Sienna | |
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Color coordinates | |
Hex triplet | #882D17 |
sRGB B (r, g, b) | (136, 45, 23) |
HSV (h, s, v) | (12°, 83%, 53%) |
CIELChuv (L, C, h) | (32, 73, 18°) |
Source | ISCC-NBS |
ISCC–NBS descriptor | Strong reddish brown |
B: Normalized to [0–255] (byte) |
Sienna (from Italian : terra di Siena, meaning "Earth of Siena") is an earth pigment containing iron oxide and manganese oxide. In its natural state, it is yellowish brown, and it is called raw sienna. When heated, it becomes a reddish brown, and it is called burnt sienna. [1] It takes its name from the city-state of Siena, where it was produced during the Renaissance. [2] Along with ochre and umber, it was one of the first pigments to be used by humans, and is found in many cave paintings. Since the Renaissance, it has been one of the brown pigments most widely used by artists.
The first recorded use of sienna as a color name in English was in 1760. [3]
The normalized color coordinates for sienna are identical to kobe, first recorded as a color name in English in 1924. [4]
Like the other earth colors, such as yellow ochre and umber, sienna is a clay which is partially composed of iron oxides. In the case of sienna, the most prevalent iron oxides are limonite (which in its natural state has a yellowish color), and goethite. In addition to iron oxides, natural or raw sienna is also composed of manganese oxide, which makes it darker than ochre. Aluminum oxides have also been found in the soil at very low levels. [5] When heated, the limonite and goethite is dehydrated and turns partially to hematite, which gives it a reddish-brown color. [6] Sienna is lighter in shade than raw umber, which is also clay with iron oxide, but which has a significantly higher content of manganese (5 to 20 percent) making it greenish brown or dark brown in color. When heated, raw umber becomes burnt umber, a very dark brown. [7]
The pigment sienna was known and used in its natural form by the ancient Romans. It was mined near Arcidosso (formerly under Sienese control, now in the province of Grosseto) on Monte Amiata in southern Tuscany. It was called terra rossa (red earth), terra gialla (yellow earth), or terra di Siena.[ citation needed ]
In the Middle Ages the sienna pigments were used by artists such as Duccio di Buoninsegna and other painters who lived and worked in and around the Republic of Siena. [8] Duccio was painting with earth pigments in the late 13th century until his death in the early 14th century.[ citation needed ]
During the Renaissance, Giorgio Vasari made note of the pigment under the name terra rossa. Along with umber and yellow ochre, sienna became one of the standard browns used by artists from the 16th to 19th centuries, including Caravaggio (1571–1610) and Rembrandt (1606–1669), who used all three earth colors in his palette. [9] [10] Cross sections of Rembrandt's works, analyzed by X-Ray and infrared lenses, reveal that he used variations of sienna to prime his paintings. This was especially true for some of his later works. [11]
Although these artists are known to have used sienna and its variations in their works, scholars have pointed out that the pigment was not commonly referenced by name in European sources until the mid-eighteenth century. [5] : 52
By the 1940s, the traditional Italian sources of the pigment were nearly exhausted. Much of today's sienna production is carried out in the Italian islands of Sardinia and Sicily, while other major deposits are found in the Appalachian Mountains, where it is often found alongside the region's iron deposits. It is also still produced in the French Ardennes in the small town of Bonne Fontaine near Ecordal. [7] It is important to note that the chemical composition of the umbers produced in France are distinctly different from the original siennas.[ citation needed ]
In the 20th century, pigments began to be produced using synthetic iron oxide rather than natural deposits. The labels on paint tubes indicate whether they contain natural or synthetic ingredients. PY-43 indicates natural raw sienna, while PR-102 indicates natural burnt sienna.
Historically, the pigment was prepared by taking lumps of earth and placing them into a fire either using a crucible or shovel, in order to induce the necessary chemical reaction. In some seventeenth-century accounts, the lumps of earth are supposed to be pulverized, or at least broken down into smaller pieces, first. However, the instructions from the time period are inconsistent. Furthermore, the amount of time that the pigment needs to be heated is based on what the artist preparing the pigment desires. Generally, a longer exposure to heat leads to a deeper red hue. [14]
Sienna varies slightly in shade and hue based on the chemical composition of the soil and the temperature and length of time in which it is prepared. A higher composition of iron oxide in the soil leads to a deeper red pigment. [15]
There is no single agreed standard for the color of sienna, and the name is used today for a wide variety of hues and shades. They vary by country and color list, and there are many proprietary variations offered by paint companies. The color box at the top of the article shows one variation from the ISCC-NBS color list. [16]
Terra di Siena naturale, or raw sienna (Italian) | |
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Colour coordinates | |
Hex triplet | #965434 |
sRGB B (r, g, b) | (150, 84, 52) |
HSV (h, s, v) | (20°, 65%, 59%) |
CIELChuv (L, C, h) | (43, 57, 29°) |
Source | Ferrario 1919: Cartella colori, colour 69 |
ISCC–NBS descriptor | Strong brown |
B: Normalized to [0–255] (byte) |
Raw sienna is a yellowish-brown natural earth pigment, [1] composed primarily of iron oxide hydroxide. The box shows the color of the pigment in its natural, or raw state. It contains a large quantity of iron oxide and a small quantity (about five percent) of manganese oxide.
This kind of pigment is known as yellow ochre, yellow earth, limonite, or terra gialla. The pigment name for natural raw sienna from the Color Index International, shown on the labels of oil paints, is PY-43.
This box at right shows a variation of raw sienna from the Italian Ferrario 1919 color list.
Terra di Siena bruciata, or burnt sienna (Italian) | |
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Colour coordinates | |
Hex triplet | #623034 |
sRGB B (r, g, b) | (98, 48, 52) |
HSV (h, s, v) | (355°, 51%, 38%) |
CIELChuv (L, C, h) | (27, 32, 8°) |
Source | Ferrario 1919: Cartella colori, colour 77 |
ISCC–NBS descriptor | Deep reddish brown |
B: Normalized to [0–255] (byte) |
Burnt sienna contains a large proportion of anhydrous iron oxide. It is made by heating raw sienna, which dehydrates the iron oxide, changing it partially to hematite, giving it rich reddish-brown color. [1]
The pigment is also known as red earth, red ochre, and terra rossa. On the Color Index International, the pigment is known as PR-102.
This version is from the Italian Ferrario 1919 color list.
The first recorded use of burnt sienna as a color name in English was in 1853. [17]
Burnt sienna (Maerz and Paul) | |
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Colour coordinates | |
Hex triplet | #E97451 |
sRGB B (r, g, b) | (233, 116, 81) |
HSV (h, s, v) | (14°, 65%, 91%) |
CIELChuv (L, C, h) | (62, 98, 22°) |
Source | Maerz and Paul [17] |
ISCC–NBS descriptor | Strong reddish orange |
B: Normalized to [0–255] (byte) |
This variation of burnt sienna is from the Maerz and Paul "A Dictionary of Color" from 1930. It is considerably lighter than most other versions of burnt sienna. It was a mix of burnt orange and raw sienna.
Dark sienna | |
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Colour coordinates | |
Hex triplet | #3C1414 |
sRGB B (r, g, b) | (60, 20, 20) |
HSV (h, s, v) | (0°, 67%, 24%) |
CIELChuv (L, C, h) | (13, 22, 12°) |
Source | ISCC-NBS [18] |
ISCC–NBS descriptor | Dark reddish brown |
B: Normalized to [0–255] (byte) |
This infobox shows the color dark sienna. This variation is from the ISCC-NBS color list. A similar dark sienna paint was frequently used on Bob Ross's TV show, The Joy of Painting .[ citation needed ]
Sienna (X11 web colour) | |
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Colour coordinates | |
Hex triplet | #A0522D |
sRGB B (r, g, b) | (160, 82, 45) |
HSV (h, s, v) | (19°, 72%, 63%) |
CIELChuv (L, C, h) | (44, 68, 27°) |
Source | X11 |
ISCC–NBS descriptor | Strong brown |
B: Normalized to [0–255] (byte) |
The web color sienna is defined by the list of X11 colors used in web browsers and web design.
Brown is a color. It can be considered a composite color, but it is mainly a darker shade of orange. In the CMYK color model used in printing and painting, brown is usually made by combining the colors orange and black.
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.
Limonite is an iron ore consisting of a mixture of hydrated iron(III) oxide-hydroxides in varying composition. The generic formula is frequently written as FeO(OH)·nH2O, although this is not entirely accurate as the ratio of oxide to hydroxide can vary quite widely. Limonite is one of the three principal iron ores, the others being hematite and magnetite, and has been mined for the production of iron since at least 400 BC.
Ochre, iron ochre, or ocher in American English, is a natural clay earth pigment, a mixture of ferric oxide and varying amounts of clay and sand. It ranges in colour from yellow to deep orange or brown. It is also the name of the colours produced by this pigment, especially a light brownish-yellow. A variant of ochre containing a large amount of hematite, or dehydrated iron oxide, has a reddish tint known as red ochre.
Umber is a natural earth pigment consisting of iron oxide and manganese oxide; it has a brownish color that can vary among shades of yellow, red, and green. Umber is considered one of the oldest pigments known to humans, first seen in Ajanta Caves in 200 BC – 600 AD. Umber's advantages are its highly versatile color, warm tone, and quick drying abilities. While some sources indicate that umber's name comes from its geographic origin in Umbria, other scholars suggest that it derives from the Latin word umbra, which means "shadow". The belief that its name derives from the word for shadow is fitting, as the color helps create shadows. The color is primarily produced in Cyprus. Umber is typically mined from open pits or underground mines and ground into a fine powder that is washed to remove impurities. In the 20th century, the rise of synthetic dyes decreased the demand for natural pigments such as umber.
Earth pigments are naturally occurring minerals that have been used since prehistoric times as pigments. Among the primary types of earth pigments include the reddish-brown ochres, siennas, and umbers, which contain various amounts of iron oxides and manganese oxides. Other earth pigments include the green earth pigments or terres vertes, blue earth pigments such as vivianite-based "blue ochre", white earth pigments such as chalk, and black earth pigments such as charcoal.
Beige is variously described as a pale sandy fawn color, a grayish tan, a light-grayish yellowish brown, or a pale to grayish yellow. It takes its name from French, where the word originally meant natural wool that has been neither bleached nor dyed, hence also the color of natural wool.
Payne's grey is a dark blue-grey colour used in painting. Originally a mixture of iron blue, yellow ochre and crimson lake, Payne's grey now is often a mixture of blue and black, or of ultramarine and burnt sienna. The colour is named after William Payne, who painted watercolours in the late 18th century, who most likely developed the colour while trying to produce a mixer that was less intense than black. Payne's grey was deemed an obsolete term in the early 19th century, but is still used by artists today.
Taupe is a dark gray-brown color. The word derives from the French noun taupe meaning "mole". The name originally referred only to the average color of the French mole, but beginning in the 1940s, its usage expanded to encompass a wider range of shades.
Bole is a shade of reddish brown. The color term derives from Latin bōlus and refers to a kind of soft fine clay whose reddish-brown varieties are used as pigments, and as a coating in panel paintings and frames underneath the paint or gold leaf. Under gold leaf, it "warms" the colour, which can have a greenish shade otherwise. However, bole in art is a good deal more red and less brown than the modern shade; it is often called Armenian bole. Although bole also means the trunk of a tree, these words are simply homographs that do not share an etymological origin.
Varieties of the color green may differ in hue, chroma or lightness, or in two or three of these qualities. Variations in value are also called tints and shades, a tint being a green or other hue mixed with white, a shade being mixed with black. A large selection of these various colors is shown below.
Varieties of the color red may differ in hue, chroma, lightness, or in two or three of these qualities. Variations in value are also called tints and shades, a tint being a red or other hue mixed with white, a shade being mixed with black. A large selection of these various colors are shown below.
Tuscan red is a shade of red that was used on some railroad cars, particularly passenger cars.
Stil de grain yellow or sap green is a pigment derived from berries of the buckthorn species Rhamnus saxatilis, which are commonly called Avignon berries or Persian berries after two historical areas of supply; latterly Italy was a major source. The color, whose principal chemical component is rhamnetin, was formerly called pink ; latterly, to distinguish it from light red "pink", the yellow "pink" was qualified as Dutch pink, brown pink, English pink, Italian pink, or French pink — the first three also applied to similar quercitron dyes from the American eastern black oak, Quercus velutina. Other names are Persian berries lake, yellow berries and buckthorn berries.
Varieties of the color blue may differ in hue, chroma, or lightness, or in two or three of these qualities. Variations in value are also called tints and shades, a tint being a blue or other hue mixed with white, a shade being mixed with black. A large selection of these colors is shown below.
Variations of gray or grey include achromatic grayscale shades, which lie exactly between white and black, and nearby colors with low colorfulness. A selection of a number of these various colors is shown below.
Shades of brown can be produced by combining red, yellow, and black pigments, or by a combination of orange and black—illustrated in the color box. The RGB color model, that generates all colors on computer and television screens, makes brown by combining red and green light at different intensities. Brown color names are often imprecise, and some shades, such as beige, can refer to lighter rather than darker shades of yellow and red. Such colors are less saturated than colors perceived to be orange. Browns are usually described as light or dark, reddish, yellowish, or gray-brown. There are no standardized names for shades of brown; the same shade may have different names on different color lists, and sometimes one name can refer to several very different colors. The X11 color list of web colors has seventeen different shades of brown, but the complete list of browns is much longer.
Iron oxide red is a generic name of a ferric oxide pigment of reddish colors. Multiple shades based on both anhydrous Fe
2O
3 and its hydrates were known to painters since prehistory. The pigments were originally obtained from natural sources, since the 20th century they are mostly synthetic. These substances form one of the most commercially important groups of pigments, and their names sometimes reflect the location of a natural source, later transferred to the synthetic analog. Well-known examples include the Persian Gulf Oxide with 75% Fe
2O
3 and 25% silica, Spanish red with 85% of oxide, Tuscan red.
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