Without going too deeply into the scientific technicalities of cinnabar/vermilion properties, the differences between the two pigments are: cinnabar is created by the combination of mercury and sulfur through a natural process and found in mines in many locations, and vermilion is made by combining mercury and sulfur in very hot temperatures … [Read more...] about Dragons and Elephants
cinnabar
Comparisons
top left: flake white + vermilion Robert Doak (tube) top right: cinnabar Monte Amiata Italy Sinopia + flake white (dry pigment with linseed) bottom left: flake white + vermilion Rublev Natural Pigments (dry pigment with linseed) bottom right: cinnabar Rublev Natural Pigments + flake … [Read more...] about Comparisons
Monks Seeing Red
Very early manuscripts document both the manufacture and use of vermilion. Some called this indispensable color the prince of reds which was more brilliant than the natural cinnabar. Theophilus (Roger of Helmarshausen)the Benedictine Monk, described the alchemical synthesis in his technical handbook De diversis artibus (On Divers Arts … [Read more...] about Monks Seeing Red
Safety with Pigments
A blog reader, Sara Mast, recently posted a comment on an entry called, Perplexing Pigments, that I posted in October of 2006. The topic of this post is the safety of using pigments in the dry natural form. Sara wanted to know about my working procedures. This is something that is of great importance to me, and I use great care while handling … [Read more...] about Safety with Pigments
All for Beauty
As I have mentioned in previous posts, many pigments were really nasty and very poisonous. Two yellows, called orpiment and realgar, both made by alchemy, are extremely poisonous and for this reason have gone out of use. Other pigments were poor driers or not permanent and thus lost popularity. So the list narrowed, and it is now published … [Read more...] about All for Beauty