Pesticides. Jet fuel. Olive oil. Railroad traction gel. Skin cream. Kitty litter. As you can imagine, markets like these don&#;t intersect very often. However, they do share one thing in common: they are all applications for attapulgite, a naturally occurring mineral used mainly as a filter, carrier and rheology modifier.
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Thanks to its unique properties, the mineral has found applications in a wide range of industries, from agriculture to pharmaceuticals and automotive and beyond.
What exactly makes attapulgite so unique and versatile?
&#;The material is extremely stable in liquid formulations,&#; says Lance Richert, Sales and New Business Development Manager of Attapulgite Products at BASF. &#;Attapulgite provides significant rheology stability and adsorbent properties compared to market alternatives.&#;
With its three-dimensional chain structure, attapulgite has one-of-a-kind colloidal, absorbent and adsorbent properties. When fully hydrated, it thickens liquids without swelling. High thermal activation gives it the large surface area and porosity it needs for optimal sorptivity.
&#;It has significant absorbent properties,&#; Richert explains. &#;The attapulgite can absorb a lot of liquid with impurities and things of that nature, which makes it really good for filtering. It&#;s also good in agricultural applications where active ingredients need to be absorbed into the granular product and released slowly.&#;
To take advantage of those unique attributes, you need connections to one of the limited sources of attapulgite production in North America.
In the United States, attapulgite can only be mined in southwestern Georgia and northern Florida. The mineral takes its name from the town of Attapulgus, GA, where it can be found in abundance.
BASF operates its attapulgite mines in this area, with the manufacturing facility located approximately 17 miles south of Attapulgus in Quincy, FL. The company&#;s attapulgite clay mining operations cover more than 16,000 acres of land in Florida and Georgia.
Quincy is the home base of BASF&#;s primary attapulgite operations. When the company acquired the mine in , it also adopted more than a century of history: the site was first owned by Floridin Company in , before it exchanged hands five times during the next few decades.
With 80 employees, today the site mines and processes attapulgite clay within two production lines: granular and gel. Processing, in a nutshell, involves drying, sizing and packaging the product for shipment.
BASF categorizes their product line in two segments: a gel attapulgite and a granular attapulgite. The first takes the form of a very fine powder while the other, as the name suggests, has a more granular or coarse consistency. The products are called Attagel® and Micro-Sorb®, respectively.
&#;Attapulgite provides significant rheology stability and adsorbent properties compared to market alternatives.&#;
Attagel works in multiple applications like automotive paint, interior paint, pharmaceutical, liquid fertilzer, traction gel for railroads and moisture control for windows, just to name a few. Similarly, its granular counterpart Micro-Sorb has been used in oil filtration, edible oils, jet fuel oils, herbicides &#; and, yes, kitty litter.
Richert adds that as an established chemical company, BASF is well-positioned to help customers respond to issues &#; from innovation to environmental regulations to everything in between.
For instance, he says, &#;If there&#;s a logistics or supply chain issue or a phenomenon that&#;s happening in the marketplace, we generally have the best leverage and the best teams to navigate our customers through the risks and opportunities.&#;
BASF&#;s operations obtain attapulgite clay by strip mining. When looking for a specific grade of attapulgite, the site&#;s team of mining experts must determine the most likely locations. The mineral is typically found near the surface, so excavation begins by removing the soil and rock on top.
Once they do, it&#;s a relatively straightforward matter of strip mining the material with excavators and other large machinery.
Once the attapulgite has been unearthed, there is one more important step remaining in the mining process: land reclamation.
&#;With land reclamation, we either improve upon the land we have strip mined or we will get it back to its original state as much as possible,&#; says Richert.
BASF aims to offset the environmental impacts of strip mining &#; which can include damage to landscapes, disruption of wildlife habitats and pollution of waterways &#; and make other environmental improvements whenever possible. The company engages in activities like water management, for example, as well as building small ponds, planting and relocating trees, and doing whatever is needed to improve the land's long-term sustainability.
Color Index Generic Name: Key Top ^ Page Top^
This is the C.I. Generic Name (abbreviated) given by the ASTM and Colour Index International (CII) for that pigment. The first 2 or 3 letters describe the general pigment color and the number is the individual pigment identifier. N/A (not applicable) means that pigment has not been given a color index name or number.
Natural Dye and Solvent Pigments
Pigment
NY = Natural Yellow;
NO = Natural Orange;
NR = Natural Red;
NV = Natural Violet;
NB = Natural Blue;
NG = Natural Green;
NBr = Natural Brown;
NBk = Natural Black;
NW = Natural White;
PY = Pigment Yellow;
PO = Pigment Orange;
PR = Pigment Red;
PV = Pigment Violet;
PB = Pigment Blue;
PG = Pigment Green;
PBr = Pigment Brown;
PBk = Pigment Black;
PW = Pigment White;
PM = Pigment Metal
The CI (Color Index) Common Pigment Name: Key Top ^ Page Top^
In this database the common name is the name given in the Color Index (third edition, ) by the Color Index International published by the Society of Dyers and Colourists and the American Association of Textile Chemists and Colorists, and are also used by the ASTM International, American Society for Testing and Materials.
When the Colour Index (3rd edition) has not specified a name, I have used the name that the first manufacturer, inventor or original patent holder has given that pigment. In the case of ancient pigments, historic pigments, minerals or other odd pigments, I have used the most commonly used traditional historic, mineral or chemical name as determined by my research.
Common, Historic and Marketing Names: Key Top ^ Page Top^
These are the various names that have been used for that pigment whether or not it is the correct usage. This is NOT an endorsement of any particular name, but merely a collection of names that are in common usage or have been used in the past according to historic pigment books & references, paint sales literature, and pigment manufacturers references. They have been collected (in order of importance) from
1.) Paint manufacturers, pigment manufacturers and/or other pigment supplier literature;
2.) Various web sites in particular AMIEN.org, Blick Art Materials Artist Supply, Handprint.com, Kremer Pigments, Natural Pigments, Kama Pigments, Sinopia Pigments, PCImag.com and along with internet forums on art and painting, web sites of paint manufacturers, paint suppliers, chemical manufactures and pigment manufacturers;.
3.) The Color Index, Third edition (published by the Colour Index International, );
4.) Historical books on pigments, oil painting, watercolor painting and other art forms (see Free Art e-Books);
5.) Artist manuals and handbooks (see the bottom of the Pigment Database's main page for a complete list of reference works);
6.) Various dictionaries and encyclopedias (both historic and contemporary).
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(hue):
When a manufacturer has has used a common historical name for a pigment that is not the accepted traditional historic pigment name and has not clearly indicated it to be a hue or substitute, I have indicated it with the "(hue)"* in parenthesis. For example calling\naming a paint made with Phthalocyanine Blue as "Azure", "Smalt" or "Cobalt Blue".
*In order to stay within ASTM specification D -05, manufactures are encouraged to use the word "hue" when the paint or pigment marketing name is not the real name of a paint or a pigment. Substitute and tone could be also considered acceptable means of indicating a hue substitute for the actual color. However, the ASTM specifications are usually voluntary and there is little means to enforce them. Also because of language differences, changes in the paint or pigments common identification because of contemporary usage (often perpetrated by manufacturer's incorrect color marketing names), and last but not least - the sheer multitude of historically used paint names for any given paint\pigment, it's nearly impossible to prove or say a manufacturer of art materials is being purposely deceptive.
C.I. Constitution Number or Colour Index Constitution Number (chemical composition): Key Top ^ Page Top^
These are the chemical constitution numbers given that pigment by the Color Index International published by the Society of Dyers and Colourists and the American Association of Textile Chemists and Colorists, and are also used by the ASTM International, American Society for Testing and Materials. Each of the numbers in the "Colour Index Constitution Number" has a specific chemical or compositional meaning; for more information see the Colour Index Number Chart or go to the Color Index International and ASTM, American Society for Testing and Materials web sites (these links open in a new window)..
Chemical Composition: Key Top ^ Page Top^
These are the basic chemical names, or mineral names along with chemical composition. I have also included CAS numbers, when I can fine them. Sometimes multiple names are given because chemical names can be stated in different ways and can also give an indication of the manufacture method. Very often a pigment can be a group of related compounds rather than one specific chemical. I have not included detailed chemical descriptions or analyses, but only basic information that should help you to find further information. I have included references designated with "(Ref)" where further information can be attained.
Adulterants, extenders and other additives may be added to artistic paints to improve the paint rheology, transparency, and\or drying time. Often inert pigments, extenders and fillers are added to the color pigments in student grade paints or to modify paint pigments with overly strong tinting strength, i.e. the Phthalocyanine Blues and Greens. These extra ingredients are rarely listed of the label.
Color Description: Key Top ^ Page Top^
This is a general attempt to explain the hue in plain English. The perception of color is as individual as the the people viewing it and any such description can not be completely accurate, but merely give a general idea of the what color looks like to the average person. Many pigments have a range of shades and hues. This range in hues can be due to many things such as different manufacturing processes, exact chemical composition and crystal shape. In most cases, i have not used any of the attempted means of standardizing color descriptions for this (such as the Munsell system), but where the pigment is included in the Color Index International Pigments and Solvent Dyes (The Society of Dyers and Colourists, third edition ), I have used that description, when there is no color hue description in the Color Index, I have used other reference sources in particularly manufacturer or supplier literature.
&#; = Effects of long term light exposure are given when known, this may allow an artist to anticipate color changes and possibly use them as an advantage. These effects are all relative to the pigments inherent light fastness and may take decades or even centuries in museum conditions to be visible.
Fades = Becomes more Transparent
Lightens = Loses chroma but maintains
relative transparency or opaque character;
Whitens = Becomes lighter towards white and more opaque;
Darkens = Becomes darker but retains hue;
Dulls = Loses chroma towards neutral but maintains the relative tone;
Blackens = Turns very dark or black losing chroma;
Hue shift = Changes hue towards a different color
Opacity - Transparency: Key Top ^ Page Top^
This designation is only a general reference to the most common encountered opacity or transparency inherit to the pigment. In paints, the transparency of a pigment can change due to what is used as the painting medium or binder (i.e., oil color, watercolor, encaustic, acrylic, etc.). There are many pigments that are opaque in watercolor but transparent or semi-transparent in oil paints. The transparency of a paint or pigment can often be manipulated by the manufacturing process for a particular purpose. The addition of inert pigments or other modifiers can also change the perceived transparency of a paint formulation or pigment.
When available, i have used the Color index's designation or manufacturers literature to arrive at this figure. When the Color Index description is unavailable i have arrived at a general figure by manufacturer literature or personal experience. A general designation such as given will not always be the case in any particular formulation.
1 = Opaque,
2 = Semi-Opaque,
3 = Semi-Transparent,
4 = Transparent
Light Fastness Rating: Key Top ^ Page Top^
The light fastness rating can only be a general guide, when available, i have used the ASTM rating or manufacturers literature to arrive at this figure. The ASTM has not rated all pigments, and I believe will no longer be rating pigments. For that reason the rating in this database will not always be the ASTM rating but a rating culled from other sources, most importantly manufactures literature. The ASTM ratings have a 5 increment scale and the blue-wool scale is 8, in this database lightfastness ratings have been condensed or averaged to a less specific 4 designations. Very often, pigments in tints are less light fast and this should be taken into account when determining if a pigment or paint will meet your needs. I can can not cover every possible paint, binder, or pigment formulation in this chart as it would take too much time and space. In particular the quality of the actual pigment manufacture has much influence on a pigments fastness to light, heat and other chemicals. Additives, binder, and many other factors all have a influence on light fastness or fastness to other environmental influences. Whether a paint is watercolor, oil color, tempera, etc. has an effect on light fastness. Varnishes and other treatments to the painting surface or support can have an influence too. The only way to be sure, is to make your own tests on the paint or pigment you have. Reference the following: (ASTM D - 10,
Standard Test Methods for Lightfastness of Colorants Used in Artists' Materials, or ASTM D01.57, the Subcommittee on Artists' Materials doc here, opens new window); or this (AMIEN.org Thread - opens new window). Blue Wool Scale will be given when known, but be aware that these may be from tests on a single formulation, and may not be the same for all brands or binders.
I = Excellent,
II = Good,
III = Poor (may last many years in museum conditions, but should be used with caution for permanent works of art)
IV = Fugitive/Very Poor
BWS = Blue wool scale
7-8 = Excellent,
6 = Very Good,
4-5 = Fair (Impermanent),
2-3 Poor (fugitive),
1 = Very Poor (fugitive)*
*When known, blue wool scale ratings will be given for tints in the following format: Full;1/2 tint/;1/4 tint (i.e. Cadmium Red would be 8;8;8 with excellent light fastness in all tints). Note: these may from tests on a single formulation or pigment brand, and may not be valid for other brands or binders.
Oil Absorption: is given in g/100g or grams of oil per 100 grams of pigment Key Top ^ Page Top^
or as H, M, L (see below)
The oil absorption figure has been arrived at from the pigment manufacturer's literature or artist reference sources (see the bottom of the Pigment Database's main page for a complete list of reference works). The higher the oil absorption, generally, the longer it will take to dry when used in oil painting. The addition of driers, siccatives, retardants and other additives can effect the drying time of any specific formulation, or they can be added by the artist to speed up or slow down the drying of oil paints. In some literature the oil absorption rate is given as ml/100g, although not technically the same as g/100g, for the purposes of this database they are close enough.
Depending on the specifications i have available I may also use the following designations:
H = High; - These pigments absorb a lot of oil.
M = Medium; - Average drying or cure rate
L = Low; - Usually very fast driers
Toxicity
: Key Top ^ Page Top^Under this heading will be a general designation of a possible hazard. It is assumed intelligent people will use at least ordinary care when handling all paints or pigments. The designation has been arrived at from, in most cases, the manufacturer's literature, art books and art reference works (see the bottom of the Pigment Database's main page for a complete list of reference works), MSDS sheets, the EPA manual: Environmental Health & Safety in the Arts: A Guide for K-12 Schools, Colleges and Artisans (full PDF here), The Art & Creative Materials Institute, Inc. (ACMI), The Health and the Arts Program - Great Lakes Centers at the University of Illinois at Chicago School of Public Health (UIC SPH), The American Institute for Conservation of Historic & Artistic Works has a collection of articles on art safety, The Consumer Product Safety Commission's Art and Craft Safety Guide (PDF, 250 KB) and Art Materials Business Guidance
All paints and especially dry pigments can be hazardous if carelessly handled, but, if handled properly with common sense all but the most dangerous pigments can be used safely. Very few pigments used in the arts are edible, and even so called "Food Colors" are not meant to be used in large quantities and may have unknown side effects or allergic reactions.
WARNING: Always use a dust mask when working with any dry pigments. Work in a separate area of your studio away from children, pets or other living things. Do not smoke, eat or drink around any art materials. Dispose of all waste materials in an environmentally safe way.
A = Low hazard, but do not handle carelessly;
B = Possible hazard if carelessly handled, ingested in large amounts or over long periods of time;
C = Hazardous, use appropriate precautions for handling toxic substances;
D = Extremely Toxic, only attempt working with these pigments (especially the dry form) in laboratory like conditions with proper safety equipment (see "Prudent practices in the laboratory: handling and disposal of chemicals" at google books opens new window); or the PDF - Booklet Safe Handling of Colour Pigments Copyright © : BCMA, EPSOM, ETAD, VdMI - link from VdMI
The Side Notes Column: Key Top ^ Page Top^
These are typically interesting things I have read, or information collected on a pigment that may be worth further study. Please remember that they are NOT statements of absolute fact. Many pigment qualities are rumors, old wife's tales and misconceptions repeated over and over until they accepted as fact without any scientific proof. References (Ref) may be provided for further info.
Miscellaneous:
(hue) = When the word "hue" in in parenthesis (hue), it refers to a hue color not designated on the label, when the word "hue" is not in parenthesis is part of the pigment name as per ASTM guidelines.
(Ref) = A link to a reference source. This may be the reference source of the information that I have given, or just a link to more detailed information.
? = a question mark next to a name, note, or data code indicates that it may or may not be correct information due to conflicting information, questionable references, possible typo or other discrepancies in the manufacturer or other reference documentation. Further study is needed to clarify.
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