Synthetic Pigments Market Analysis of Key Trends and Drivers Shaping Future Growth 2025

A pigment is a material that changes the color of reflected or transmitted light as the result of wavelength-selective absorption. This physical process differs from fluorescence, phosphorescence, and other forms of luminescence, in which a material emits light. Most materials selectively absorb certain wavelengths of light. Materials that humans have chosen and developed for use as pigments usually have special properties that make them useful for collaring other materials. A pigment must have a high tinting strength relative to the materials it colours. It must be stable in solid form at ambient temperatures.

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For industrial applications, as well as in the arts, permanence and stability are desirable properties. Pigments that are not permanent are called fugitive. Fugitive pigments fade over time, or with exposure to light, while some eventually blacken. Pigments are used for colouring paint, ink, plastic, fabric, cosmetics, food, and other materials. Most pigments used in manufacturing and the visual arts are dry colorants, usually ground into a fine powder. For use in paint, this powder is added to a binder (or vehicle), a relatively neutral or colourless material that suspends the pigment and gives the paint its adhesion. A distinction is usually made between a pigment, which is insoluble in its vehicle (resulting in a suspension), and a dye, which either is itself a liquid or is soluble in its vehicle (resulting in a solution). A colorant can act as either a pigment or a dye depending on the vehicle involved. In some cases, a pigment can be manufactured from a dye by precipitating a soluble dye with a metallic salt. The resulting pigment is called a lake pigment. The term biological pigment is used for all coloured substances independent of their solubility. In 2006, around 7.4 million tons of inorganic, organic and special pigments were marketed worldwide. Asia has the highest rate on a quantity basis followed by Europe and North America. The global demand on pigments was roughly US$20.5 billion in 2009.

Manufacturing And Industrial Standard:

Before the development of synthetic pigments, and the refinement of techniques for extracting mineral pigments, batches of color were often inconsistent. With the development of a modern color industry, manufacturers and professionals have cooperated to create international standards for identifying, producing, measuring, and testing colors.

First published in 1905, the Munsell color system became the foundation for a series of color models, providing objective methods for the measurement of color. The Munsell system describes a color in three dimensions, hue, value (lightness), and chroma (color purity), where chroma is the difference from gray at a given hue and value.

By the middle 20th century, standardized methods for pigment chemistry were available, part of an international movement to create such standards in industry. The International Organization for Standardization (ISO) develops technical standards for the manufacture of pigments and dyes. ISO standards define various industrial and chemical properties, and how to test for them. The principal ISO standards that relate to all pigments

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List Of Inorganic Pigments:

Purple pigments:

Aluminum pigments

Ultramarine violet: (PV15) Silicate of sodium and aluminum containing sulfur.

Copper pigments



Han Purple: BaCuSi2O6.

Cobalt pigments

Cobalt Violet: (PV14) cobaltous orthophosphate.

Manganese pigments

Manganese violet: NH4MnP2O7 (PV16) Manganic ammonium pyrophosphate

Gold pigments

Purple of Cassius: Gold nanoparticles suspended in tin dioxide.

Blue pigments

Aluminum pigments

Ultramarine (PB29): a complex naturally occurring pigment of sulfur-containing sodio-silicate (Na8-10Al6Si6O24S2-4)

Persian blue: made by grinding up the mineral Lapis lazuli. The most important mineral component of lapis lazuli is lazurite (25% to 40%), a feldspathoid silicate mineral with the formula (Na,Ca)8(AlSiO4)6(S,SO4,Cl)1–2.

Cobalt pigments

Cobalt Blue (PB28) and Cerulean Blue (PB35): cobalt(II) stannate

Copper pigments

Egyptian Blue: a synthetic pigment of calcium copper silicate (CaCuSi4O10). Thought to be the first synthetically produced pigment.

Han Blue: BaCuSi4O10

Azurite: cupric carbonate hydroxide (Cu3(CO3)2(OH)2)

Iron pigments

Prussian Blue (PB27): a synthetic pigment of ferric hexacyanoferrate (Fe7(CN)18). The dye Marking blue is made by mixing Prussian Blue and alcohol.

Manganese pigments

YInMn Blue: a synthetic pigment discovered by Dr. Mas Subramanian's lab at Oregon State University (YIn1−xMnxO3).

Manganese Blue: Barium manganate(VI) sulfate; no longer in production.

Green pigments

Cadmium pigments

Cadmium Green: a light green pigment consisting of a mixture of Cadmium Yellow (CdS) and Viridian (Cr2O3)

Chromium pigments

Chrome green (PG17): chromic oxide (Cr2O3)

Viridian (PG18): a dark green pigment of hydrated chromic oxide (Cr2O3·H2O)

Cobalt pigments

Cobalt green: also known as Rinman's green or Zinc green (CoZnO2)

Copper pigments

Malachite: cupric carbonate hydroxide (Cu2CO3(OH)2)

Scheele’s Green (also called Schloss Green): cupric arsenite (CuHAsO3)

Other pigments

Green earth: also known as terre verte and Verona green (K[(Al,FeIII),(FeII,Mg)](AlSi3,Si4)O10(OH)2)

Yellow pigments

Arsenic pigments

Orpiment: natural monoclinic arsenic sulfide (As2S3),

Bismuth pigments

Primrose Yellow (PY184): Bismuth Vanadate (BiVO4),

Cadmium pigments

Cadmium Yellow (PY37): cadmium sulfide (CdS), which also occurs as the mineral greenockite.

Chromium pigments

Chrome Yellow (PY34): lead chromate (PbCrO4), which also occurs as the mineral crocoite.

Cobalt pigments

Aureolin (also called Cobalt Yellow) (PY40): Potassium cobaltinitrite (K3Co(NO2)6).

Iron Pigments

Yellow Ochre (PY43): a naturally occurring clay of monohydrated ferric oxide (Fe2O3.H2O)

Lead pigments

Naples Yellow (PY41)

Lead-tin-yellow: PbSnO4 or Pb(Sn,Si)O3

Titanium pigments

Titanium Yellow (PY53)

Tin Pigments

Mosaic gold: stannic sulfide (SnS2)

Zinc Pigments

Zinc Yellow (PY36): Zinc chromate (ZnCrO4), a highly toxic substance with anti-corrosive properties which was historically most often used to paint over metals.

Orange pigments

Cadmium pigments

Cadmium Orange (PO20): an intermediate between cadmium red and cadmium yellow: cadmium sulfoselenide.

Chromium pigments

Chrome Orange: a now obscure pigment composed of a mixture of lead chromate and lead(II) oxide. (PbCrO4 + PbO)

Red pigments

Arsenic pigments

Realgar: an arsenic sulfide mineral (As4S4)

Cadmium pigments

Cadmium Red (PR108): cadmium sulfo-selenide (Cd2SSe)

Iron oxide pigments

Sanguine, Caput Mortuum, Indian Red, Venetian Red, Oxide Red (PR102)

Red Ochre (PR102): anhydrous Fe2O3

Burnt Sienna (PBr7): a pigment produced by heating Raw Sienna.

Lead pigments

Minium (pigment): also known as red lead, lead tetroxide, Pb3O4

Mercury pigments

Vermilion (PR106): Synthetic and natural pigment: Occurs naturally in mineral cinnabar. Mercuric sulfide (HgS)

Types of Pigments

Excerpts from ART HARDWARE: The Definitive Guide to Artists’ Materials, by Steven Saitzyk © 1987 All rights reserved. Reproduction forbidden without written permission.

The older, more traditional pigments were derived mostly from substances that existed naturally in the environment. Even when some of them were later synthesized, they were not chemically altered. These older pigments produce colors that can be seen in nature and tend to convey a sense of naturalness, even when used for abstract works.

The new, synthetic pigments are still derived from such natural substances as petroleum, but they have been chemically modified to create a new substance that is unnatural to the environment and, to many, has an unnatural appearance. Many of these colors, because of their industrial applications, are now part of our cities’ visual environment, our synthetic environment.

In this comparison between modem and traditional pigments there is no suggestion that the natural pigments are better than the synthetic ones. The characteristics of both types of pigments can be exploited to a painter’s advantage to accomplish a particular effect.

I have grouped pigments in regard to whether they are inorganic or organic, and whether they have been synthesized. Organic pigments are either composed of carbon or are part of, or produced by, a living organism, such as ivory black (carbon). Natural extracts from animal or plant matter, or synthesized material originating from organic matter, such as petroleum products, have been the source of many organic pigments.

Inorganic pigments are pigments that do not have hydrocarbons (a molecular arrangement of carbon and water), such as cadmium sulfide (cadmium red), but include oxides and sulfides of carbon, like copper carbonate (malachite green, genuine). Inorganic pigments are either natural salts and minerals extracted directly from the earth or rocks or are synthesized from salts and minerals.

NATURAL INORGANIC PIGMENTS

Natural inorganic pigments are found in nature as minerals or earth and are then ground, sifted, washed, and sometimes cooked (calcinated). The tem1 “natural mineral pigment” is used to describe natural inorganic pigments that are found as naturally occurring metallic salts, such as basic copper carbonate (azurite and malachite). The terms “earth color” and “earth pigment” are used to describe natural inorganic pigments that, in addition to being naturally occurring metallic salts, have significant quantities of clay and/or silica naturally mixed into them, such as hydrated ferric oxide and silica (raw sienna).

SYNTHETIC INORGANIC PIGMENTS

Almost all of the inorganic mineral pigments used today are manufactured, or synthetic. A synthetic version of a pigment may be chemically identical to the natural form, but it is produced artificially rather than naturally. It may also be an entirely new pigment created from minerals.

An example of a naturally occurring inorganic mineral pigment would be genuine ultramarine blue, which is derived from the gemstone lapis lazuli. Synthetic ultramarine blue, on the other hand, is made by a modem process that combines silica, alumina, soda, and sulfur, the basic elements of the naturally occurring lapis lazuli. Although, chemically, they are almost identical, lapis has a crystalline structure, which gives greater depth and beauty than the synthetic pigment.

One example of an entirely new synthetic mineral pigment is cadmium yellow, which was invented in 1817. Cadmium was mined from the earth and then extracted by turning it into a man-made salt that could then be used as a pigment.

Glass pigments are synthetic inorganic pigments in an unusual package. The pigment Egyptian blue, in use from 1500 B.C. to 500 A.D., was made from small glass particles called frit, which were ground to make the pigment. The exact color made from this pigment depended upon the size of the particles of glass. When the glass frit was ground to a small particle, it was a pale blue. A coarser grind produced a bright blue. This method of making color is still used in Japan and the name given to these pigments is “new earth.” The Japanese have elaborated on this method of using the size of the glass particles to help determine a color and have taken ten to fifteen base colors and ground them into ten to fifteen different sizes, resulting in a palette of more than one hundred colors.

SYNTHETIC ORGANIC PIGMENTS

There are currently about seven thousand organic dyes synthesized from coal tar and petrochemicals, to which approximately two hundred more are added each year. A dye, as opposed to a pigment, is soluble in the medium in which it is applied, thus making it impractical to make paint directly from a dye. For example, if a dye is mixed directly into linseed oil it would readily dissolve into it. However, when this mixture is mixed with other paints, applied to a painting ground, or used with a brush, it would dissolve into them just as readily, staining and bleeding uncontrollably. To regain control it is necessary to convert a dye into a pigment, which is insoluble in the medium. This is done chemically by attaching the dye to an insoluble, inert substrate, such as aluminum hydrate. (This is like dyeing cotton threads before weaving them into a fabric.) The result is called a dye-pigment, also known as a lake. After the dye is attached to something solid and insoluble, it can be formed into a paint just like any other pigment. (However, just as dyed fabric is tested to be colorfast, so must a dye pigment be found to be bleed-resistant). The synthetic organic pigments used in paints are “dye-pigments.”

Because many of these new pigments were less costly, and because there have been dramatic improvements on the range of available colors, many of them were made available before rigorous testing for bleeding was performed. For those painters for whom bleeding of one color into another, no matter how slight, is a problem, a simple, but not conclusive, bleed test can be performed.

A watercolor or gouache can be tested by first applying a dilute watercolor to a hot-press watercolor paper and left to dry. Then, using either a sponge or a large, soft, wash brush, attempt to wash away the watercolor. Most non-bleeding pigments will be almost totally removed. Pigments that tend to bleed will leave a significant stain.

Oil colors can be tested by applying a thin coat of white paint over a semidry and a dry layer of the test color. Fast bleeders will tint the white over-paint whether wet or dry, within one day. Slow bleeders will show color in the white with the semidry test color.

There are three major groups of synthetic organic pigments used in artists’ paints-anthraquinone, azo, and phthalocyanine. The first, anthraquinone, was 1,2-dihydroxyanthraquinone (alizarin crimson) developed in 1868 in an attempt to understand the coloring properties of madder root. This discovery led to the development of several indanthrones, of which one has come into use among artists as indanthrone blue.

The second group, azo, refers to a particular molecular arrangement among nitrogen-containing organic molecules. Although azo dyes were developed as early as 1880, it was the development of naphthol AS (naphthol red) in 1912 that heralded the birth of stable dye-pigments, which today include arylides (used to make hansa yellow, cadmium yellow hue), perinones (perinone orange), and naphthols (naphthol red, naphthol crimson, and cadmium red hue).

The third major group is the phthalocyanine dyes (phthalocyanine blue and green). Phthalocyanine was first discovered in 1907. It was rediscovered several times after that until the 1930s, when it was developed for artists’ use. Out of this group came the quinacridones, of which gamma-quinacridone (quinacridone magenta) and quinacridone violet b (quinacridone violet) have become relatively commonplace.

NATURAL ORGANIC PIGMENTS

Natural organic pigments include dyes that were converted into dye-pigments (lakes) and pigments made from either animal or plant sources. All plant-source pigments, such as madder, indigo, and gamboge, are dye-pigments. Animal or plant-source pigments are all dye-pigments with the one exception of carbon from bone. Examples of animal dye-pigments are sepia and Indian yellow.

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Market is changing rapidly with the ongoing expansion of the industry. Advancement in the technology has provided today’s businesses with multifaceted advantages resulting in daily economic shifts. Thus, it is very important for a company to comprehend the patterns of the market movements in order to strategize better. An efficient strategy offers the companies with a head start in planning and an edge over the competitors. Market Reports World is the credible source for gaining the market reports that will provide you with the lead your business needs.

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