Truth behind C77266
Not all black is the same.
In the realm of pigments, personal preferences, and professional affiliations often shape artists' views on their tools of choice. Yet, it's essential to separate subjective perceptions from undeniable facts when examining these essential color-makers. This piece delves into the intricacies of the Black CI 77266 pigment - a color that, at first glance, might seem straightforward but, on closer inspection, reveals itself to be much more complex. Our exploration is meant to illuminate the path for you in the often convoluted field of pigments.
“It is all too human to resist acknowledging past mistakes or renouncing previously chosen pigments. Therefore, a sober, fact-based approach becomes essential in our discussions about all colors, particularly the ubiquitous black. We must strive to sift truth from illusion in order to fully comprehend the nuances of this seemingly simple pigment.”
The Duality of Black-Carbon and Non-Carbon Sources
When it comes to the use of the black color in PMU pigments, there are predominantly two avenues employed – carbon-based sources and non-carbon-based sources.
Non-carbon sources for black color in PMU pigments are generally derived from iron oxides, such as Fe2O3 (hematite) and Fe3O4 (magnetite). These naturally occurring minerals are often processed and refined for use in a wide range of applications, including PMU pigments. Hematite, for example, yields a red to brown color and is a common ingredient in earth-toned cosmetics, while magnetite, with its characteristic black color, lends itself to PMU pigments.
Carbon-based sources for the black color in PMU pigments, on the other hand, originate from a variety of materials. Most commonly, the carbon black used in PMU pigments is derived from the incomplete combustion of heavy petroleum products, such as FCC tar, coal tar, and ethylene cracking tar. The process produces a rich black pigment, known for its stability and depth of color.
A trend towards using carbon-based black in PMU pigments has been observed across many countries. Often, this move is attributed to the perceived dangers associated with iron oxides, with many in the industry reflexively deeming them as hazardous.
Iron oxides, both natural and synthesized, can be a matter of concern in PMU pigments for several reasons. First, although iron oxides are generally recognized as safe by regulatory bodies such as the FDA, their use in PMU pigments implies dermal implantation, and the long-term effects of such are not yet fully understood. Additionally, specific types of iron oxides can have magnetic properties, which can interfere with magnetic resonance imaging (MRI) procedures, and may cause discomfort or, in rare cases, burns.
In the following section, we'll turn our focus specifically to carbon black, with the color index CI 77266.
Decoding the Carbon Black CI 77266 - Beyond the Color Code
When discussing the carbon black pigment, denoted as CI 77266, it's important to understand that the color index number alone does not provide comprehensive information about the production method, source, quality, or particle size of the pigment. In reality, the same color index encompasses three rather distinct types of black pigments, each produced in its unique way. Let's delve into these different forms:
a) "Channel Black"
(also known as Black 6) Channel Black is produced through a specific process involving crude oil and gas. This type of pigment is manufactured without the presence of oxygen, resulting in a pigment composed of roughly 19% organic materials and 81% inorganic materials. Channel Black is essentially a product of the incomplete combustion of natural gas in special chambers known as "channels", hence its name. This black pigment is renowned for its intense color and consistency.
b) "Furnace Black"
(also known as Black 2) Furnace Black, on the other hand, is predominantly sourced from crude oil. It's produced in furnaces, as the name suggests, via the controlled combustion of petroleum products. The resulting pigment has a relatively balanced composition, with approximately 55% organic and 45% inorganic constituents. Its manufacturing process and characteristics make it widely used across industries, including PMU.
c) "Thermal Black"
(also known as Black 7) Thermal Black is a pigment produced from ethylene gas. This variant involves the free-state carbon produced through burning gas in a thermal process, making it almost purely inorganic. With a staggering 99% inorganic content, Thermal Black is about as close to pure carbon as you can get. This method produces a black pigment with excellent light stability and a unique texture that's desirable for certain applications.
Most pigment manufacturers do not include these extra details on their product labeling, which can make it challenging to make accurate comparisons between black pigments based solely on their color index number. This underlines the importance of understanding the nuances behind the simple CI 77266 label.
Distinguishing Between Types of Black CI 77266 - The Artists' Consensus
To make sense of the different versions of the Black CI 77266 pigment, it's helpful to turn to the community of PMU artists who have hands-on experience with these products. Although their views may be influenced by brand allegiances or other considerations, there are some common observations that are generally accepted in the industry.
a) "Thermal Black" (Black 7)
Thermal Black, due to its larger particle size, tends to have the least opacity among these black pigments. It might not be able to achieve a sufficiently deep black tone for applications like eyeliner, but its properties make it ideal for eyebrows, microblading, and some variants of Powder Brows. It typically retains a brown hue during healing, fading to an anthracite color instead of turning blue.
The scientific reason behind this is the larger particle size of Thermal Black, which absorbs and reflects light differently from its smaller counterparts. The larger particles don't scatter light as much, allowing for a warmer hue, a characteristic that remains even after healing.
b) "Furnace Black" (Black 2)
Furnace Black is preferred for applications that require true opacity, such as eyeliner lines, because of its small particle size. This pigment is often described as the best for lines due to its deep black color. However, it typically needs to be mixed with yellow or orange when used for brows to prevent it from healing to a bluish color.
This phenomenon is due to the small particles of Furnace Black, which scatter light to a greater degree, resulting in a cooler, more blue-toned hue. This effect is especially noticeable as the pigment heals and fades in the skin.
c) "Channel Black" (Black 6)
Channel Black, renowned for its fluidity and depth of color, is the darkest among the three. Its extremely small, almost "non-existent" particle size contributes to its opacity, providing an intense black hue. It's often used for both lining and shading in eyeliner applications and is deemed more versatile than Furnace Black. Some artists compare its liquid texture to dyes, setting it apart from other black pigments.
The small particle size of Channel Black not only allows for a deeper color but also influences how the pigment interacts with light, enhancing its opacity and depth of color. It's this interplay of light absorption and reflection that contributes to Channel Black's standout performance across a range of applications.
It's worth noting that these general observations, while widely shared among many artists, are influenced by personal experience, brand choice, and cooperation agreements, some publicly disclosed, others less so.