Lake pigment

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A lake pigment is a pigment made by precipitating a dye with an inert binder, or mordant, usually a metallic salt. Unlike vermilion, ultramarine, and other pigments made from ground minerals, lake pigments are organic. [1] Manufacturers and suppliers to artists and industry frequently omit the lake designation in the name. Many lake pigments are fugitive because the dyes involved are not lightfast. Red lakes were particularly important in Renaissance and Baroque paintings; they were often used as translucent glazes to portray the colors of rich fabrics and draperies. [2]

Contents

Etymology

The term lake is derived from the term lac, the secretions of the Indian wood insect Kerria lacca (formerly Laccifer lacca or Coccus lacca). [3] [4] It has the same root as the word lacquer, and comes originally from the Hindi word lakh, through the Arabic word lakk and the Persian word lak. [5]

Chemistry

A typical lake pigment is Lithol Rubine BK. Lithol rubine BK.svg
A typical lake pigment is Lithol Rubine BK.

Many lake pigments are azo dyes. They characteristically have sulfonate and sometimes carboxylate substituents, which confer negative charge to the chromophore (colored species).

The metallic salts or binders used are typically colourless or almost so. [1] The organic component of the dye determines the color of the resulting precipitate. In ancient times chalk, white clay, and crushed bones were used as sources of the calcium salts. Today metallic salts are typically chromium or cobalt, and the resulting lake pigment is diluted with an inert material such as alumina.

History and art

Titian used glazes of red lake to create the vivid crimson of the robes in The Vendramin Family Venerating a Relic of the True Cross, c. 1550-60 (detail). Titian - The Vendramin Family Venerating a Relic of the True Cross (detail) - WGA22811.jpg
Titian used glazes of red lake to create the vivid crimson of the robes in The Vendramin Family Venerating a Relic of the True Cross , c. 1550–60 (detail).

Lake pigments have a long history in decoration and the arts. Some have been produced for thousands of years and traded over long distances.

The red lakes were particularly important in the history of art; because they were translucent, they were often used in layers of glazes over a more opaque red (sometimes the mineral-based pigment vermilion, or sometimes a red lake mixed with lead white or vermilion) to create a deep, rich red color. They are common in paintings by Venetian artists of the 16th century, including Titian, to depict fine draperies and fabrics. [2]

Indigo and rose madder are now produced more cheaply from synthetic sources, although some use of natural products persists, especially among artisans. The food and cosmetics industries have shown renewed interest in cochineal as a source of natural red dye. [8]

Related Research Articles

<span class="mw-page-title-main">Dye</span> Soluble chemical substance or natural material which can impart color to other materials

A dye is a colored substance that chemically bonds to the substrate to which it is being applied. This distinguishes dyes from pigments which do not chemically bind to the material they color. Dye is generally applied in an aqueous solution and may require a mordant to improve the fastness of the dye on the fiber.

<span class="mw-page-title-main">Pigment</span> Colored material

A pigment is a powder used to add color or change visual appearance. Pigments are completely or nearly insoluble and chemically unreactive in water or another medium; in contrast, dyes are colored substances which are soluble or go into solution at some stage in their use. Dyes are often organic compounds whereas pigments are often inorganic. Pigments of prehistoric and historic value include ochre, charcoal, and lapis lazuli.

<span class="mw-page-title-main">Alizarin</span> Chemical compound and histologic stain

Alizarin is an organic compound with formula C
14
H
8
O
4
that has been used throughout history as a prominent red dye, principally for dyeing textile fabrics. Historically it was derived from the roots of plants of the madder genus. In 1869, it became the first natural dye to be produced synthetically.

Crimson is a rich, deep red color, inclining to purple. It originally meant the color of the kermes dye produced from a scale insect, Kermes vermilio, but the name is now sometimes also used as a generic term for slightly bluish-red colors that are between red and rose. It is the national color of Nepal.

<span class="mw-page-title-main">Mordant</span> Substance used for binding dyes to fabrics

A mordant or dye fixative is a substance used to set dyes on fabrics. It does this by forming a coordination complex with the dye, which then attaches to the fabric. It may be used for dyeing fabrics or for intensifying stains in cell or tissue preparations. Although mordants are still used, especially by small batch dyers, it has been largely displaced in industry by directs.

Carmine – also called cochineal, cochineal extract, crimson lake, or carmine lake – is a pigment of a bright-red color obtained from the aluminium complex derived from carminic acid. Specific code names for the pigment include natural red 4, C.I. 75470, or E120. Carmine is also a general term for a particularly deep-red color.

<span class="mw-page-title-main">Dyeing</span> Process of adding color to textile products like fibers, yarns, and fabrics

Dyeing is the application of dyes or pigments on textile materials such as fibers, yarns, and fabrics with the goal of achieving color with desired color fastness. Dyeing is normally done in a special solution containing dyes and particular chemical material. Dye molecules are fixed to the fiber by absorption, diffusion, or bonding with temperature and time being key controlling factors. The bond between the dye molecule and fiber may be strong or weak, depending on the dye used. Dyeing and printing are different applications; in printing, color is applied to a localized area with desired patterns. In dyeing, it is applied to the entire textile.

<span class="mw-page-title-main">Rose madder</span> Red paint made from the madder plant

Rose madder is a red paint made from the pigment madder lake, a traditional lake pigment extracted from the common madder plant Rubia tinctorum.

<span class="mw-page-title-main">Cochineal</span> Species of insect producing the crimson dye carmine

The cochineal is a scale insect in the suborder Sternorrhyncha, from which the natural dye carmine is derived. A primarily sessile parasite native to tropical and subtropical South America through North America, this insect lives on cacti in the genus Opuntia, feeding on plant moisture and nutrients. The insects are found on the pads of prickly pear cacti, collected by brushing them off the plants, and dried.

<span class="mw-page-title-main">Alizarin crimson (color)</span>

Alizarin crimson is a shade of red that is biased slightly more towards purple than towards orange on the color wheel and has a blue undertone. It is named after the organic dye alizarin, found in the madder plant, and the related synthetic lake pigment alizarin crimson. William Henry Perkin had co-discovered a way to synthesize the pigment alizarin, which became known as the color alizarin crimson. Its consistency and lightfastness quickly made it a favourite red pigment for artists.

<i>Rubia tinctorum</i> Species of flowering plant (rose madder)

Rubia tinctorum, the rose madder or common madder or dyer's madder, is a herbaceous perennial plant species belonging to the bedstraw and coffee family Rubiaceae.

<span class="mw-page-title-main">Anthraquinone dyes</span>

Anthraquinone dyes are an abundant group of dyes comprising a anthraquinone unit as the shared structural element. Anthraquinone itself is colourless, but red to blue dyes are obtained by introducing electron donor groups such as hydroxy or amino groups in the 1-, 4-, 5- or 8-position. Anthraquinone dyestuffs are structurally related to indigo dyestuffs and are classified together with these in the group of carbonyl dyes.

<span class="mw-page-title-main">Natural dye</span> Dye extracted from plant or animal sources

Natural dyes are dyes or colorants derived from plants, invertebrates, or minerals. The majority of natural dyes are vegetable dyes from plant sources—roots, berries, bark, leaves, and wood—and other biological sources such as fungi.

<span class="mw-page-title-main">Glossary of dyeing terms</span>

Dyeing is the craft of imparting colors to textiles in loose fiber, yarn, cloth or garment form by treatment with a dye. Archaeologists have found evidence of textile dyeing with natural dyes dating back to the Neolithic period. In China, dyeing with plants, barks and insects has been traced back more than 5,000 years. Natural insect dyes such as Tyrian purple and kermes and plant-based dyes such as woad, indigo and madder were important elements of the economies of Asia and Europe until the discovery of man-made synthetic dyes in the mid-19th century. Synthetic dyes quickly superseded natural dyes for the large-scale commercial textile production enabled by the industrial revolution, but natural dyes remained in use by traditional cultures around the world.

<span class="mw-page-title-main">Armenian cochineal</span> Species of true bug

The Armenian cochineal, also known as the Ararat cochineal or Ararat scale, is a scale insect indigenous to the Ararat plain and Aras (Araks) River valley in the Armenian Highlands and in Turkey. It was formerly used to produce an eponymous crimson carmine dyestuff known in Armenia as vordan karmir and historically in Persia as kirmiz. The species is critically endangered within Armenia.

<span class="mw-page-title-main">Synthetic colorant</span>


A colorant is any substance that changes the spectral transmittance or reflectance of a material. Synthetic colorants are those created in a laboratory or industrial setting. The production and improvement of colorants was a driver of the early synthetic chemical industry, in fact many of today's largest chemical producers started as dye-works in the late 19th or early 20th centuries, including Bayer AG(1863). Synthetics are extremely attractive for industrial and aesthetic purposes as they have they often achieve higher intensity and color fastness than comparable natural pigments and dyes used since ancient times. Market viable large scale production of dyes occurred nearly simultaneously in the early major producing countries Britain (1857), France (1858), Germany (1858), and Switzerland (1859), and expansion of associated chemical industries followed. The mid-nineteenth century through WWII saw an incredible expansion of the variety and scale of manufacture of synthetic colorants. Synthetic colorants quickly became ubiquitous in everyday life, from clothing to food. This stems from the invention of industrial research and development laboratories in the 1870s, and the new awareness of empirical chemical formulas as targets for synthesis by academic chemists. The dye industry became one of the first instances where directed scientific research lead to new products, and the first where this occurred regularly.

<span class="mw-page-title-main">Red pigments</span> Materials used to make red colors in painting

Red pigments are materials, usually made from minerals, used to create the red colors in painting and other arts. The color of red and other pigments is determined by the way it absorbs certain parts of the spectrum of visible light and reflects the others. The brilliant opaque red of vermillion, for example, results because vermillion reflects the major part of red light, but absorbs the blue, green and yellow parts of white light.

<span class="mw-page-title-main">Laccaic acid</span> Chemical compound

Laccaic acids or laccainic acids are a group of five anthraquinone derivatives, rated from A to E, constituting the red shellac obtained from the cochineal Kerria lacca, just like carminic acid or kermesic acid. For this article, it will mostly concentrate on the laccaic acid A (LCA).

References

  1. 1 2 K. Hunger. W. Herbst "Pigments, Organic" in Ullmann's Encyclopedia of Industrial Chemistry, Wiley-VCH, Weinheim, 2012. doi : 10.1002/14356007.a20_371
  2. 1 2 David Bomford and Ashok Roy, A Closer Look - Colour, National Gallery Company, p. 41.
  3. Llewellyn, Bryan D. (May 2005). "Stain Theory – How mordants work". Archived from the original on August 14, 2007.
  4. "lake, n.6". OED Online. December 2011. Oxford University Press. 25 January 2012.
  5. Webster's New World Dictionary of American English, Third College Edition, 1988.
  6. Amy Butler Greenfield (2005). A Perfect Red: Empire, Espionage, and the Quest for the Color of Desire . HarperCollins. ISBN   0-06-052275-5.
  7. Allevi, P.; et al. (1991). "The 1st Total Synthesis of Carminic Acid". Journal of the Chemical Society, Chemical Communications. 18 (18): 1319–1320. doi:10.1039/c39910001319.
  8. 1 2 Miller, Brittney J. (25 March 2022). "Cochineal, a red dye from bugs, moves to the lab". Knowable Magazine. doi:10.1146/knowable-032522-1 . Retrieved 28 March 2022.