To Prepare Pigments and Poster Paints Using Various Chemicals

and Reagents

This is to certify that Anmol Garg of XII-A Has accomplished this project entitled: To Prepare
Pigments and Poster Paints Using Various Chemicals and Reagents. Under my Supervision and
Guidance. (Mrs Bani Chatterjee)

Contents:
S.no.
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Contents Page No.

Acknowledgement
Aim
Theory
Chrome Yellow
Efficiency of ChromeYellow
Prussian Blue
Efficiency of PrussianBlue
Conclusion
BiblioGraphy

Acknowledgement
I would like to show my gratitude to my Chemistry Teachers Ms. Ranjana Singh & Mr. D.K. Singh
without whose support and encouragement this project could never have have taken the present
shape. I would also like to thank my lab incharge Mr. Visnu, For helping Me out During The
Practical Part Of This Project.
Aim
Theory
1.Pigments-A pigment is a finely divided material which contributes to optical and other properties of paints.
Pigments may be classified according to their composition or source which they are obtained from. However the
most common and useful classification is that color pigments can be made using simple chemical reactions and
techniques.
2.Poster Paints- Grinding a pigment or a mixture to a very fine powdered and then suspending
the powder ina very fine liquid makes poster paint so as to a uniform suspension. For making
poster paints the pigents made by various chemical reactions are thoroughly mixed with the
medium. Sometimes the paint hardens but the addition of lukewarm water to it can soften it.
3.Medium- Medium used for making paints is made by mixing 30ml of clear glue with 10ml of water and
adding a drop of liquid detergent to it.

BROWN
Bitumen brown pigment / asphalt pigment by slow oxidation of petrol

WHITE
Barium White An Inexpensive White Pigment
1. Pour 5 mL of a saturated solution of sodium sulfate into a test tube. Record
the color of the solution
2. Add 5 mL of a saturated solution of barium chloride to the test tube and
mix well. Describe exactly what happened when you mixed the two solutions
together.
3. The precipitate formed is very fine and difficult to filter, so you will use
centrifugation to separate the solid white pigment, barium sulfate from the

excess liquid. Divide your white suspension evenly into two small tubes and
centrifuge for 3-5 minutes.
4. Decant the clear liquid. Recover the white precipitate from the test tube
and put it onto a small square of filter paper to dry on your bench

VIOLET
Transcript of Pigment Synthesis: Cobalt Violet
Pigment Synthesis: Cobalt Violet
Analysis
Stoichiometry Analysis
Background
Cobalt Violet
Cobalt(II)-phosphate or Cobalt(II)-arsenate
Co3(PO4)2 or Co3(AsO4)2
Harmful if swallowed and will irritate respiratory system
Do not inhale dry powder pigment
Synthesis
3CoCl2(aq) + 2Na3(PO4)(aq) ----> Co3(PO4)2(s)+6NaCl(aq)
Procedure
Cobalt Violet Uses
Art work and on buildings
A violet shadow for Tuscany's stonework
Cobalt Violet was used in 19th-century art movement that originated with
a group of Paris-based artists.
Mistakes, Problems, or Complications
We used a different filtration method than told to on the onlineprocedure. Instead we used a vacuum filtration system. It took a 5 days to
become solid.
Presented By: Jordan Cowles, Kayleena Jones, Jessica Meeker, and
Waylan Stevens
-Pour the chemicals into the two beakers (one chemical in each)
-Mix each beaker
-Gather and put on safety glasses, pants, and closed toe shoes
-Gather proper materials:
2g Cobalt (II) Chloride (CoCl2- 6H20)
1.3g Sodium Hydrogenphosphate (NaH2PO4-10H2O)
40mL distilled water
two 150mL beakers
vacuum filtration funnel
three mortars and pestle's
two evaporating dish's
empty vial
-Transfer pigment to vial and record weight

Double Displacement Reaction

-Mix and pour into vacuum filtration funnel
-When gel substance is done pour onto a washing lens and let dry
-Pour cobalt chloride into sodium hydrogenphosphate solution
-Put 2g cobalt in one mortar and pestle and grind
-Put 1.3g of sodium hydrogenphosphate into other mortar and pestal and
grind
-Pour the distilled water into 2 separate beakers (20mL in each beaker)
Thanks for listening
Claude Monet, Woman with a Parasol - Madame Monet and Her Son
Actual Yield- 0.8g
Theoretical Yield- 1.35g
Percent Yield: (0.8)/(1.35)x100=59.25%

BLACK
Drawing Charcoal (Vine Black)
Materials:
twigs, woody vines, or dowels-- untreated wood, at least 2 years of growth, at least
1/4 to 3/8 inch in diameter
extra heavy aluminum foil
fireplace, barbecue pit, ceramics kiln, or other means of heating
Nearly any kind of wood will make charcoal. IMPORTANT: Do not use treated lumber
because of toxic fumes emitted during the roasting process. Twigs may be of any
diameter, but very thin twigs would be too weak for drawing. Lumber scraps may be
ripped to one-fourth inch squares or larger. The wood will shrink as it turns into
charcoal. Cut the twigs to the desired length (five to seven inches is good). Cut off
forked joints, and peel away all the bark. If the twigs are cut from fresh, living tissue,
they should be allowed to dry for a few days before going on to the next step.
Wrap several dry sticks tightly in extra heavy aluminum foil so that no air may
infiltrate the package. Air entering the package would reduce the sticks to ash
rather than charcoal. If the aluminum comes in contact with open flame a hole could
be burnt through the foil, spoiling the charcoal; so you might wrap a second layer of
foil tightly around the package for security. (But don't overdo it; each layer of foil
reduces the amount of heat reaching the wood.) Experiment first with five or six
sticks per bundle. If the bundle contains more sticks, higher heat and longer
roasting time will be required to completely carbonize the wood. Soft wood species,
such as pine and cedar, will require less roasting time than hardwood species (such
as birch, ash, oak, walnut).
Place the package in the coals of a fireplace or a barbecue pit. It may take several
hours (or overnight) in the coals for the sticks to carbonize and then cool down. Do
not open the package until it has cooled enough to be handled comfortably. You
must be willing to experiment beyond the first attempt. Too much heat will melt the
foil. Insufficient heat will produce brands; you should get consistently good results
after a few experiments. Charcoal can also be made in a ceramics kiln, which should
be vented outdoors. If you use a ceramics kiln, experiment cautiously with
temperatures above 300 degrees Celsius (572 degrees Fahrenheit). Hotter
temperatures cause rapid carbonization and are hard to control.
This charcoal can be used as is for drawing implements, or you could grind it up in a

mortar and pestle to make vine black pigment for ink or paint. Recipe found
in Pigments Through the Ages.

Lampblack
Materials:
metal jar lid
thick wick
linseed oil
old small pot
objects to raise up pot (rocks, jars, etc.)
storage jar
scrap paper
distilled water
hide glue
Take a metal jar lid, put a wadded-up thick wick into it (like the kind you use for a
tikki torch) and pour some linseed oil into the lid. Then set up three objects to rest a
pot of water upon. Place the pot at a height just into the flame. You will see the right
height by checking to see where it deposits more carbon. Then walk away for a few
minutes. It will form a thick crust. Scrape off the crust with an index card every ten
minutes or so onto a piece of typing paper. (Replace the water if it boils-- you'd be
surprised.) When you have all you want, fold the paper into a funnel and pour the
soot into a jar to store it. It is already as fine as it will get so you needn't grind it. A
drop or two of denatured alcohol will make it take up the binder and go readily into
solution. Mix in small quantities of about half-and-half water and dissolved skin glue
until the soot has no lumps and it looks like ink when you dip a pen in it and write,
and it is not too thick to flow nicely. The ink will keep for a week or two at cool
temperatures before it starts to go off. Adapted from the advice of Randy Asplund.

YELLOW
Chrome Yellow
Chemically known as LEAD CHROMATE (PbCrO4) the yellow pigment
Procedure1. Dissolve 7gm of Potassium Chromate in 50mL water and 10gm Lead Nitrate in 100mL water in
Two Separate Beakers.
2. Pour The Potassium Chromate Solution in the Lead Nitrate and stir continuously.
3. Lead Chromate seperates as precipitate and is the required pigment.
4. Filter the precipitate and dry the pigment.
Reaction InvolvedK2CrO4 + Pb(No3)2 --- PbCrO4 + 2KNO3
Efficiency
Total mass of reactants used = (Excluding the mass of water used for dilution)
Mass Of Paint/Pigment Obtained =Efficiency in formation of yellow colour= ___________

BLUE
Prussian Blue

Chemically known as Complex Ferro Cyanide (Fe4[Fe(CN)6]3)

Procedure
1. Make A solution of 5gm of Hydrated Iron(III) Chloride in 50mL of water.
2. Make a solution of 10gm of Potassium FerroCyanide in 75mL of water.
3. Add Iron Chloride solution into Potassium FerroCyanide(K4[Fe(CN)6]) solution while stirring
briskly.
4. A dark blue colour very fine powdered type substance precipitates.
5. Filter the precipitate and wash it with water. It takes along time to filter this substance.
Reaction involved
3K4[Fe(CN)6] + 4FeCl3 ----
Fe4[Fe(CN)6]3 + 12KCl
Efficiency
Total mass of reactants used=(excluding mass of water used for dilution)
Mass of Paint/Pigment obtained=Efficiency in Formation of Blue Pigment Obtained is= ____________
Conclusion
Fine Poster Paints Were obtained using various Chemicals and Reactants

GREEN
C. Synthetic Malachite (Basic Copper Carbonate)
1. Measure out 5 mL of a 0.5 M solution of copper sulfate (CuSO 45 H2O) into
a small beaker.
2. Add about 3.0 g of solid sodium bicarbonate (NaHCO3), a little at a time
with stirring, until all the fizzing has stopped and the reaction is complete.
3. Filter the precipitate of basic copper carbonate CuCO 3Cu(OH)2 that
has formed.
4. Allow the pigment to dry uncovered on the filter paper on your bench until
next week.
D. Chromium Oxide Green
1. Weigh 3.0 0.1g sodium dichromate and 0.45 0.1g sulfur.
2. Grind both solids together using a mortar and pestle until the powder is
very fine and well mixed.
3. Transfer the finely ground mixture into a porcelain crucible using weigh
paper.
4. Set up a Bunsen burner, ring stand, and wire triangle in the hood. Place the
filled crucible in a wire triangle and adjust so that the crucible in about 1.5
inches above the top of the burner.
5. Heat the contents with the burner until no more gas is evolved. Allow the
crucible to cool.
6. Transfer the cooled solid to a second clean mortar and grind with the
pestle until fine.
7. Transfer the powder to a 150 mL beaker, using water to transfer from the
mortar.
8. Add ~70 mL water and stir vigorously to remove unreacted starting
material.
9. Filter the remaining green solid by vacuum filtration. Rinse the pigment
with acetone to dry.
10. Determine the final yield.