Materials for painting works. (1984)

Samples of paints, colored pencils and color palettes.

Samples of interior paints and rollers.

Alternating frames with different pigments.

Metallic pigments are powders made of non-ferrous metals.

Natural pigments are metal salts or their oxides.

Crystal samples.

Pigments from animals and plants, for example, saffron and carmine.

A cartoon explaining the production of sepia pigment.

Artificial inorganic pigments are also metal oxides, but subject to chemical treatment.

Experience in obtaining iron azure.

Organic pigments and colorful varnishes are laboratory products, their composition includes carbon.

Experience in the destruction of such pigments when heated.

Painting of an ancient temple.

In the old days, the masters prepared the paints themselves.

The artist paints a picture with such colors.

The painting in the temple, made by the icon painter Dionysius.

The restorer restores the ancient ceiling painting.

Destruction of the painting in the temple.

The walls of the house with peeling paint.

Samples of paints that have lain for about two decades on the roof of the research Institute.

Destruction on these samples.

Testing of paints on a weatherometer, a device for determining weather resistance.

The stability of any colored surface depends on the different light resistance of the pigment.

Irradiation with the light of a mercury-quartz lamp.

The test results are checked in daylight.

Organic pigments quickly lose their color.

Frescoes made with natural pigments.

Book miniatures.

Pigments have different hiding power.

The girl paints the wall with a roller.

The covering ability of the pigment is expressed in grams of paint required for painting a previously painted surface with an area of 1 sq.m.

Transparent and opaque pigments and paints.

The master paints the wall of an old house.

The concepts of covering and coloring abilities.

Experience in the preparation of tioindigo pink paint.

A treatise of the XIII century with a recipe for cooking oil paint.

Oil capacity of the pigment.

The advice of the master of the XIV century, which is still used by restorers.

The grinding standard for each pigment, expressed as a percentage.

This standard ensures the maximum coloring capacity of the paint.

Coloring of paints with different pigment grinding.

Checking the dispersion of the pigment.

Pigment particles under the microscope.

Ancient Russian craftsmen added large particles of minerals such as auripigment, cinnabar and others to matte earth pigments.

This was how the special brightness and luminosity of the paint layer was achieved.

The image of a salamander on a lamp.

Fire resistance of pigments.

Fire-resistant pigments were used for the production of smalt, colored glass, tiles.

Mosaic on the walls of the house.

Corrosion and rust.

Some pigments aggravate corrosion, and some protect against corrosion.

Painting of the ship's hull.

Some pigments are poisonous, they are part of facade paints and primers.

Samples of such pigments.

A retrospective of interior decor.

Painting the walls under the wallpaper on a stencil.

An old poisonous arsenic-based paint.

Pigments are subject to external influences.

Experience in influencing various pigments with alkali.

Painting of the temple on raw plaster.

A painting made by a prehistoric man in caves using chalk, charcoal and colored earth.

Paintings of ancient Egyptians, Greeks.

Painting from the time of Pliny.

At that time, about 20 pigments were known.

The painting of the altar of Ghent Cathedral by Van Eyck, the same pigments are also used there.

Types of white paints.

Samples of various pigments by color.

Samples of facade coverings.

The history of the creation of some pigments.

Alternating frames with facades of houses in the city.