How To Use Coloring material In A Sentence
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Other coloring materials were prepared in approximately the same way: mixing the coloring source with a fondant and perhaps other ingredients to improve its qualities, followed by multiple melting, cooling and regrinding steps, until the coloring material was determined to be good enough for use.
The Creation of Color in Eighteenth-Century Europe
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The choice of coloring materials was as critical here as it was in creating any other kind of color diagram: reference Le Blon recommended the use of a red lake made from cochineal or brazilwood, Prussian blue reference, and yellow berries (stil de grain), but the quality of the coloring materials was as important as their sources. 16 Black was made by combining the three colors and the paper support provided white.
The Creation of Color in Eighteenth-Century Europe
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The oil used in priming materials caused the coloring material to ferment and the canvas to rot.
The Creation of Color in Eighteenth-Century Europe
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This became, after subsequent experiment, a tin chloride mordant for the coloring material cochineal.
The Creation of Color in Eighteenth-Century Europe
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Bancroft's persuasive abilities were considerable: His 1775 patent for the sale of quercitron in Britain was renewed when he argued that war hindered his ability to exploit its rights. 43 Once the patent was extended, Bancroft turned to the Council of Commerce in Paris for a similar privilege in France; he controlled access to this improved coloring material and its coloring technique in both countries until his death.
The Creation of Color in Eighteenth-Century Europe
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The woad plant contains less indigotin, the coloring material within the source, and it requires higher heats to create color in textiles.
The Creation of Color in Eighteenth-Century Europe
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Once prepared, zaffer would be ground again, for use as a vitreous coloring material, in glazes and enamels.
The Creation of Color in Eighteenth-Century Europe
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Porosity and elasticity of the support — the composition of the clay, glass, or metal used in enameling — was an important consideration in choosing the coloring materials for ceramic bodies, as they too reacted to temperature changes during firing.
The Creation of Color in Eighteenth-Century Europe
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Scientific periodicals throughout Europe published and republished accounts that, tying color to classic roles as a chemical indicator and mineralogical descriptor, linked colored substances to their use as coloring materials. 22 The influences could be subtle; an article about pyrites and vitriols might suggest new pigments and reformulated inks and dyes, if one were familiar with the role they played in those processes. 23
The Creation of Color in Eighteenth-Century Europe
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In 1771, Edward Bancroft approached the Society of Arts about a premium for some textile coloring materials, including a red dyestuff used in Guyana and a dye assistant that would improve black and brown colors. 42
The Creation of Color in Eighteenth-Century Europe
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The use of an expensive coloring source or coloring material was reasonable, for example, when substitutes were not good enough, when the area to be covered was small but central to the design, or when the quantity of coloring material produced was large in proportion to the amount of coloring source used. reference True ultramarine is a brilliant, beautiful, and reasonably durable pigment.
The Creation of Color in Eighteenth-Century Europe
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For use as a coloring material, the indigo is placed into an alkaline solution, which again turns it green.
The Creation of Color in Eighteenth-Century Europe
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It was more common, in glassmaking or enameling treatises, to focus attention to chemistry on the creation of coloring materials, particularly the glass-fondant-metal combinations. reference An underlying belief was that firing would, in addition to melting the as-yet unformed color, exclude potentially harmful airs, as was the case in other painting practice. 37 Sometimes a description suggested that the vitreous color or coating held itself in place as a layer constricting the whole.
The Creation of Color in Eighteenth-Century Europe
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Cuthbert Gordon's petition to the Society of Artsincluded seventy-eight different samples of colors made from his discovery, cudbear, and he noted that certain quantities of this coloring material would make pompadour color. reference As a name for a color, pompadour first appeared in England in the mid 1750s.
The Creation of Color in Eighteenth-Century Europe
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Eighteenth-century manuals of practice often classify woad and indigo among direct dyes because they require no mordant or assistants, but their chemistry demanded a dyeing process different from typical direct methods. 8 reference Modern descriptions classify them as leuco dyes, in which the normally insoluble and nonadherent coloring material is made soluble by the removal of oxygen, a reduction process.
The Creation of Color in Eighteenth-Century Europe