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At first, the simplicity of plain black may seem straightforward. While we have a plethora of hues and shades in colors like green, red, yellow, and blue, black may appear unremarkable at first glance. However, let’s delve into the nuances of plain blacks themselves, without considering the mixes that can be achieved by incorporating black to create various “colors”. Let’s explore the distinct characteristics that set different plain blacks apart.
Originally, Ivory Black was produced by burning elephant tusks, resulting in a semi-transparent brown-black hue with a yellow undertone and staining effect when ground bones were used. However, due to the shift towards ethical practices, the use of ivory black became prohibited. Consequently, modern versions of this color are labeled as “hue” and are simulations of the original shade created without the use of ivory.
Cobalt Black (PBk13) is Cobalt Oxide pigment that is actively used in ceramics, but also works well as a granulating pigment for watercolours. Due to high costs of this pigment as well as lack of testing, it’s rarely used.
Lamp black (PBk7) is the most commonly used black colour due to low costs of manufacturing and deep black colour provided. Lamp black color is typically produced by collecting soot from the incomplete combustion of carbon-containing materials, such as oil or natural gas. This soot is then processed and refined to create a fine black pigment known as lamp black. However, productions of this pigment brings a big footprint into carbon-dioxide emission. The pigment is inherently lightweight, posing a challenge in its preparation for paint-making. To address this, a mineral base is often added to facilitate the settling of the pigment and establish a strong bond with the binder.
In paints, lamp black is staining, opaque and provides ward undertone.
Vine Black (PBk8) is technically powdered vine charcoal giving transparent colour with staining properties.
Graphite Black (PBk10) is technically powdered graphite that provides dark gray colour with some metallic sheen. In oil, it’s not that common due to its property to show off through the layers (the same way as graphite pencil can be seen through many oil painting layers). We have this color in ENL watercolours so you can try it out.
Mars Black (PBk11) is another very popular black pigment, after (or even before) the lamp black. This colour is mineral or synthetic magnetic black iron oxide with traces of other oxides. The particles are usually quite heavy and coarse, which provides wonderful granulation in watercolour and low oil absorption (fast-drying) in oil. The colour is usually semi-transparent with a cool shade.
Great post Elena. As an artist who plays with black in more than one medium, I’m always gathering information and materials. All knowledge is useful and you are a great source. Thanks. I do have a question for you. I have read a few discussions from other artists describing a “Satin Black.” Have you heard of this? It’s new to me. I was wondering if it’s a new black or just an artist renaming an existing colour as artists are prone to do.
Thank you so much, Nick, for your comment and appreciation. There is no such a pigment as Satin Black. So, I think, that it’s the name of a paint and most likely refers to opaque black. To achieve this properties in water-based colours, it can be a lamp black pigment with “super” pigments added (super-concentrated granulated pigments that enhance the colour when dissolved in water. They are NOT dyes. So the black is getting as deep as possible. However, the pigment code is the same as for Lamp Black or Mars Black (depending which pigment is used for that). In watercolours, these pigments are very staining, though, so I use them for some colours with moderation.
Le “satiné” renvoi seulement au fini de la couleur. Soit brillant, mat ou entre les deux, qu’on appelle satiné. Cela signifie uniquement que la couleur va refléter une légère brillance.