• Applied Chemistry for Engineering
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• v.26 no.2
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• pp.159-164
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• 2015

Pigment yellow 180 (P.Y.180), a kind of benzimidazolone, has been widely used in various industrial fields of ink, paint, plastics, toner, and color filter, etc. This is a high performing pigment that is a greenish yellow shade with excellent properties such as heat resistance, solvent resistance, acid resistance and alkali resistance. In this study, pigment compounds were synthesized using various coupling reaction temperature condition. The properties of samples crystallized under various solvents and temperature conditions using autoclave pressurizer were also investigated. The pigment crystallized using DMSO solvent treatment showed the improvements such as the increase of X-ray intensity ratios and particle size, high color strength, and enhanced dispersibility.

• Journal of Conservation Science
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• v.33 no.6
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• pp.507-518
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• 2017

Through a combination of scientific analytical methods, the coloring materials used in $20^{th}$ century paintings in historical churches of Baclayon, Dauis and Loay, which are municipalities in Bohol, Philippines, were studied. Inorganic pigments were identified using SEM-EDS and XRD. Iron-based pigments were commonly found in the paintings, yielding dark yellow and brown colors. Zinc oxide was identified as the white pigment in the ceiling paintings of Dauis Church and Loay Church, while titanium dioxide was detected in the column painting in Baclayon Church. Organic analysis showed the presence of Pigment Yellow 3, a synthetic organic pigment. Paint layers, as well as other components of the samples such as grounds and metal leaves, were examined microscopically. It was observed that different types of grounds were applied on different types of surfaces. Moreover, organic pigments were found in combination with white extender materials. Microscopic examination also revealed alterations in the artworks, such as the overpaint layer found in the samples from Baclayon Church cornice and the imitation metal leaf layers applied over the original gilt surface in the Loay Church retablo.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.41 no.4
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• pp.33-42
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• 2009

This study was performed to evaluate the hexavalent chromium content in flexography inks and organic pigments used as colorants for the ink. The digestion of sample was carried out under alkaline condition, and the content of soluble hexavalent chromium extracted from samples was determined by UV-visible colorimetric analysis method after alkaline digestion. Duplicate sampling system to obtain two digested samples, was applied in this study. To determine the hexavalent chromium content in the flexography ink and organic pigment colorimeteric analysis was employed. Because the organic pigment is the main ingredient of flexography ink it is important to remove the errors associated with the colorant of the ink in colorimetric determination. The duplicate sampling system allowed us to correct the errors associated with the colorimeteric measurement. The additional filtration was found an essential step to exclude colorimeteric error derived from the various precipitates. The soluble hexavalent chromium content in flexography inks was generally less than 5 ppm. Yellow, violet and some magenta colors showed higher soluble hexavalent chromium contents. The content of hexavalent chromium in organic pigments was greater than flexography inks, and yellow, violet and some magenta pigments contained greater amount of hexavalent chromium, which indicated that the hexavalent chromium in inks derives from the colorants. The soluble hexavalent chromium content in linerboards were below 1 ppm, and no hexavalent chromium was detected in UKP. Results suggested that flexography ink is the main factor to cause hexavalent chromium in linerboard and organic pigments.

• 보존과학연구
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• s.20
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• pp.121-137
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• 1999

Among pigment used at work of Dan-Chung, Emerald Green is specific illuminating fluorescent light of green. It is very difficult to change other organic or inorganic pigment. All of the internal high class pigment has rare light. But Emerald Green is superior to fresh color and stability out of industrial chemical products. It forms over 50% of quantity and importance of a pattern painting. Emerald Green prohibited to produce because of its toxicpollutants, so required to changing pigment development. It is characterized to excellent color, convenient work, economical, against-sunlight, against-air pollutant and durability. The result of a test is follows; 1. We are investigated into producing internal natural Emerald Green, import external pigment and industrial synthesis method etc. but unable to buy because of its toxic pollutant. 2. We are made six samples by yellowish and green is hpigment mixing. We tested on against sunlight and air pollutant. The best mixing ratio is follows. Titanium Dioxide R760 : 18g- Chalk, White Wash : 10g- Permanent Yellow : 7g- Cyanine Green : 8g- Chrome Yellow : 3g- Resin(Vehicle) : Acryl Emulsion(Styrene + 2-Ethyl HexylAcrylate + Methyl Meth Acrylate) 8%

• Journal of Conservation Science
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• v.33 no.6
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• pp.431-442
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• 2017

The purpose of this study is to reveal that coloring status and the degree of damage and the kinds of pigments used in large buddhist painting (Gwaebultaeng) of Tongdosa temple using a scientific analysis methods. It was observed that the physical damage patterns of the Gwaebultaeng were folding, lifting, fading, and peeling. Lead red, cinnabar and organic pigments were used as red pigments. Malachite and atacamite were used as green pigments, azulite and lazulite were blue pigments, lead white and talc were white pigment. It is estimated that overlapping organic pigments on the lead white were used as the yellow pigment and carbon was the black pigment. Through the analysis of the particle status of the pigments, it was confirmed that different types of raw materials were used for the green pigment, and the crystal form was easily distinguishable. Also, the dark blue color and the light blue color differed from each other depending on the size and shape of the raw material particles. Yellow and purple colors were organic pigments which did not have a graininess. The yellow and purple colors were organic pigments free from the graininess, and the pigments of dark red pigments was found to be mixed with the orange color pigments and carbon particles.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.47 no.2
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• pp.70-79
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• 2015

This study was carried out to analyze deterioration characteristics of color-pigments painted Hanji to preserve and restore the cultural properties. On the traditional painting technique, glue was used with pigments in various ways for painting, but it eventually caused the deterioration of paintings. Thus, five colors were selected and analyzed for this study for investigating their characteristics of deteriration. Three kinds of glues (Wugyo, Nokgyo, and Togyo) and two kinds of pigments (Chinese and Gilsang) were painted on the Hanji for the accelerated aging test. And then color fastness of pigments and tensile strength of painted Hanji were measured for the estimation of deterioration degree. The results of SEM-EDS showed that Chinese pigments including blue, yellow, green, and red were composed of inorganic substances but the brown was organic substance. Gilsang pigments were composed mainly of Si and Ti ions. Color fastness of the Gilsang pigment blue, yellow, green, and brown were better than those of Chinese. Chinese pigment brown with organic substance showed the worst color fastness. Generally, Chinese pigments painted Hanji showed higher tensile strength than Gilsang in the accelerated aging test. Hanji treated with Chinese pigment and Nokgyo (antler glue) blends and Gilsang pigment and Togyo (rabbit pelt glue) blends showed higher tensile strength than the others. And Andong Hanji showed the highest tensile strength.

• Applied Biological Chemistry
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• v.33 no.3
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• pp.239-246
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• 1990

Monascus anka strains with higher pigment production were developed using UV mutation and natural selection. To obtain organic solvent soluble pigments from Monascus anka, the following culture conditions were compared : standing and shaking culture with Nishikawa's medium, and shaking culture with Lin's medium. Shaking culture in Lin's medium exhibited decrease in solvent-soluble intracellular pigments after initial increase. The decrease was accompanied by the increase in water-soluble extracellular pigments. Monascus anka preferred sucrose and ethanol among 7 carbon sources tested. Treatment of sterol biosynthesis inhibitors, $({\pm})$-miconazole and chlorocholine chloride(CCC) , directed carbon pool to the biosynthetic pathway leading to the pigments with CCC's more pronounced effect. Two dimensional TLC revealed at least 7 yellow pigments suggesting existence of hereto unreported pigment. One of the most abundant yellow pigments was isolated and found to be ankaflavin by NMR and MS analysis.

• 보존과학연구
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• s.28
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• pp.121-147
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• 2007

A large variety of mineral pigments has been used for Korean paintings and it has known that organic pigments have been used together on the Buddhist painting and the portrait. Haehakbando-do, which is from Honolulu Academy Museum in the United States, 12-fold screen was commissioned by Court of the late Joseon Dynasty in order to pray for the King's longevity. Therefore, it seems that all material used including pigments were selected very carefully and a great deal of technical effort was gone into its process. The purposes of this research were to estimate the pigments and the contributory elements of each color used on Haehakbando-do, in accordance with the conservation treatment carried out by Gochang Conservation Institute throughout last year. Without extracting sample, property of pigment was measured by nondestructive method, X-ray spectral analysis, and by comparing with the data about ancient pigments. In spite of the limited range of pigment analysis by nondestructive method, it should be noted that this method would not cause damage to the cultural properites. White pigment was found in all colored parts except the background, so it can be suggested that white color was used as a grounding of other color pigments. This would be flake white[$2PbCO_3{\cdot}Pb(OH)_2$] as Pb was found. Pb was the only element could be found in yellow, however, it can be organic pigment like Gamboge as same as background. Red would be Cinnabar (HgS) as hydrargyrum (Hg) was detected. For the light purple in cloud, organic pigments were probably used since any element is not detected except for Pb, which is used for background. It is possible that green color is the mixture of Malachite[$CuCO_3{\cdot}Cu(OH)_2$] and Azurite [$2CuCO_3{\cdot}Cu(OH)_2$], which share Cu as their main element. Azurite[$2CuCO_3{\cdot}Cu(OH)_2$] was used for bluish pigments. Black is carbon compound. For gold, solid gold (Au) was detected. It shows that gold was gilded on the flake white background. Red painted on the frame of screen was identified as Cinnabar (HgS) and the gold pattern was solid gold (Au). The supporting leg of folding screen was made of brass because both copper and zinc were detected. In conclusion, white pigment was used as grounding of all colors of Haehakbando-do, and specific pigments were used for each color. Additionally, result from the analysis of several pigments shows that mineral pigment and organic pigment, or different mineral pigments were mixed to make various colors.

• Conservation Science in Museum
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• v.28
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• pp.109-136
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• 2022

This study analyzes the , one of the three panels of 《Welcoming Banquets for the Governor of Pyeong-an》, a documentary painting of the late Joseon Dynasty, with the aim to identify the coloring materials used in the painting. The painting was first imaged at each wavelength in order to minimize the potential problems in the process of analyzing specific parts. This study applied X-rays to identify ink, gold, and organic and inorganic pigments and used infrared rays to find ink and copper-based pigments. It also applied hyperspectral imaging to distinguish organic pigments from black, blue, and green materials. It also analyzed spots selected for each color to identify the following materials: white lead (white), ink/indigo (black), a combination of red lead and cinnabar (red), pink dye, purple dye, iron oxides (brown), orpiment/dye (yellow), malachite/malachite and yellow dye/indigo (green), azurite/white lead and indigo/indigo (blue), indigo and cochineal (violet), and gold leaf (gold). It is expected that more efficient analysis will be made possible by securing a sufficient library for each wavelength.

• Conservation Science in Museum
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• v.15
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• pp.66-77
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• 2014

A gujangbok is a king's silk ceremonial robe embroidered with nine symbols that represent the essential virtues that a king needs to govern his country. The National Museum of Korea currently own a gujangbok worn by King Gojong in the late Joseon Dynasty. The robe is painted with various colors, including red, yellow, blue, green, and gray. μ-XRF and analysis was conducted on the pigments, and it was found that the red color was made from cinnabar, the yellow color was gold and brass, the blue color was a blue organic pigment and white lead, the green color was a synthetic pigment composed of copper and arsenic, and the gray color pigment was silver. Also, the pigments were compared to those used to make the patterns of a queen's ceremonial robe and a front cloth panel, both made around the same time and also owned by the National Museum of Korea. The comparative analysis revealed clear differences and similarities between the various pigments. The resulting data expect to serve as a useful foundation research for future studying of the pigments used by the Joseon royal court in the late nineteenth century.