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Indanthrone is utilized as a blue pigment (C.I. Pigment Blue 60), primarily in the process of vat dyeing, often referred to as C.I. Vat Blue 4. [8] Indanthrone is a vat dye, synthesized to provide highest color fastness for the dyeing and printing of predominantly cellulose-based textile fibers. Fabrics dyed with indanthrene fulfill the highest ...
The first anthraquinone-based synthetic vat dye was indanthrone (C.I. Vat Blue 4) - the synthesis of which was developed by René Bohn in 1901: Synthesis of indanthrone By dimerization of 2-aminoanthraquinone ( 1 ) under strongly alkaline conditions at 220-235 °C, intermediate stage 3 is obtained in two steps, which is cyclized ...
Ultramarine became more widely used after its successful synthesis in the 19th century, which reduced its price substantially.In 1814, a French chemist named Tassaert observed the spontaneous formation of a blue compound, very similar to ultramarine, in a lime kiln at St. Gobain.
Scheele's Green: yellowish-green pigment commonly used during the early to mid-19th century (AsCuHO 3) Paris Green: It was manufactured in 1814 to be a pigment to make a vibrant green paint; Cadmium pigments. Cadmium green: a light green pigment consisting of a mixture of cadmium yellow (CdS) and chrome green (Cr 2 O 3). Chromium pigments
The different ultramarines—green, blue, red, and violet—are finely ground and washed with water. [19] Synthetic ultramarine is a more vivid blue than natural ultramarine, since the particles in synthetic ultramarine are smaller and more uniform than the particles in natural ultramarine and therefore diffuse light more evenly. [21]
Hues of blue include indigo and ultramarine, closer to violet; pure blue, without any mixture of other colours; Azure, which is a lighter shade of blue, similar to the colour of the sky; Cyan, which is midway in the spectrum between blue and green, and the other blue-greens such as turquoise, teal, and aquamarine.
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As a result, the early synthetic compound Egyptian Blue, became an incredibly important pigment. It was used for the depiction of eyes, hair and decoration in the graphic representation of pharaohs. [5] Blue, particularly ultramarine pigment made from ground lapis lazuli remained significant for depictions of the divine through the Renaissance.