Types and use of dry colors

Pigments, or dry colors, have been used for centuries in a variety of decorative and artistic mediums. These powdered materials are prized for their brightness and adaptability and are available in a wide range of colors. Dry paints give artists and craftsmen more control over the final appearance and texture because, in contrast to liquid paints, they must be mixed with a binder or medium before application.

Dry colors are mostly used in fresco and traditional painting techniques. Through the blending of pigments with various binders, like egg yolk, oil, or water, artists can formulate paints that are tailored to their individual requirements. This adaptability enables a variety of effects, ranging from the delicate transparency of watercolors to the rich, glossy finish of oil paints.

Dry colors are widely used in many industries in addition to fine art. For instance, they are essential to the manufacturing of textiles, plastics, and cosmetics. In order to achieve the desired color and guarantee consistency between batches, pigments are frequently mixed into the base materials in these applications.

Dry colors are also frequently used to create ornamental finishes for furniture and buildings. Pigments can be combined with varnishes, cement, or plasters to create vibrant, long-lasting surfaces. This technique is especially useful for restoration projects where it’s crucial to match the precise tone and texture of original finishes.

All things considered, dry colors provide a special combination of adaptability, vibrancy, and durability that makes them invaluable in both industrial and artistic settings. Knowing the different types and applications of dry colors can lead to a plethora of opportunities for artists seeking to broaden their palettes or manufacturers seeking to meet exact color specifications.

Powdered pigments, commonly referred to as dry colors, are multipurpose materials used in a variety of art and craft projects. These vivid pigments can be used to make paints, pastels, and even fabric dyes by combining them with various media. Because they can be used to create custom colors and unique finishes, dry colors are highly valued by artists and crafters due to their intense hues and versatility. Knowing the different types and applications of dry colors can help you be more creative and produce higher-quality work, whether you’re painting a mural, making handmade paper, or dying textiles.

Advantages and disadvantages of powder paints

Pigments have several advantageous qualities, including:

  • wide selection of colors;
  • lack of a sharp specific smell;
  • vapor permeability and hygroscopicity;
  • moisture resistance;
  • the ability to withstand the effects of alkaline compositions;
  • The composition is not shallow;
  • coatings painted with powder compounds are not susceptible to the negative effect of ultraviolet radiation;
  • excellent hiding place, resulting in paint.

Be aware that the composition layer—which is required to entirely cover the base surface—determines the hiding place indicator (wall, concrete floor, wood, etc.D.).

Nonetheless, there are some challenges involved with using powder compositions that should be understood beforehand. The truth is that not every paint pigment works well with every binding. Chalk and lime, for instance, should not be combined with oil or olifa. Only by diluting these substances with water can compounds be formed that resemble water-based paint and varnish materials.

Be aware that water works well as a solvent for the majority of pigments.

The second thing to remember is that paint and dry pigments cannot be combined. The solution will be heterogeneous if you continue to permit this kind of mixing because it will not be possible to thoroughly mix the ingredients.

As a result, the mixture that is produced cannot be stained with the surface; specifically, waste will increase significantly while painting coverage will decrease. Furthermore, even when an experienced specialist works on the surface, the paint can unreasonably cause stripes and divorces.

It is essential to first add the dry mass to the water and then give the contents of the container a good stir to prevent lumps in the solution. A fine-mesh sieve is then used to filter the mixture. Regular gauze can function in place of Sito if it is folded multiple times. The composition is poured into the paint in a thin stream following filtration. The mixture needs to be thoroughly stirred after adding the diluted powder paint; this will guarantee the mixture’s uniformity.

One more challenge when working with dry colors is having to use multiple pigmenting additives to achieve a desired shade. Work demands skills, and novices may not always complete the task successfully the first time. In this sense, there is significantly less preparation work involved when using pre-made paints and varnishes.

Types of colors

Numerous pigmenting materials are approved based solely on their color.

White pigments

Chalk, white, and lime are examples of white pigmenting elements.

The most widely used coloring ingredient is lime. After brewing lime in regular water and stirring it until it takes on the consistency of milk, the mixture is ready to be applied to the exterior. It is typically used for notification in painting, and if needed, it is combined with pigmenting agents. Only pigments (such as ocher, soot, snout, and chrome oxide) that do not lose their natural color when mixed are added. Three quarters of water to one quarter of lime is the ratio used to prepare the solution.

Chalk can have a yellow or gray shade and is offered on sale in one of two states – a hammer or large pieces. Both varieties are divided into 3 varieties. Smat -milk chalk is suitable for painting. You can bring coarse cubic chalk to the desired condition yourself. To do this, you need to add three times more water to one piece of chalk, and then thoroughly mix the solution and pass it through a sieve. Next, the mixture is spilled into another container and insisted. After the deposition of the chalk, the water is drained, and the upper part of the sediment is removed for consistent operations for drying, tearing and sifting through a sieve.

Belila is produced by processing pumped metal components (titanium ore, carbon dioxide, zinc, and lithopon) into a white powder mass of thin grinding. Belila is utilized in the production of putty and oil paint.

Indicators of hingedness (per square meter) for Belil:

  • titanium-50-75 grams;
  • lithopone – 120 grams;
  • lead-200-300 grams.

Crucial! Only dry chalk that has first been frequently sieved is used for plugs and oil putty.

Yellow pigments

Materials that can be pigmented yellow include crowns and ocher.

Protects one of the coloring substance types that customers find most appealing. Although ocher is always yellow, it can also be several other colors, including golden. The ocher is said to be burned after being bitten by the flames, taking on a reddish-brown hue. Security is highly resilient to external influences. Indicator of substance cover: 65–90 grams per square meter.

Paints based on zinc or lead are referred to as crayons. Furthermore, because lead powders are toxic, they should not be used for internal work. The compositions range in color from orange to lemon. Between 110 and 190 grams per square meter is the range in which the Croena Croon covering indicator varies.

Blue pigments

The blue-colored pigments are ultramarine and azure.

Chalk and lime gapers are made with the addition of ultramarin, also known by the folk name "blue." Ultramarine’s job is to add a hint of blue to the solution. Paint and varnish coverage: approximately 50 grams per square meter.

Azure is a material that is limited to use in enamel or oil paint compositions. Because the azure is unstable to UV light, intense light causes the surface to darken. Furthermore, paints with a lazuli base disintegrate when exposed to alkaline compositions. A small amount of soot is added to the azure solution in order to intensify the color component. There is a range of 10 to 60 grams per square meter for the paint cover.

Red pigments

The materials that transmit surfaces are mummy, cinnabar, and red color (iron and lead).

Red brick color is the Iron Drier. About 20 grams of covering are applied to every square meter of surface. Lead sword is a coloring material that has a reddened orange hue. 100 grams per square meter for hiding.

Mummy is a multi-hued red paint with numerous possible shades. The mummy is highly susceptible to moisture and has a tendency to turn brown when exposed to outside influences. Its original color is a rich, dark red. The material’s cover could weigh between 30 and 60 grams per square meter.

Kinovar stands out for having a wide variety of red hues. The material exhibits a strong resistance to acidic and basic mixtures; nevertheless, it undergoes color changes when exposed to ultraviolet light. 80-120 grams per square meter is the hurry indicator.

Green pigments

Lead greens and chrome greens are two types of green powder paint.

A combination of yellow crowns and azure is called chrome greens (chromium oxide). You can achieve a specific shade by adjusting the composition’s azure’s proportions. Paint for covering: 40 grams per square meter.

Lead greens, such as crown and azure, are also a blend of blue and yellow components. The range of variation for the hinge indicator is 28–70 grams per square meter.

Brown pigments

Burnt sienna and umbra give brown color.

Umbra is a brown coloring material that comes in various shades. Umbra takes on a reddish-brown hue due to firing. The material’s average wings weigh 40 grams per square meter.

The properties of burning Siena are comparable to those of ocher. It is frequently used to give wood ornamental qualities, as in situations where painting the surface beneath an oak or ash is necessary. Absence of content – hiding place beneath the mean.

Black pigments

Charcoal, graphite, peroxide, and chang are transferred to the surfaces.

A black material called soot is produced as a byproduct of burning in the oil and gas sector. Only compounds made of oil, glue, or soap can have soot added to them. The solution has a hiding place of 15 grams per square meter.

Water and manganese peroxide mix well. Forty grams per square meter is the hurry indicator.

A sieve is used to grind and filter charcoal and graphite before using.

The coloring material is then obtained by adding the resulting powder to the water. Paints made of graphite and charcoal have a hiding place rate of 30 grams per square meter.

Metal pigments

Powdered zinc, bronze, and aluminum are examples of metal pigments. Usually, bronze and aluminum are used to apply a coating of the kind called "under metal" and to stain metal products (like airbrushes). applying three to four grams of metal pigments per square meter.

Solvents for dry colors

Different kinds of powders can be used to any kind of solution. Among the pigments that are universal are:

  • soot;
  • manganese peroxide;
  • cinnabar;
  • mummy;
  • ultramarine;
  • Iron Surse;
  • sienna;
  • umber;
  • ocher;
  • Chrome oxide.

Lime and chalk are only used in water, along with other ingredients in emulsion and adhesive compositions.

Type of Dry Color Uses
Chalk Used for making paint for walls, sidewalks, and creating textured finishes.
Ocher Commonly used in oil paints and watercolors for its earthy tones.
Red Oxide Utilized in metal primers and anti-corrosion coatings.
Ultramarine Blue Popular in artistic paints for its vivid blue color and stability.
Titanium White Used extensively in paints for its excellent coverage and brightness.

Examining the various varieties and applications of dry colors opens up a colorful world of possibilities for artists, crafters, and do-it-yourselfers. These pigments are versatile and add a special touch to a range of projects, including fine art and home décor. Selecting the best type for your needs requires an understanding of its characteristics.

Each type of pigment—natural earth pigments, artificial colors, or metallic powders—brings unique qualities and possible uses. Whereas synthetic alternatives offer a greater variety of vivid, consistent colors, natural earth pigments have a rich, classic quality. Metallic powders give any project an eye-catching, reflective sheen.

Applying dry colors requires a few basic but accurate techniques. A variety of textures and effects can be produced by combining them with various binders, such as acrylic mediums, water, or oil. It’s crucial to try different things until you find what produces the results you want. Your creativity can blossom as the possibilities become infinite with practice.

Adding dry colors to your work gives it a more meaningful connection to the materials used, as well as improving its aesthetic appeal. Understanding these pigments will help you on your artistic journey by adding depth and significance to each piece you create.

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Maria Vlasova

Chemist-technologist, expert on paint and varnish materials. I will help you figure out the compositions of paints, their characteristics and choose the best option for your purposes.

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