Pigments, Paint and Painting: A practical book for practical menTerry, George
Science
Pigments, Paint and Painting: A practical book for practical men
Terry, George
Paint; Painting, Industrial; Pigments
Another writer in _Industries_ says that the manufacture of ultramarine
has perhaps hardly received the attention it deserves in England. The
importance of the industry has been recognised in Germany, however,
and though the palmy days of the trade, when the whole production was
in the hands of a few firms, and the price was a matter of private
friendly arrangement, are gone for ever, yet the business is in a
flourishing state, and should prove lucrative if properly managed.
It is a characteristically English failing to overlook branches of
business not dealing with large quantities of staple commodities, and
thus many of the smaller but remunerative industries have passed out of
our hands. When one observes that almost every sheet of ordinary blue
official paper is decolorised when accidentally brought into contact
with an acid, betraying the fact at once that its colouring matter is
ultramarine, one realises that a very considerable consumption for
this and similar purposes must take place. Like most trades based upon
chemical principles, the manufacture of ultramarine has recently made
rapid strides, and some of the latest developments are recorded in
a paper by J. Wunder, appearing in a recent number of the _Chemiker
Zeitung_, which is worthy of some attention.
With most people not directly interested in it, the term ultramarine
is taken to mean the _blue_ pigment known under that name, the words
being reckoned almost synonymous. Others, more erudite, recognise the
existence of a green variety, but that the production of such colours
as red and violet is possible is scarcely suspected. Of course the
blue is the most important, but even that does not correspond to one
specific substance, products of different shade being prepared by
modifying the process of manufacture. As usually made, ultramarine is
formed by heating together carbonate of soda, kaolin, sulphur, and
charcoal, with limited access of air, the resulting pigment being
green; this, on roasting with sulphur, becomes blue. If the operation
be conducted with complete exclusion of air, so-called ultramarine
white (in reality _grey_) is produced, which becomes green on further
heating. Ultramarine blue capable of resisting the action of alum
is sometimes required, and may be obtained by the use of a highly
silicious charge and much sulphur, the burning being conducted in
crucibles or in mass according to the purpose for which the pigment
is required. The former process is costly, while the latter gives a
product containing a good deal of free sulphur, which is objectionable
for such purposes as calico printing. Removal of the excess of sulphur
by heat or caustic soda is not feasible, as the colour suffers in
either case, but a certain amount of success has attended experiments
with sodium sulphide, the colour often brightening noticeably.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account