Phthalocyanine and quinacridone pigments: their history, properties and use

Lomax, Suzanne Quillen

doi:10.1179/sic.2005.50.supplement-1.19

Cited by 42 publications

(32 citation statements)

References 28 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Estas propiedades lo han posicionado como el pigmento blanco por excelencia, aunque a veces se lo mezcla con óxido de zinc. El azul de Prusia es un pigmento inorgánico sintético de gran poder de tinción y de un color azul profundo e intenso (BERRIE 1997), mientras que el verde de ftalocianina es un pigmento organometálico clorado conteniendo cobre y que posee excelentes propiedades en cuanto a su brillo, intensidad y permanencia (LOMAX 2005…”

Section: Introductionunclassified

Análisis de materiales artísticos mediante espectroscopia infrarroja por reflectancia total atenuada

Guerrero

Maier²

2018

Cad. LEPAARQ

View full text Add to dashboard Cite

este trabajo describe el análisis por espectroscopia infrarroja utilizando la técnica de reflectancia total atenuada de pinturas al óleo y acrílicas comerciales conteniendo blanco de titanio, azul de Prusia y verde de ftalocianina como pigmentos. Las pinturas al óleo con azul de Prusia mostraron la presencia de cargas como carbonato de calcio y sulfato de bario. El análisis de una réplica de una pintura acrílica con blanco de titanio sobre la que se aplicó una capa de barniz Paraloid B-67 dio un espectro infrarrojo correspondiente al barniz, no registrándose bandas de la capa de la formulación con blanco de titanio. Por otra parte, en las pinturas al óleo y acrílicas con verde de ftalocianina se diferenciaron claramente ambos aglutinantes y se identificó el pigmento en base a algunas señales características en la zona de la huella digital. Los resultados muestran la versatilidad de la técnica vibracional en el estudio de materiales artísticos. Resumo: Este trabalho descreve a análise por espectroscopia de infravermelho usando a técnica de reflectância total atenuada de tintas a óleo e acrílicos comerciais contendo branco de titânio, azul da Prússia e verde de ftalocianina como pigmentos. As pinturas a óleo com azul da Prússia mostraram a presença de cargas como carbonato de cálcio e sulfato de bário. A análise de uma réplica de uma tinta acrílica com branco de titânio sobre a qual foi aplicada uma camada de verniz Paraloid B-67 produziu um espectro infravermelho correspondente ao verniz, não registrando bandas da camada de formulação com branco de titânio. Por outro lado, no óleo e acrílicos com verde de ftalocianina, ambos os aglutinantes foram claramente diferenciados e o pigmento foi identificado com base em alguns sinais característicos em áreas de fingerprint. Os resultados mostram a versatilidade da técnica vibracional no estudo de materiais artísticos. Abstract: this work describes the analysis by attenuated total reflectance infrared spectroscopy of oil and acrylic commercial paintings with titanium white, Prussian blue and green phthalocyanine as pigments. Oil paintings with Prussian blue showed the presence of calcium carbonate and barium sulfate as extenders. Analysis of a mock-up of an acrylic painting with titanium white with the application of Paraloid B-67 as varnish showed the infrared spectrum of the varnish and no bands of the titanium white painting. On the other hand, in the oil and acrylic paintings with green phthalocyanine both binders were clearly differentiated and the pigment was identified by some characteristic bands in the fingerprint region. Our results show the versatility of the vibrational technique in the study of pictorial materials.

show abstract

Section: Introductionunclassified

Análisis de materiales artísticos mediante espectroscopia infrarroja por reflectancia total atenuada

Guerrero

Maier²

2018

Cad. LEPAARQ

View full text Add to dashboard Cite

show abstract

“…The Prussian blue is present at G1, G2, and G3 whereas blue copper-phthalocyanine appears at the 1944 generator group (G3). This can be explained by the fact that copperphthalocyanine blue is only used, on industrial [23] and artistic areas, [24,25] since 1935, contrarily to the Prussian blue, used since middle 18th-century. Although the latter pigment has a strong reddish blue colour with good opacity, it is relatively unstable when exposed to a corrosive atmosphere.…”

Section: Exam and Analytical Techniquesmentioning

confidence: 99%

“…Iron oxide, an inorganic pigment, is very stable to chemicals and high temperatures (up to 1200 C in the air) and is lightfast, contrarily to the toluidine red, an organic insoluble azo dye, characterised by its low tinting strength and lightfastness. [24] Even If considered the most unstable of the two colouring agents, the toluidine red is found in the three generators groups, [20] G3 Toluidine red Fremout and Saverwyns [21] G3 Fe 219(s), 238(w), 285(vs), 404(s), 491(vw) 600(m)…”

Section: Exam and Analytical Techniquesmentioning

confidence: 99%

Discovering the colours of industrial heritage characterisation of paint coatings from the powerplant at the Levada de Tomar

Tissot

Fonseca

Tissot

et al. 2020

J Raman Spectroscopy

View full text Add to dashboard Cite

The paint coatings of three energy generators from the 20th‐century powerplant at Levada de Tomar, Portugal, were investigated using micro‐Raman and micro‐X‐ray fluorescence spectroscopies and scanning electron microscopy with energy dispersive spectroscopy. This multi‐analytical approach was used to identify the colouring agents, thus providing a chronological chromatic pallet and allowing to infer on the use of the three energy generators. Together with traditional pigments like Prussian blue, red iron oxide, and carbon black, pigments used in industrial areas like copper phthalocyanine and toluidine red were identified as colouring agents. Complex paint systems of the oldest equipment (1924) were revealed as well as maintenance procedures of the equipment that worked during a longer time (1944–1990). Powdery carbon black layers, resulting from incomplete hydrocarbon combustion and present between metallic substrates and coating layers, suggested the inexistence of paint coatings replacement after the powerplant shutdown. The identification of magnetite as a corrosion product of iron alloy substrate revealed that corrosion developed after the engine shutdown and not during the operation period. The results obtained highlight the potentialities of scientific‐based approach and Raman spectroscopy to the industrial heritage study, an emergent cultural area.

show abstract

“…PB15, the copper(II) complex of the basic porphyrin ring structure, has been commercially available since the mid-1930s. The pigment is appreciated for its excellent stability and high tinting strength and is by far the most important of the blue pigments today [22,32]. Phthalocyanine blue exists in different types depending on crystal form and treatment of the pigment to improve stability and to prevent flocculation.…”

Section: Blue Sashmentioning

confidence: 99%

Raman analysis of complex pigment mixtures in 20th century metal knight shields of the Order of the Elephant

Lauridsen¹,

Sanyova

Симонсен³

2015

Spectrochimica Acta Part A: Molecular and Biomolecular Spectros

View full text Add to dashboard Cite

Phthalocyanine and quinacridone pigments: their history, properties and use

Cited by 42 publications

References 28 publications

Análisis de materiales artísticos mediante espectroscopia infrarroja por reflectancia total atenuada

Análisis de materiales artísticos mediante espectroscopia infrarroja por reflectancia total atenuada

Discovering the colours of industrial heritage characterisation of paint coatings from the powerplant at the Levada de Tomar

Raman analysis of complex pigment mixtures in 20th century metal knight shields of the Order of the Elephant

Contact Info

Product

Resources

About