Lead-Tin Yellow: If you fuse lead,

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Lead-Tin Yellow: If you fuse lead, tin, and quartz at 800 celsius, you have a yellow, lemony tint. First used in the 1300s, but later, Richard Jacobi rediscovered it and made a synthetic version in 1941 in Munich. This yellow often has two types. Type I is found in paintings, while Type II is different in the mixture—it has less tin and added silicon.
Indian Yellow: When you prepare the urine of cows indonesia telegram fed with mango leaves, you get Indian Yellow. It was first found in 1450 and had the characteristics of a luminescent orange-yellow that seemed like the sun. Indian Yellow is also lightfast, which means it’s less susceptible to discoloration than its predecessor, Lead-Tin Yellow.
Raw Sienna: Raw sienna came from mixing yellow ochre with hints of manganese oxides. Without the latter, it’s hard to differentiate ordinary yellow ochre from Sienna. While extracting materials from a quarry in Siena, Italy, they found this material and later used it in oil paintings in the middle of the 18th century.
Chrome Yellow: Three years before the end of the 18th century (1797), Louis Vauquelin, a French chemist, found chrome pigments. By 1803, European paintings had this hue as a staple to add to their pieces. Van Gogh’s Sunflower and Seurat’s A Sunday on La Grande Jatte are some famous pieces with Chrome Yellow pigments. Sadly, it wasn’t that stable and lightfast and faded from use.
Bismuth Vanadate Yellow: When you mix bismuth and vanadium in a salt form, you get this type of yellow. Bismuth Vanadate Yellow is one of the strongest yellows, being stable, weather-resistant, and non-toxic compared to chrome yellow, cadmium yellow, and lead-tin yellow. This replacement for non-toxic yellows has a solid bright pigment to it. That’s its function, a substitute for toxic yellow dyes.
Cadmium Yellow: As the above implies, Cadmium Yellow is one of the most toxic types of yellow pigment. It’s stable and used in various paintings from 1818 until today. Despite its toxicity, it’s lightfast, which is why it’s a top choice for painting.
Zinc Yellow: Another toxic yellow pigment, zinc yellow, was synthesized in 1825 and became a later staple for dyes. It’s also found in Seurat’s A Sunday on La Grande Jatte.