisons & mixing info @ In Liquid Color, Youtube Channel

* Lots more info on PBr6 and PBr-7 including lightfastness tests on branded watercolor paints by Bruce MacEvoy @ handprint.com. See Pigment Brown 7 @ Handprint.com;

Lots more info on mummy & bauxite at the Natural Pigments website.

** more info on the Dan Smith PrimaTek™ artist paints and other minerals used for art pigments at the watercolor Handprint.com site.

** Although most soluble mineral salts have been washed out during washing, processing & levigation. Natural forms may still have small traces of toxic minerals.

** Ingesting more than 1/2 gram (500mg.) of iron can induce cardiac collapse; such overdoses most commonly occur in children and may result in death within 24 hours.[101]; (Ref. Heavy Metals, Toxicity Info @ Wikipedia)

Excess iron can cause the skin to take on a 'ruddy' appearance if ingested over a long period.

Do not ingest;

Avoid dust

PBr8

Manganese Brown

Black Manganese Oxide;

Bog Manganese;

Braunstein;

Bruinsteen;

Burnt Umber | Cyprus [KP.p];

Burnt Umber light reddish-brown [KP.p];

Burnt Umber Reddish [KP.p];

Caledonian Brown;

Cappagh Brown;

Cassel Earth [SCH..p*?];

Cassler/Van Dyke Brown [SCH.p*?];

Cement Black;

C.I. Pigment Brown 8;

Mangaanbioxyde;

Mangaandioxyde;

Mangandioxid

Manganese Binoxide;

Manganese (biossido Di);

Manganese (bioxyd De);

Manganese Brown Intense [KP.p]

Manganese Black;

Manganese (diossido Di);

Manganese (dioxyde De);

Manganese(iv) Oxide;

Manganese Peroxide;

Manganese Superoxide;

Manganese Brown;

Manganese Brown Intense [KP.p];

Manganese Dioxide;

Manganite;

Mineral Brown Black (Pyrolusite) [NP.p];

Natural Brown Earth;

Pigment Black 14;

Pigment Brown 8;

Pyrolusite;

Pyrolusite Brown;

Raw Umber [KP.p]

Raw Umber dark [KP.p];

Raw Umber | from Cyprus [KP.p];

Sepia;

Umber Reddish | OK 46 [KP.p];

Van Dyck Brown (hue)*? [GR.o | SE.p | SCH.p | [UT.o]

77730

77728

Inorganic;

"Manganic hydroxide, Mn(OH), together with manganese manganite.", "Occurs naturally as manganite but the commercial product is usually synthetic." (Ref Inorganic Colouring Matters, Color Index 3rd Ed.)

Manganese hydroxide and oxides, the natural form usually also contains iron oxides and clays;

Manganic oxide;

Manganic hydroxide;

Making pigments: Umbers at webexhibits.org;

CAS 317-35-7

CAS 1313-13-9

Reddish brown to brownish black

2-3

I (NR)

BWS
8; 8; 8
(Kremer)

BWS
8; 8; 8
(Kremer)

60

B**

* Sennelier's Van Dyck Brown dry pigment, Utrecht's Van Dyke Brown oil paint and Schminke's Cassel Earth oil color, may be NBr8 and just misprinted or mistakenly labeled as PBr8 (Pigment Brown 8}, They all claim to be genuine Van Dyke Brown which would actually be NBr8 (Natural Brown 8). They also claim moderate or average light fastness which is more consistent with Natural Brown 8. Pigment Brown 8 is highly lightfast.

There seems to be a curtain amount of confusion about this pigment even among manufacturers and art suppliers.

** Any paint containing Manganese could require a PROP 65 label in CA.

PBr9

Copper Ferrocyanide*

Copper Ferrocyanide;

C.I. Pigment Brown 9;

Florence brown;

Florentine Brown;

Hatchett´s Brown;

Pigment Brown 9;

Van Dyke Brown (hue***) [BA.w | GR.w | WL.o?**];

Vandyke Red;

Van Dyke Red;

Vandyke Brown;

 

77430

Inorganic;

Copper hexacyanoferrate(II);

Cupric ferrocyanide Cu2Fe(CN)6·xH2O
Cupric potassium ferrocyanide CuK2Fe(CN)6

CAS 8014-85-5

CAS 13601-13-3

 

Blackish brown

-

II-III?

BWS
5;4;1
(guerra paint)

-

B

* According to the Color Index International Pigments & Solvent Dyes, By The Society of Dyers and colourists, third edition, PBr9 is Copper Ferrocyanide;

According to their web site Williamsburg's Van Dyke Brown is PBr9. This might be a typo. In the copy they claim it to be genuine Van Dyke Brown which would be NBr8, although the Colour Index (3rd. Ed. 1997) describes the first known use as being called Vandyke Brown.

However "Van Dyke Red" is indicated to be Copper Ferrocyanide in A Treatise on Color Manufacture By George Zerr, Robert Rübencamp, 1908, and said to be a "shade that can be imitated cheaply and very easily with red ferric oxide colours" indicating a brownish nature. So it seems there might be a historical justification for labeling PBr9 as genuine Van Dyke Brown in paints, even though it is not the pigment generally thought to be the "genuine" Van Dyke brown.

PBr10

Calcium Orthoplumbate

Calcium Plumbate;

Calcium Orthoplumbate;

Caldiox;

C.I. Pigment Brown 10;

Pigment Brown 10

77227

Synthetic Inorganic;

Calcium lead oxide;

Calcium Orthoplubate;

Dicalcium lead tetraoxide;

CAS 12013-69-3;

CAS 12774-29-7

Light Yellowish Brown

-

I

L

C*

Oxidizing agent;

promotes adhesion;

Used as rust inhibitor and primer;

* Contains insoluble lead so there may not be much of lead hazard.

PBr11

Magnesium Ferrite

C.I. Pigment Brown 11;

Iron Magnesium Oxide;

Lunar Earth [DS.w];

Magnesium Brown [WN.w.wp]?*;

Magnesium Ferrite [DS.o];

Mars Yellow [HO.o];

Mapico Tan;

Pigment Brown 11

77495

Synthetic Inorganic;

Magnesium ferrite is made by calcining a blend of ferric oxide and magnesium oxide. Chemically 19% MgO × 79% Fe2O3

Ferric magnesium oxide;

Iron Magnesium Oxide;

CAS 64294-89-9;

EC 613-571-1

Reddish brown;

lightly staining w/ fair tinting strength

1

I (NR)*

40

A

MSDS

?* The winsor and newton specifications for this paint list it as being PY119 (Zinc Ferrite Brown Spinel), but list the chemical name as 'Iron magnesium oxide', most likely there is a typo in their technical specs, and this should actually be labeled PBr11, which is Iron Magnesium Oxide;

* More info on PBr-11 including a lightfastness test in watercolor by Bruce MacEvoy @ handprint.com. See Pigment Brown 11 @ Handprint.com;

PBr12

Cassel Brown

Cassel Brown [KP.p];

Cassel Brown Stain [KP.p];

C.I. Pigment Brown 12;

Oak Stain;

Van Dyck Brown;

Walnut Stain

-

Sodium salts of humic acid;

CAS 68131-04-04

Dark brown

-

-

-

B*

* Skin irritant

PBr22

Pigment Brown 22

C.I. Pigment Brown 22;

Pigment Brown 22;

Pigment Brown 2R

10407

Nitro;

CAS 29398-96-7

Reddish brown

-

-

-

A

-

PBr23

Pigment Brown 23

Azo Russet [GU];

Brown Madder (hue) [SE.o];

C.I. Pigment Brown 23;

Cromophtal Brown 5R;

Disazo Brown;

Gubbio Red [KP.p.w];

Light Brown [HO.a];

Madder Brown [SE];

Microlith Brown 5R;

Pigment Brown 23;

Transparent Brown [HO.o];

Van Dyke Brown (hue);

20060

Synthetic Organic;

Disazo Condensation;

Possess two azo red molecules linked to diamine by means of carbonamide groups (SpecialChem);

For more Chemical Composition & Structure Information See Pigment Brown 23 @ PubChem Open Chemical Database.

C40-H23-Cl3-N8-O8

CAS 35869-64-8

EC 252-772-5

Dull reddish brown;

Staining w/ good tinting strength;

3-4

I (NR)*

BWS
7-8;7;6-7
(Guerra)

BWS
8;8;8
(Kremer)

45-70

A

MSDS

"Excellent heat stability and good solvent resistance";
"Used in industrial and vehicle refinishing paints" (SpecialChem)

"Diazo Brown possesses good lightfastness, heat resistance, acid, alkali resistance and high grease, oil, and wax resistance. More expensive than the Brown Iron Oxides, they are occasionally used instead of them where enhanced resistance and lightfastness properties are required" (PrintWiki)

* Not rated by the ASTM, my rating of 'I' (excellent) is based on pigment suppliers blue wool scales, various paint brand's own ratings and anecdotal evidence, but not actual personal tests.

I would suggest making your own tests in the binder or brand of choice to verify fastness.

PBr24

Chrome Antimony Titanate

Bohemian Ochre Light;

Chrome Titanate;

Chrome Antimony Titanate;

Chrome Antimony Titanium Buff Rutile;

Chrome Titanate;

Chrome Titanate Brown;

Chrome Titanate Orange[

Chrome Titanate Yellow [GR.o];

Chrome Titanium Yellow;

Chrome Yellow Titanium [SCH.p];

Chrome Yellow Rutile;

Chromium Rutile;

Chromium Titanate Yellow [GR.o];

C.I. Pigment Brown 24;

Daipyroxide Yellow;

Ferro Autumn Gold V;

Fragonard Earth Yellow [PF.o];

Gold Ochre [LA.a];

Honey Gold Yellow;

Ironstone Brown No.39;

Jaune Brilliant [KA.p];

Light Yellow 3R;

Light Yellow Ochre [BA.o | SE.o];

Marigold Yellow;

Mars Yellow Light [SE.a];

Meteor® Plus Yellow Buff 9371;

Naples Yellow (hue) [MG.w | MH.o | WN];

Naples Yellow Deep (hue) [DV.w | KA.o | SCH.a.o.o(Mus) | WN.a.g.o.w.wp];

Naples Yellow Deep (Imitation) [KA.p];

Naples Yellow Deep Extra [OH.a.o.w];

Naples Yellow Italian (hue) [WL.o.p];

Pigment Brown 24;

SICOTAN® Yellow;

Titanate Gold Ochre;

Titanium Gold Ochre [SCH.g.w];

Titanium Orange [KP.p];

Yellow Ochre Light [BA | RT.o]

77310

Synthetic Complex Inorganic;

(Ti,Cr,Sb)O2

Chrome Antimony Titanium Buff Rutile, is created by calcination of Titanium (IV) Oxide, Chromium (III) Oxide, and Antimony (V) Oxide in varied ratios creating a mixed phase system with a Rutile structure. It may include one or more of the modifiers Al2O3, MnO, NiO, WO3 and/or ZnO. (Ref Color Index 4th edition);

Mixed Metal Oxide (MMO) (PCImag Ref):

Cr/Sb/Ti-oxide

Complex inorganic coloured pigment based on titanium oxide; in the rutile lattice, titanium ions are partially replaced by chromium (III) and antimony (V) ions.(Ref. SIDS INITIAL ASSESSMENT PROFILE.PDF)

Chrome Antimony Titanium oxide mixed phase system having a rutile structure;

Chrome Antimony Titanium Buff Rutile;

LBNL Pigment Database Spectral radiative properties;

Chrome Antimony Titanium Buff Rutile (i);

Chrome Antimony Titanium Buff Rutile (ii);

Chrome Antimony Titanium Buff Rutile (iii);

Chrome Titanate Yellow;

(Ti, Cr, Sb) O2

CPMA 11-17-6

CAS 68186-90-3;

EC 269-052-1

Light valued yellowish to reddish brown to light golden orange or tan;

Shades are varied by modifiers added during production, see chem. props. to the left.

Staining w/ fair tinting strength

1

I (ASTM)

BWS
8
(BASF);

BWS
8
(Heubach)

BWS
8; 8; 8
(Kremer)

 

13-34

A**

MSDS

SDS

Said to make a good non-toxic Naples Yellow substitute in artist colors.

A interesting pigment color in it's own right.

BASF TDS PDF

* More info on PBr-24 in watercolor, including a lightfastness test by Bruce MacEvoy @ handprint.com. See Pigment Brown 24 @ Handprint.com;

** Rutile pigments are not regarded as antimony compounds which must be labelled as dangerous substances. The antimony is tightly bond in the Rutile Lattice and insoluble in water or acids, so is not bioavailable.

The acute toxicity of C.I. Pigment Brown 24 after oral exposure is negligible. (Ref. SIDS INITIAL ASSESSMENT PROFILE.PDF)

Do not ingest;

Avoid dust & spray

PBr25

Benzimidazolone Brown

Benzimidazo Brown [GU];

Benzimidazolone Brown;

Brown [SH.w];

C.I. Pigment Brown 25;

Fragonard Red Brown [PF.o];

Hostaperm Brown HFR 01;

Imidazolone Brown [HO.w.wo];

Mahogany Brown [KP.p];

Microdis Brown;

Permanent Brown [DS.w];

Pigment Brown 25;

Renol Brown;

SICOTAN® Yellow1 [BASF];

Transparent Brown [DV.af | SQ.a];

Transparent Maroon [WN.o];

Transparent Red Ochre [LB.o];

Van Dyke Red [LQ.a];

Viscofil Brown

12510

Synthetic Organic;

Monoazo;

Benzimidazolone;

CAS 6992-11-6

Deep dull, red-violet brown;

very staining w/ weak to average tinting strength;

4

I (NR)*

BWS
8; 8; 8
(Guerra);

BWS
8; 8; 8
(Kremer)

86

A

MSDS

MSDS1

Nice rich brown, great for glazing.

* Not rated by the ASTM, most brands containg PBr-25 give it their highest lightfast rating, and pigment supplier blue wool scales agree.
Also rated excellent (AMST I equivalent) in watercolor light fastness tests by Bruce MacEvoy @ handprint.com. See More about Pigment Brown 25 @ Handprint.com;

PBr27

Thioindigoid Brown

Calcotone Brown 2R;

C.I. Pigment Brown 27;

Pigment Brown 27;

Various brand names prefixes to Red Brown or Bordeaux

73410

Thioindigoid;

Lake of C.I Vat Brown 5;

C24-H12-O2-S2

CAS 3989-75-1

Brownish Brown

-

-

-

A

-

PBr29

Chrome Iron Brown

Chromium Iron Oxide;

Chromium Iron Oxide Black;

C.I. Pigment Brown 29;

Iron Chromite;

Iron Chrome brown;

Naples Yellow [RGH.o.p];

Pigment Brown 29;

Shepherd Black 411;

Sicopal® Black K 0095;

Sicopal® Brown K 2795 FG

77500

Synthetic Complex Inorganic;

Chrome Iron Brown Hematite;

Iron Chromite;

Iron Chromium Oxide;

An IR reflective black powder produced by high temperature calcination of iron oxide & chromium oxide to form a hematite structure. It has good UV and visible opacity (Lansco TDS PDF)

Chromium Iron Brown:
mixed phase pigment based on iron oxide-chromium oxide and corresponding approximately to the formula. (Fe, Cr)2O3. (Ref Color Index 4th edition);

A complex inorganic pigment of black mixed oxide of Iron (III) and Chrome (III) with chemical formula (Cr, Fe)2O3 and a hematite structure. (Ferro)

LBNL Pigment Database Spectral radiative properties;

Chromium Iron Oxide (i);

Chromium Iron Oxide (ii);

CAS 109414-04-2;

CAS 12737-27-8

Very dark brown almost black;

Blueish Black;

1-2

I (NR)*

BWS
8
(Ferro)

BWS
8
(BASF)

BWS
8
(Lansco)

9-18

A

MSDS

* Not rated by the ASTM, BWS indicate excellent lightfastness and other closely related pigments (ie. PG-17, Chromium oxide & PBk-11, Iron Oxide) have exceptional light fastness.

It is not used currently in any artist paint I could find, but is used industrially as a 'cool color': It exhibits low heat build-up (especially for a black), has exceptional durability and hiding power, it is generally used in applications where resistance to heat, light, and weather are required. (Lansco).

I would suggest making your own tests in the binder of choice to verify fastness.

PBr30

Pigment Brown 30

C.I. Pigment Brown 20;

Graphtol Red Brown Cl-RL;

Pigment Brown 30;

-

Synthetic Complex Inorganic;

Nickel, iron and chromium mixed metal complex in a Spinel structure. Reflects less of the near IR than PBr-29 (see above) giving it a blueish tint. (Ref. Industrial Inorganic Pigments Edited by G. Buxbaum and G. Pfaff 2005)

Dark blueish brown

1

I? (NR)*

-

A-B**

* Not rated by the ASTM, but should perform as excellent as other chemically simliar pigments designed for applications where resistance to heat, light, and weather are required.
I would suggest making your own tests in the binder of choice to verify fastness.

** Any paint containing nickel would require a PROP 65 label in CA. However, the Nickel and Chromium are tightly bound in the spinel structure and unlikely to be of any hazard.

PBr31

Zinc Ferrite Brown

C.I. Pigment Brown;

Pigment Brown 31;

Zinc Ferrite;

Zinc Ferrite Brown;

Zinc Ferrite Brown Spinel;

77496

Synthetic Complex Inorganic;

Zinc Ferrite Brown Spinel, formula (Zn,Fe)Fe2O4 is created by high temperature calcination of a mixture of zinc oxides with ferrous and ferric iron in varying ratios to make a crystalline matrix of spinel. Its composition may include any one or more of the modifiers Al2O3, NiO, SiO2, SnO2 or TiO2. (Ref Color Index 4th edition);

CAS 68187-51-9

Brown;
Exact color tint & shade varies by modifiers added during manufacture (see chem. props. left)

-

I? (NR)*

-

A

* Not rated by the ASTM, but should perform as excellent as other chemically simliar pigments designed for applications where resistance to heat, light, and weather are required.
I would suggest making your own tests in the binder of choice to verify fastness.

PBr33

Zinc Iron Chromite Brown

Brown 10P8571;

Calf Skin Brown No.6;

Chromium Iron Zinc Brown;

Chromium Iron Zinc Brown Spinel;

C.I. Pigment Brown 33;

Cocoa Brown No.157;

Daipyroxide Brown 9220;

Dark Brown;

Mahogany Brown No.12;

Mineral Brown [SCH.o(Mus)];

Pigment Brown 33;

Shepherd Brown 12;

Shepherd Brown 157;

Zinc-Iron Chrome Brown [KP.p];

Zinc-Iron Chrome Brown, light, spinel;

Zinc Iron Chromite;

Zinc Iron Chromite Brown Spinel;

Walnut Brown [SCH.w]

77503

Synthetic Complex Inorganic;

Zinc Iron Chromite Brown Spinel (Zn,Fe)(Fe,Cr)2O4 is made by the high temperature calcining of a mixture of Zinc (II) Oxide, Iron (II) Oxide, Iron (III) Oxide, and Chromium (III) Oxide in varying ratios to create a crystalline spinel matrix. Its composition may include any one or more of the modifiers Al2O3, NiO, SiO2, SnO2 and/or TiO2. (Ref Color Index 4th edition);

Mixed Metal Oxide (MMO) (PCImag Ref):

Zinc Iron Chromite Brown Spinel;

LBNLPigment Database Spectral radiative properties;

Zinc Iron Chromite Brown Spinel (i);

Zinc Iron Chromite Brown Spinel (ii);

"The ability of iron to occur on both the tetrahedral and octahedral sites of the spinel structure leads to a versatile system yielding a variety of related shades." (Zinc Iron Chromite Pigments
Stephen H. Murdock Richard A. Eppler; April 1988)

Generic formula:
(Zn,Fe)(Fe,Cr)2O4

CPMA 13-37-7;

CAS 68186-88-9

EC 269-050-0

Dark; blueish brown to reddish brown; Color varies by modifiers added during manufacture (see chem. props. left)

very staining w/ good tinting strength

1

I (NR)*

BWS
8
(Ferro)

BWS
8
(Shepherd)

12-16

A**

MSDS1

Opaque to visible light & UV with high near infrared reflectance, a "cool" pigment. (Ferro)

* Not rated by the ASTM, BWS suggest high light fastness. Rated excellent (AMST I equivalent) in watercolor light fastness tests by Bruce MacEvoy @ handprint.com. See PBr-33 @ Handprint.com;

Most mixed metal oxides in a spinel matrix perform well and are fast to weather, heat & light.

** Chromate content may require a PROP 65 warning in CA.? But the it is tightly bound in the crystalline spinel matrix and unlikely to pose a hazard.

PBr34

Nickel Ferrite Brown

C.I. Pigment Brown 34;

Daipyroxide Brown 9270;

Iron Nickel Brown;

Iron Nickel Brown Spinel;

Nickel Ferrite Brown Spinel;

Pigment Brown 34

77497

Synthetic Complex Inorganic;

Nickel Ferrite Brown, created by the reaction of calcining Iron (III) Oxide and Nickel (11) Oxide in varying ratios creating a spinel form crystalline matrix. The addition of either/or A12O3, FeO, SiO2, SnO2, and/or TiO2 are used as modifiers during the creation process;

CPMA 13-35-7;

CAS 68187-10-0

Brown

-

(NR)

-

B**

** Nickel content may require a PROP 65 warning in CA. But the it is tightly bound in the crystalline spinel matrix and unlikely to pose a hazard.

PBr35

Iron Chromite Brown

Chromium Iron Brown;

Chromium Iron Brown Spinel;

C.I. Pigment Brown 35;

Iron Chromite Brown;

Iron Chromite Brown Spinel;

Pigment Brown 35

77501

Synthetic Complex Inorganic;

Iron Chromite Brown Spinel Fe(Fe,Cr)2O4 is created by high temperature calcination of a mixture of Iron (II) Oxide, Iron (III) Oxide, and Chromium (III) Oxide in varied amounts creating a crystalline matrix of spinel. Its composition may include any one or more of the modifiers Al2O3, B2O3, NiO, SiO2, SnO2 and/or TiO2. (Ref Color Index 4th edition);

Mixed Metal Oxide (MMO) (PCImag Ref):

Iron chromite spinel;

CPMA 13-33-7;

CAS 68187-09-7

Dark reddish brown to blue Black

-

I ?* (NR)

-

A**

?* Not rated by the ASTM, but should perform as excellent as other chemically simliar pigments designed for applications where resistance to heat, light, and weather are required.

** Chromate content may require a PROP 65 warning in CA. But the it is tightly bound in the crystalline spinel matrix and unlikely to pose a hazard.

PBr37

Manganese Niobium Titanium Brown

C.I. Pigment Brown 37;

Manganese Niobium;

Manganese Niobium Brown Rutile;

Manganese Niobium Titanium Brown Rutile

Pigment Brown 37;

Titanium Brown Rutile;

77890

Synthetic Complex Inorganic;

Manganese Niobium Titanium Brown Rutile is made by calcining Manganese (II) Oxide, Niobium (V) Oxide, and Titanium (IV) Oxide in varied ratios creating a interdiffused crystalline rutile, It may have the modifier Sb2O5 (Reference: 4th ed. CMPA Classification and Chemical Description of the Complex Inorganic Color Pigments).;

CPMA 11-47-7

CAS 70248-09-8

Dull reddish brown

-

?* (NR)

-

B**

?* Not rated by the ASTM, but should perform as excellent as other chemically simliar pigments designed for applications where resistance to heat, light, and weather are required.

** Manganese content may require a PROP 65 warning in CA. But the mang. is tightly bound in the crystalline rutile matrix and unlikely to pose a hazard.

PBr39

Zinc Manganese Chromate

C.I. Pigment Brown 39;

Chrome Manganese Zinc Brown Spinel;

Chromium Manganese Zinc Brown;

Meteor Brown Light Iron Free 7739;

Pigment Brown 39

77312

Synthetic Complex Inorganic;

Zinc Manganese Chromate;

Chrome Manganese Zinc Brown Spinel, is created by calcining a mixture of Chromium (III) Oxide, Manganese (II) Oxide and Zinc (II) Oxide in various ratios creating a spinel type crystalline matrix. It can be modified by A12O3, NiO, SiO2, SnO2, and/or TiO2 during the creation faze. (Reference: 4th ed. CMPA Classification and Chemical Description of the Complex Inorganic Color Pigments).;.

CPMA 13-51-7

CAS 71750-83-9

Reddish brown

-

(NR)

-

B**

** Manganese content may require a PROP 65 warning in CA.
The mang. is tightly bound in the spinel matrix and unlikely to pose a hazard.

PBr40

Manganese chrome antimony titanium brown rutile

Antimony Chromium Manganese Brown Rutile;

C.I. Pigment Brown 40;

Manganese Chrome Antimony Titanium Brown Rutile;

Meteor Brown (iron and Zinc free);

Pigment Brown 40

77897

Synthetic Complex Inorganic;

Manganese chrome antimony titanium brown rutile is the product of calcining Titanium (IV) Oxide, Manganese (II) Oxide; Chromium (III) Oxide, and Antimony (V) Oxide, forming an interdiffused crystalline rutile matrix.

CPMA 11-46-7;

CAS 71750-83-9

Dark brown

-

?*(NR)

-

B**

?* Not rated by the ASTM, but should perform as excellent as other chemically simliar pigments designed for applications where resistance to heat, light, and weather are required.

** Manganese & antimony content may require a PROP 65 warning in CA.
The mang.& antimony are tightly bound in the crystalline rutile matrix and unlikely to pose a hazard.

PBr41

Disazo Condensation Brown

C.I. Pigment Brown 41;

Disazo Condensation Brown;

Translucent Brown [SCH.w];

Pigment Brown 41;

Sandorin Brown RL;

Translucent Brown [SCH.w]

 

-

Synthetic Organic;

Disazo Condensation;

CAS 68516-75-6

Very dark yellowish to Reddish Brown;

very staining w/ good tinting strength

† Fades in tints; can 'bronze' over slightly in masstone

2-3

I (NR)*

-

A

* Not rated by the ASTM. The ASTM equivalent of I rating is based on Schmincke's rating and a rating of 'excellent' on Handprint.com. See more of info about PBr-41 @ Handprint.com;

PBr42

Azo Golden Brown

Azo Golden Brown [GU.pd];

C.I. Pigment Brown 42;

Pigment Brown 42

-

Synthetic Organic;

Disazocondensation;

CAS 80648-58-4

Dark yellowish Brown

3-4

I (NR)*

BWS
8;8;8
(Guerra)

-

-

* Not rated by ASTM. The ASTM I (equivalent) rating based on BWS

PBr43

Iron-Manganese Oxide

Bayferrox 645T;

C.I. Pigment Brown 43;

Pigment Brown 43;

Yellow Ochre (hue*)

77536

Synthetic Complex Inorganic;

Synthetic iron-manganese mixed oxide;

Manganic ferric oxide;

CAS 12062-81-6

Brown

1

I

-

B**

*Similar chemical make-up as the natural yellow ochres and brown umbers

** Manganese content may require a PROP 65 warning in CA.

PBr44

Cobalt Tungsten Titanium Buff

C.I. Pigment Brown 44;

Cobalt Tungsten Titanium Buff Rutile;

Meteor Plus Yellow Buff;

Pigment Brown 44

778955

Synthetic Complex Inorganic;

Cobalt Tungsten Titanium Buff Rutile mixed metal oxides;

Made by calcining at high temperature a mixture of Titanium Oxide, Cobalt Oxide, and Tungsten Oxide in various ratios to produce a crystal rutile matrix.

MMO pigment (Mixed Metal Oxides)

CAS 144437-67-2

Dark yellowish brown

1-2

?* (NR)

-

B**

?* Not rated by the ASTM, but should perform as excellent as other Titanium based MMO pigments designed for applications where resistance to heat, light, and weather are requirements.

** Cobalt content requires a PROP 65 warning in CA.
However, the Cobalt is tightly bound in the crystalline rutile matrix and unlikely to pose a hazard.

Avoid dust, do not ingest.

PBr45

Manganese Tungsten Titanium Brown

C.I. Pigment Brown 45;

Manganese Tungsten Titanium Brown Rutile;

Meteor Plus High IR Brown 9730;

Pigment Brown 45

778965

Synthetic Complex Inorganic;

Manganese Tungsten Titanium Rutile;

MMO pigment (Mixed Metal Oxides);

CAS 144437-66-1

Reddish brown

-

?* (NR)

-

B**

?* Not rated by the ASTM, but should perform as excellent as other Titanium based MMO pigments designed for applications where resistance to heat, light, and weather are requirements.

** Manganese content may require a PROP 65 warning in CA.
However, the manganese is tightly bound in the crystalline rutile matrix and unlikely to pose a hazard.

PBr46

Chrome Iron Manganese Brown Spinel

C. I. Pigment Brown 46;

Chrome Iron Manganese Brown Spinel;

Chromium Iron Manganese Brown;

Chromium Iron Manganese Zinc Brown;

Pigment Brown 46;

774945

Synthetic Complex Inorganic;

Chrome Iron Manganese Brown Spinel, is created by calcining Chromium (III) Oxide, Iron (II & III) Oxide, and Manganese (II & III) Oxide in varied ratios creating a spinel form crystal matrix. May be modified by Zinc Oxide (Reference: 4th ed. CMPA Classification and Chemical Description of the Complex Inorganic Color Pigments).;

CPMA 13-48-7

Chromium iron manganese:

CAS 68555-06-6;

Chromium iron manganese zinc brown:

CAS 68186-96-9

Brown

-

?* (NR)

-

B**

?* Not rated by the ASTM, but should perform as excellent as other Titanium based MMO pigments designed for applications where resistance to heat, light, and weather are requirements.

** Chromium & Manganese content may require a PROP 65 warning in CA.
However, they are both tightly bound in the crystalline spinel matrix and unlikely to pose a hazard.

PBr48

Aluminum Iron Titanate

Aluminum Iron Titanate;

C.I. Pigment Brown 48;

Pigment Brown 48;

Yellow 10P256

775435

Aluminum Iron Titanate

(Fe, Al)2TiO5

CAS 1310-39-0 12789-64-9

Dark to orange shade brown - ?* (NR) 15-17 A**

(Ref. Tomatec Co.Pigment Brown48.pdf);

(Ref. Shepherd Color Yellow 2010P256 20TDS.PDF)

?* Reported good light fastness but no data

** FDA Compliant


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PAINT AND PIGMENT REFERANCE TABLE KEY:    Page Top^
Jump to : Supplier\Manufacturer Codes  |  Binder/Medium Codes

Opacity

1 = opaque
4 = trans.

Light
Fastness

I = excel.
IV=Fugitive

Toxic


Color Index Generic Name:
  Key Top ^ Page Top^
This is the C.I. Generic Name (abbreviated) given by the ASTM and Colour Index International (CII) for that pigment. The first 2 or 3 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.

Natural Dye and Solvent Pigments
These are naturally occurring organic pigments and dyes. With a few exceptions, most are plant or animal extracts or dyes that need to be fixed to a substrate to become pigments (i.e. Madder Lake). A few are organic natural earths such as Cassel earth (Van Dyke Brown). They are designated with C.I. Generic name of which consists of the usage class "Natural" and basic hue, followed by the CI serial number (i.e. Natural Brown 8). Natural pigment CI generic names are often abbreviated with the usage class N + the hue abbreviation + the serial number. (i.e. NBr 8)
  Pigment
Pigments can be organic or Inorganic. Most modern pigments are given this usage designation by the Color Index. They can be completely synthetic, naturally occurring minerals, or lakes based on the synthetic derivatives of natural dyes. Pigments are designated with C.I. Generic name which consists of the usage class "Pigment" and the basic hue followed by the CI serial number (i.e. Pigment Red 106, Cadmium Red). The pigment CI generic names are often abbreviated with the usage class P + the hue abbreviation + the serial number. (i.e. PR83 for Pigment Red 83)

 

NY = Natural Yellow;
NO = Natural Orange;
NR = Natural Red;
NV = Natural Violet;
NB = Natural Blue;
NG = Natural Green;
NBr = Natural Brown;
NBk = Natural Black;
NW = Natural White;

 

 

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

 

The CI (Color Index) Common Pigment Name:   Key Top ^ Page Top^
In this database the common name is the name given in the Color Index (third edition, 1997) by the Color Index International published by the Society of Dyers and Colourists and the American Association of Textile Chemists and Colorists, and are also used by the ASTM International, American Society for Testing and Materials.

When the Colour Index (3rd edition) has not specified a name, I have used the name that the first manufacturer, inventor or original patent holder has given that pigment. In the case of ancient pigments, historic pigments, minerals or other odd pigments, I have used the most commonly used traditional historic, mineral or chemical name as determined by my research.


Common, Historic and Marketing Names:   Key Top ^ Page Top^

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 particular name, but merely a collection of names that are in common usage or have been used in the past according to historic pigment books & references, paint sales literature, and pigment manufacturers references. They have been collected (in order of importance) from

1.) Paint manufacturers, pigment manufacturers and/or other pigment supplier literature;

2.) Various web sites (an incomplete list, in no particular order): AMIEN.org is unfortunetly gone, but the good news is the MITRA (Materials Information and Technical Resources for Artists) has taken up the cause, Handprint.com; WetCanvas.com; Blick Art Materials Artist Supply Pigment Information; Boston Fine Arts CAMEO Conservation & Art Materials Encyclopedia; Kremer Pigments; Natural Pigments; Kama Pigments; Sinopia Pigments; PCImag.com; WebExhibits.org "Pigments through the Ages Online Museum"; and along with internet forums on art and painting, web sites of paint manufacturers, paint suppliers, chemical manufacturers and pigment manufacturers;

3.) The Color Index, Third edition (published by the Colour Index International, 1997);

4.) Historical books on pigments, oil painting, watercolor painting and other art forms (see Free Art e-Books);

5.) Artist manuals and handbooks (see the bottom of the Pigment Database's main page for a complete list of reference works);

6.) Various dictionaries and encyclopedias (both historic and contemporary, online and physical).

(hue):
When a manufacturer has has used a common historical name for a pigment that is not the accepted traditional historic pigment name and has not clearly indicated it to be a hue or substitute, I have indicated it with the "(hue)"* in parenthesis. For example calling/naming a paint made with Phthalocyanine Blue as "Egyptian Blue", "Smalt" or "Cobalt Blue".

* In order to stay within ASTM specification D 4302-05, manufactures are encouraged to use the word "hue" when the paint or pigment marketing name is not the real name of a paint or a pigment. 'Substitute', 'tone' or prefixed with words like 'Permanent' could be also considered acceptable means of indicating a hue substitute for the actual color. The ASTM specifications are voluntary and no one enforces them. Also because of language differences, changes in the paint or pigments common identification and because of contemporary usage (often perpetrated by manufacturer's incorrect color marketing names), and last but not least - the sheer multitude of historically used paint names for any given paint\pigment, it's nearly impossible to prove or say a manufacturer of art materials is being purposely deceptive.

 

C.I. Constitution Number or Colour Index Constitution Number (chemical composition):   Key Top ^ Page Top^

These are the chemical constitution numbers given that pigment by the Color Index International published by the Society of Dyers and Colourists and the American Association of Textile Chemists and Colorists, and are also used by the ASTM International, American Society for Testing and Materials. Each of the numbers in the "Colour Index Constitution Number" has a specific chemical or compositional meaning; for more information see the Colour Index Number Chart or go to the Color Index International and ASTM, American Society for Testing and Materials web sites (these links open in a new window)..

Chemical Composition:   Key Top ^ Page Top^

These are the basic chemical names, or mineral names along with chemical composition and sometimes, when available, manufacturing details. I have also included CAS numbers, when I can fine them. Sometimes multiple names are given because chemical names can be stated in different ways, the different chemical names can be an indication of the different manufacture methods. Very often a pigment can be a group of related compounds rather than one specific chemical. I have not included detailed chemical descriptions or analyses, but only basic information that should help you to find further information. I have included references designated with "(Ref)" where further information can be attained.
Adulterants, extenders and other additives may be added to artistic paints & pigments to improve the paint rheology, transparency, wetting and\or drying time. Often inert pigments, extenders and fillers are added to the color pigments in student grade paints or to modify paint pigments with overly strong tinting strength, i.e. the Phthalocyanine Blues and Greens. These extra ingredients are rarely listed of the label.

Color Description:   Key Top ^ Page Top^

This is a general attempt to explain the color, hue and value 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. Many pigments have a range of shades and hues. This range in hues, even in the same pigment, can be due to many things such as different manufacturing processes, chemical modifiers added during production, calcining temperature and length of time, milling time, particle size, exact chemical composition, in lake pigments the base the dye is fixed on, additives, binder , etc, etc.. In most cases, i have not used any of the attempted means of standardizing color descriptions for this (such as the Munsell system), but where the pigment is included in the Color Index International Pigments and Solvent Dyes (The Society of Dyers and Colourists, third edition 1997), I have used that description, when there is no color hue description in the Color Index, I have used other reference sources, in particularly, manufacturer or supplier literature and personal judgement.

† = 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 = Loses chroma and becomes more Transparent
Lightens = Loses chroma but maintains relative transparency or opaque character;
Whitens = Becomes lighter towards white and more opaque;
Darkens = Becomes darker but retains hue;
Dulls = Loses chroma towards neutral but maintains the relative tone value;  
Blackens = Becomes darker moving towards black losing chroma;  
Hue shift = Changes hue towards a different color

Opacity - Transparency:   Key Top ^ Page Top^

This designation is only a general reference to the most common encountered opacity or transparency inherit to the pigment. In paint formulations, the transparency of a pigment can change due to what is used as the painting medium or binder (i.e., oil color, watercolor, encaustic, acrylic, etc.). There are many pigments that are opaque in watercolor but transparent or semi-transparent in oil paints. The transparency of a paint or pigment can often be manipulated by the manufacturing process for a particular purpose and so some pigments are available in transparent and opaque versions. The addition of inert pigments or other modifiers can also change the perceived transparency of a paint formulation or pigment.
When available, i have used the Color index's designation or manufacturers literature to arrive at this figure. When the Color Index description is unavailable i have arrived at a general figure by manufacturer literature or personal experience. 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:   Key Top ^ Page Top^

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 official ASTM rating but a rating culled & averaged from other sources such as individual paint brand ratings, my own personal tests, tests results in other sources such as 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);

Blue Wool Scales will be added when found, but be aware that most of these will be tests performed by the pigment manufacturer on a single formulation that could be results from melamine (Plastic), alkyd, oil, water or acrylic emulsions and may not be indicative of it's use in all / or any particular artist paint brand or binder.

ASTM scale or equivalents (see the table below for conversion to & from the Blue Wool Scale):

I = Excellent, should last over 100 years in Museum conditions
II = Very Good, should show no signs of change for 50–100 years in Museum conditions
III = Fair, should show no signs of change for 15–50 years in Museum conditions
IV = Poor, should last 2–15 years in Museum conditions
V = Fugitive or very poor, will show changes in 2 years or less in Museum conditions

BWS = Blue wool scale

7-8 = ASTM I, Excellent
6 = ASTM II, Very Good
4-5
= ASTM III, Fair
2-3 ASTM IV, Poor (Impermanent)
1
= ASTM V, 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.

 

Oil Absorption: is given in g/100g or grams of oil per 100 grams of pigment   Key Top ^ Page Top^
or as H, M, L (see below)

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). The higher the oil absorption, generally, the longer it will take to dry when used in oil painting. The addition of driers, siccatives, retardants and other additives can effect the drying time of any specific formulation, or they can be added by the artist to speed up or slow down the drying of oil paints. In some literature the oil absorption rate is given as ml/100g, although not technically the same as g/100g, for the purposes of this database they are close enough.

Depending on the specifications i have available I may also use the following designations:
H = High;   - These pigments absorb a lot of oil.
M = Medium;    - absorbs a medium amount of oil, and generally will have an average drying or cure rate
L = Low;    - absorbs very little oil, usually very fast driers

Toxicity:   Key Top ^ Page Top^

Under this heading will be a general designation of a possible hazard. It is assumed intelligent people will use at least ordinary care when handling all paints or pigments. An 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. No artists' pigments 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 or carelessly handle. The designation here has been arrived at from, in most cases, the manufacturer's literature, art books and art reference works (see the bottom of the Pigment Database's main page for a complete list of reference works), MSDS sheets, the EPA manual: Environmental Health & Safety in the Arts: A Guide for K-12 Schools, Colleges and Artisans (full PDF here), The Art & Creative Materials Institute, Inc. (ACMI), The Health and the Arts Program - Great Lakes Centers at the University of Illinois at Chicago School of Public Health (UIC SPH), The American Institute for Conservation of Historic & Artistic Works has a collection of articles on art safety, The Consumer Product Safety Commission's Art and Craft Safety Guide (PDF, 250 KB) and Art Materials Business Guidance.

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. Very few pigments used in the arts are edible, and even so called "Food Colors" are not meant to be used in large quantities and may have unknown side effects or allergic reactions.

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; Do not ingest; Avoid dust & spray.
B = Possible hazard if carelessly handled, ingested in large amounts or over long periods of time; Do not ingest; Avoid dust & spray.
C = Hazardous, use appropriate precautions for handling toxic substances, especially if working with the dry powder; Do not ingest; Avoid dust & spray.
D = Extremely Toxic, only attempt working with these pigments (especially the dry form) in laboratory like conditions with proper safety equipment (see "Prudent practices in the laboratory: handling and disposal of chemicals" at google books opens new window); or the PDF - Booklet Safe Handling of Colour Pigments Copyright © 1995: BCMA, EPSOM, ETAD, VdMI - link from VdMI


The Side Notes Column:   Key Top ^ Page Top^

These are typically interesting things I have read, or information collected on a pigment that may be worth further study. Please remember that 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. I will include references (Ref) for further info.

Miscellaneous:

(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 reference source of the information that I have given, or just 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 references, possible typo or other discrepancies in the manufacturer or other reference documentation. Further study is needed to clarify.

Paint or Pigment Manufacturer Code & Art Medium:*****   Key Top ^ Page Top^
Paint/Pigment Manufacturer Code:
The manufacturer code is to indicate companies that make or supply paints or pigments using the particular pigment. Only those products that are single pigments will be indicated in this database. In a few cases, the Color Index International has listed a mixture of pigments or chemicals under a single color index pigment name or code, and these will also be designated as if they were a single pigment. The codes next to the pigments in above Color of Art Database may take you off sight where you can find more info or even purchase, if you so desire. These codes are not part of any standard, but were made up by me for this database, with purpose of making them as short as possible.
The links below next to the manufacturer code below are to the official manufacturer web site and will open in a new window.

DG = Daniel Green (discontinued?)

EP = Earth Pigments

GB = Gamblin

GEN = Common Generic term

GO = Golden

GR = Grumbacher

GU = Guerra Paint & Pigment

HO = Holbien

JO = Jo Sonja

KA = Kama Pigments

KP = Kremer Pigmente  (USA site)


Paint medium or binder code:  Key Top ^ Page Top^

Clicking on the paint or pigment manufacturer code next to the pigment name will take you off site where more information can be found. The link will most often take you to an art supplier where you can find more specific art medium or paint binder info, purchasing source, pigment properties, pigment history, MSDS sheets, and whether it is the artist premium or student economy grade. If you find this site helpful you can help support this site by purchasing through these links.

d in italics next to the pigment manufacturer or art supplier code indicates a discontinued pigment or paint.
All other art medium or binder codes in italics mean the pigment under that name is in the "student" or economy grade, not the "artist's" grade paint.

a = Acrylic Paint, heavy body;

ab = Acrylic Airbrush colors;

ad = Aqueous pigment dispersions;

af = Fluid Acrylics;

ag = Matte Acrylic or Acrylic Gouache;

ao = open acrylics or slow drying

k = Alkyd paints;

c = Casein or milk paint;

d = Discontinued

e = Encaustic paints;

g = Traditional water color Gouache;

i = Ink (printing ink or pigmented drawing inks);

o = Oil Paint;

p = Dry Pigment;

t = Artist Professional Tempera or Egg Tempera;

w = Watercolor Paint in tubes;

wp = Watercolor Pan; wp = 1/2 pan, wp(f) = full pan, wp(L) = large pan

wo = Water mixable oil paint or water soluble oil paint.

am = Acrylic medium, may have a wide variety of ingredients or uses

om = Oil painting Medium, may have a wide variety of ingredients or uses

wm = Watercolor Medium, may have a wide variety of ingredients or uses

GEN = Where there is a generally accepted common historic name associated with a pigment, I have used "GEN" to denote the generic or common historical name of a particular pigment.


Other than gouache, only single pigment paints and pigments are included. Gouache is designated distinct from watercolors because it is often mixed with white or additives to make it matte and/or opaque and that is not usually indicated on the paint manufactures literature. Other art material or medium forms such as pastel, oil pastels, oil bars, dyes and ceramic glazes will not be designated with a artists medium or binder code, but may still be listed under the pigment name with a company code.


©2013 by David Myers, All Rights Reserved. Please email me with corrections, additions or comments.

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Artist Reference Resources:

Historical Artist and Pigment Reference Sources:  
This is just a partial list, for a more complete listing of Historical Pigment References see the
Free Art Books Page.

  1. The Industrial and Artistic Technology of Paint and Varnish,
    By Alvah Horton Sabin, Published by J. Wiley & Sons, 1904
  2. The Painters' Encyclopaedia,
    By Franklin B. Gardner, Published by M.T. Richardson, 1887
  3. The Science of Painting,
    By Jehan Georges Vibert, Published by P. Young, 1892
  4. A Treatise on Painting,
    By Cennino Cennini, Giuseppe Tambroni, Mary Philadelphia Merrifield, Translated by Mary Philadelphia Merrifield, Published by Lumley, 1844
  5. A Treatise on Painting,
    By Leonardo Da Vinci, John Francis Rigaud, Published by J.B. Nichols and Son 1835
  6. The Book of the Art of Cennino Cennini,
    By Cennino Cennini, Cennini, Christiana Jane Powell Herringham, Translated by Christiana Jane Powell Herringham, Published by G. Allen & Unwin, ltd., 1899
  7. The Chemistry of Paints and Painting,
    By Arthur Herbert Church, Published by Seeley, 1901
  8. A Handbook for Painters and Art Students on the Character and Use of Colours,
    By William J. Muckley, Published by Baillière, Tindall, and Cox, 1880
  9. The Household Cyclopedia,
    By Henry Hartshorne 1881
  10. The Chemistry of Pigments,
    By Ernest John Parry, John Henry Coste, Published by Scott, Greenwood, 1902
  11. Facts about Processes, Pigments and Vehicles: A Manual for Art Student,
    By Arthur Pillans Laurie, Published by Macmillan, 1895
  12. The Manufacture Of Earth Colours:
    By DR. JOSEF BERSCH, translated by CHARLES SALTER,SCOTT, GREENWOOD & SON , 1921 Link
  13. Materials for Permanent Painting,
    By Maximilian Toch 1911

Modern Pigment and Artist Reference Sources:

  1. The Artist’s Handbook,
    by Pip Seymour, Arcturus Publishing (September 16, 2003)
  2. The Artist's Handbook, Revised Edition,
    Ray Smith; DK Publishing 2003
  3. The Artist's Handbook of Materials and Techniques,
    Third edition, by Ralph Mayer; Viking Press 1979
  4. Artists' Pigments: Volume 1: A Handbook of their History and Characteristics
    Edited by Robert L. Feller
  5. Artists' Pigments: Volume 2: A Handbook of their History and Characteristics
    Edited by Ashok Roy (Oct 2, 1993)
  6. Artists' Pigments: Volume 3: A Handbook of their History and Characteristics
    Edited by Elisabeth West Fitzhugh (Oct 1997)
  7. Artists' Pigments: Volume 4: A Handbook of their History and Characteristics
    Edited by Barbara Berrie (Jun 7, 2007)
  8. Collins Artist's Colour Manual,
    Simon Jennings; HarperCollins Publishers 2003
  9. Color Index International Pigments and Solvent Dyes,
    The Society of Dyers and colourists, third edition 1998
  10. A Dictionary of Art Terms and Techniques,
    Ralph Mayer, Harper and Row Publishers, New York, 1969
  11. The Materials and Techniques of Painting,
    by Jonathan Stephenson (May 1993)
  12. The Painter's Handbook,
    Mark David Gottsegen; Watson-Guptill Publications 1993
  13. Painting Materials A Short Encyclopaedia,
    by Rutherford J. Gettens and George L. Stout; Dover Publications 1966
  14. Pigment Compendium,
    by Nicholas Eastaugh, Valentine Walsh, Tracey Chaplin, Ruth Siddall; Butterworth Heinemann 2004

Web Resources and Art Suppliers with Excellent Reference Materials:

  1. American Institute for Conservation of Historic and Artistic Works (AIC):

    National membership organization in the United States dedicated to the preservation of cultural material, establishes and upholds professional standards, promoting research and publications, educational opportunities, and fostering the exchange of knowledge among conservators, allied professionals, and the public.

  2. AMIEN:
    a resource for artists dedicated to providing the most comprehensive, up-to-date, accurate, and unbiased factual information about artists' materials
  3. Blick Art Materials;
    has done a extremely thorough job of indicating the pigments used in most of the paints they sell, making the Blick Art Materials art supply website much more than just a store to purchase paint and art supplies.
    Blick Art Materials also has the MSDS sheets
    for of most of the products they sell , making the Blick site a valuable resource for toxicity info and the health and safety of artist materials.
  4. Coloria.net,
    a large and thorough site on pigments, in Finnish http://www.coloria.net/index.htm
  5. Conservation and Art Materials Encyclopedia Online (CAMEO), The Materials Database,
    developed at the Museum of Fine Arts, Boston (MFA), to be a more comprehensive and well-rounded encyclopedic resource for the art conservation and historic preservation fields. The MATERIALS database contains chemical, physical, visual, and analytical information on over 10,000 historic and contemporary materials used in the production and conservation of artistic, architectural, archaeological, and anthropological materials.
  6. Conservation OnLine (CoOL):
    A freely accessible platform to generate and disseminate vital resources for those working to preserve cultural heritage worldwide.
  7. The Handprint,com;
    site by Bruce MacEvoy has loads of excellent information on watercolor pigments and Has a excellent color wheel showing where the actual pigments are in color space. Truly an awesome site, the site is directed at watercolors, but is a good general reference for any paints or pigments.
  8. Webexhibits.org;
    Great pigment sight that even includes step by step instructions for making you own pigments.
  9. The Real Color Wheel;
    by Don Jusko is also a great color site.
  10. Studiomara;
    has a fantastic pigment reference database sorted by the marketing paint color name and brand.
  11. Health and Safety in the Arts;
    A Searchable Database of Health & Safety Information for Artists
  12. Household Products Database;
    Health and safety information on household products from the US Department of Health and Human Services
  13. Natural Pigments:
    One of the best sources of rare natural and historical pigments and information.
  14. Pigments and their Chemical and Artistic Properties; by Julie C. Sparks, is part of The Painted Word Site. Wonderful stuff.
  15. Paintmaking.com: By Tony Johansen, Great Paint making site with all types of useful pigment and binder information for the artist.
  16. PCImag.com; Paint & Coatings Indusry
        2010 Additives Handbook by Darlene Brezinski, Dr. Joseph V. Koleske, Robert Springate, June 4, 2010;
        A History of Pigment Use in Western Art Part 1;
        A History of Pigment Use in Western Art Part 2
  17. Blick Art Materials Artist Supply:
    Full Range of art supplies at discount prices and has pigment info on most paints they sell
  18. Kremer Pigmente EuropeKremer Pigments USA site;
    Has a huge amount of pigments and information.
  19. Earth Pigments:
    Specializes in earth pigments.
  20. Guerra Paint and Pigments:
    Many rare and out of production Pigments mostly in aqueous dispersions
  21. Sinopia:
    Lots of Pigments & info

Health and Safety in the Arts References and Info:

  1. Art and Craft Safety Guide (PDF, 250 KB)
    Consumer Product Safety Commission
  2. Art Materials Business Guidance
    Consumer Product Safety Commission
  3. Art Safety
    Environmental Protection, Health & Safety, California State University at Monterey Bay
  4. Artist Safety
    Center for Research on Occupational and Environmental Toxicology, Oregon Health & Science University
  5. Environmental Health & Safety in the Arts: A Guide for K-12 Schools, Colleges and Artisans
    U. S. Environment Protection Agency
  6. Exposing Ourselves to Art (PDF, 6.83 MB)
    Scott Fields. Environmental Health Perspectives Volume 105, Number 3, March 1997
  7. Health & Safety Bibliographic Resources and Resource Guides in Art Conservation
    CoOL – Conservation Online, Stanford University Libraries
  8. Health and Safety Guides and Publications
    American Institute for Conservation of Historic and Artistic Work
  9. Art Safety
    Office of Environmental Health and Safety, Connecticut College
  10. Health and the Arts Program
    The Occupational Health Service Institute, University of Illinois at Chicago
  11. Online Health and Safety in the Arts Library
    The Occupational Health Service Institute, University of Illinois at Chicago
  12. Arts, Entertainment and Recreation
    New York Committee for Occupational Safety and Health
  13. Studio Safety
    Gamblin Artists Colors

*other ASTM specifications used the the labeling of artists materials are:

D4236-94(2011) Standard Practice for Labeling Art Materials for Chronic Health Hazards

D4302-05(2010) Standard Specification for Artists' Oil, Resin-Oil, and Alkyd Paints

D4303-10 Standard Test Methods for Lightfastness of Colorants Used in Artists' Materials

D4838-88(2010) Standard Test Method for Determining the Relative Tinting Strength of Chromatic Paints

D4941-06(2010) Standard Practice for Preparing Drawdowns of Artists' Paste Paints

D5067-05(2010) Standard Specification for Artists' Watercolor Paints

D5098-05a(2010) Standard Specification for Artists' Acrylic Dispersion Paints

D5383-02(2010) Standard Practice for Visual Determination of the Lightfastness of Art Materials by Art Technologists

D5398-97(2010) Standard Practice for Visual Evaluation of the Lightfastness of Art Materials by the User

D5517-07 Standard Test Method for Determining Extractability of Metals from Art Materials
See also WK41263 proposed revision

D5724-06(2010) Standard Specification for Gouache Paints

D6801-07 Standard Test Method for Measuring Maximum Spontaneous Heating Temperature of Art and Other Materials

D6901-06 Standard Specification for Artists' Colored Pencils
See also WK27266 proposed revision

D7354-11 Standard Guide for Artists’ Paint Waste Disposal in Private, Non-Commercial Settings

D7355-10 Standard Guide for Artists' Paint Waste Disposal in Smaller Commercial or Educational Settings

D7733-12 Standard Specification for Acrylic Dispersion Ground

WK28388 New Specification for Traditional Artists Watercolor Paints
WK37409 New Test Method for Measuring Aspiration Potential of Aerosol Products
WK37916 New Specification for Standard Specification for Artists Pastels

I hope you you have found the Pigment Database useful info for oil painting and watercolor painting, acrylic painting or indeed any painting medium; I have tried to make this a good resource for the fine arts, that has the important information on toxicity of paint and art materials including the hazards of some craft materials used by decorators, interior designers, illustration and graphic designer;

© 2013 by David Myers all rights reserved

This page of the Color of Art Pigment Database was designed for C.I. Pigment Brown.

CI Pigment Brown is indicated with the pigment code "Pigment Brown" followed by the color index international's pigment identification code number or pigment ID number. The full color index name or generic pigment name is usually shortened to the Color Index code which for pigment Brown is "PBr" plus the color index # (after the "PBr" pigment Brown code designation there is the Color index identifying number code for the specific pigment, i.e. "PBr 6" or "PBr 7"). All artist paints and pigments that are ASTM International (American Society for Testing and Materials) and ASTM D4236 - 94* compliant that are sold in the United States must have the pigment identification number or generic chemical names of the brown pigments that were used to make the natural earth paints or dry pigments (either powdered brown pigments or in the commonly found "pigment dispersions") and should be have the generic pigment name printed on the paint label. The "Brown oil paint" tube or "Brown oil color" paint label, along with the label on tubes of acrylic paints, and on the label on tubes of watercolor even when found as pans, half-pans or dry cakes and often sold as a complete color palette or "watercolor set", will have the pigment or pigments index name on the label, or printed directly on the paint tube.

This color database is a also a great pigment reference made for DIY artist's and artisans that make their own paints with raw pigments and grind or mull the pigments into homemade paints giving them complete control over the paints grind, texture, and color. Making your own paints (paint making) by mulling the pigment in with a binding medium can be a rewarding and fun creative experience. The artist is involved in the process of creation, from the beginning with only the raw dry pigments and proceeding on to grinding pigments with a binding media (usually shortened to "binder"). For making oil paints, linseed oil is the most common binder (or medium). Walnut oil is also common oil used in making oil colors in the art studio and is less yellowing than linseed oil, There are other less common drying oils and some new alkyd resins the are sometimes used in making oil colors in the studio. Making (or grinding) watercolor paint is also fun and easy. The most common formula for making homemade watercolors is mostly water with some dissolved gum arabic (the glue that holds the paint together when dry). Honey and glycerin are common additives used in varying proportions to adjust the drying time and re-wetability of the dried watercolor. See the Art is Creation Recipe page for more info and paint making or grinding medium recipes. Egg-oil tempera and other media can be made in the art studio by DIY artists and it is creative and fun to make your very own paints. It is a very rewarded creative experience to grinding (mulling) your own paints and then finally making a painting or work of art, all entirely created by the artist themselves from start to finish.

The Art is Creation, Color of Art Pigment Database Reference has the resources and info on pigments used for artist paint, student paints, Oil color including:

  • Oil Paints
  • Watercolors
  • Acrylic Paint
  • Pigments used in making paint
  • Dry Pigments and Powders
  • Aqueous Pigment Dispersions
  • Fluid Acrylics
  • Airbrush Paint
  • Acrylic Gouache
  • Matte Acrylic Paints
  • Acrylic Vinyl
  • Acyclic paint or Alkyd Oils
  • Casein or Milk Paint
  • Encaustic painting
  • Gouache
  • Printing Inks or Pigmented Drawing inks
  • Oil sticks or Oil Bars
  • Oil Base Pigment Stick
  • Tempera or Egg Tempera
  • Watercolor Sticks
  • Watercolor Pigment Sticks or Bars
  • Water mixable oil paint or water soluble oil paint