Lamp black is a type of carbon black obtained from the soot of burned fat, oil, tar, or resin. Lamp black is a soft brownish- or bluish-black pigment that is very stable and unaffected by light, acids and alkalis. Our lamp black is of high purity made in modern oil furnaces. Due to the particle size, when applied full strength a brownish undertone is generated, while in mixed with white in gray tints, a more bluish undertone appears.
English: lamp black French: noir de fumeé German: Lampenschwarz Finnish: lamppumusta Italian: nero di lampa Japanese:油煙 Portuguese: preto de lâmpada Russian:черной лампы Spanish: negro de humo
English: blacking, blue black, carbon black, flame black, lampblack, oil black, smoke black, soot black, vegetable black French: noir de bougie, noir de houille, noir de lampe German: Flamruss, Russ Italian: bistro, nero fiamma
Origin and History Lamp black has been in use since prehistoric times, and is probably the oldest pigment known to mankind. For use as a watercolor, lamp black was mixed with glue, prepared in sticks and sold as India ink. Lamp black was one of the major black pigment in early American house paints (Newman and Farrell, 1994). Currently lampblack is used as a black pigment in cements, ceramics, printing inks, crayons, shoe polishes, and carbon paper.
Source Lamp black, a deep black pigment consisting of amorphous carbon in a very fine state of division, is obtained by the imperfect combustion of highly carbonaceous substances. When resins, resinous woods, fatty oils and fats, paraffin and paraffin oil, or coal-tar oils, are burnt with an insufficient supply of air, a considerable part of the carbon they contain may be deposited in the form of soot. This soot is not, however, pure carbon, but retains variable proportions of the tarry products of imperfect combustion; these tarry products impart to lamp black a more or less pronounced warm brownish hue, except in the cases in which it has been prepared by processes specially designed to remove the tarry products. Today, lamp black is procured by the imperfect combustion of oils obtained in coal-tar distillation. A fine, light, fluffy powder is derived by collecting the soot from the burning oil. It is the most familiar of the pure carbon black group of pigments.
The selection of pigment blacks for industrial applications is mostly done by color criteria, with the primary particle size playing the most significant role. Selecting a fine grade of particle size is important for these reasons: the finer the particles of pigment black, the deeper the color; the better the stabilization of the pigment to binder, the more bluish the undertone will appear to be. The primary particle size of our lamp black is in the 90-120 nm range.
Permanence and Compatibility Lamp black is a permanent color for all uses on the artist's palette. It is compatible with all other pigments, and can be used with good results in all mediums.
Oil Absorption and Grinding Lamp black absorbs a very high amount of oil. The oil absorption ratio is 117 milliliters of linseed oil to grind 100 grams of pigment to form a stiff paste. It makes a very slow drying oil paint, and forms a soft, brittle film. Due to its slow drying rate, it should not be used for underpainting unless mixed with a siccative color such as umber or pyrolusite.
Toxicity Lamp black is not considered hazardous, however care should be used in handling the dry powder pigment to avoid inhaling the dust.
Pigment: Lamp Black
Pigment Black 6 (77266)
ASTM Lightfastness Rating
117 ml linseed oil/100 g pigment
Average Primary Particle Size:
BET Surface Area:
1.77 g/cm3 at 20° C.
Natural Pigments is a limited liability company based in Willits, California. We manufacture and distribute rare and hard-to-find materials for fine artists and decorators. We specialize in supplying artists' materials that were used in historical painting since pre-historic times up to and including the nineteenth century.
We constantly search for materials and products of the finest quality so that we can bring them direct to you from the source. To do so, we travel the world to find materials specifically for use by professional artists and decorators. We obtain minerals from mines in Afghanistan, Chile, Russia, Ukraine and Uzbekistan, to name a few places, processing these into natural pigments. We purchase resins, gums and plants from India, Kenya and Malaysia to make natural varnishes and painting mediums.
Our mission is to provide the largest variety of natural pigments, paints and other professional artists' supplies, enabling us to bring you a selection that makes shopping for rare and hard-to-find art materials easy. Our objective is to promote the education and use of these materials among artists by providing detailed information for their employment in encaustic, fresco, oil, watercolor and tempera painting.
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