Last Updated on: February 17th, 2025

Before the development of writing systems, painting was one of the most important means of communicating information and performing rituals. Paleolithic caves dating back about 30,000 years have been found with walls colored black, red, yellow, and others. 

In the beginning, natural pigments made from stones, soil, and carbon were predominantly used, as they were relatively easy to obtain. However, as time progressed, the colors of the paints became richer due to the increased diversity of raw materials. 

Among these pigments, natural blue pigments were particularly valued, even more than gold, before the invention of synthetic pigment. This was due to its limited resources and the advanced refining techniques required for its production.

Ultramarine

Natural Pigment / Material: Lapis Lazuli

There were many other pigments and dyes that produced various shades of blue, but among them, ultramarine (derived from lapis lazuli) was considered the finest due to its stunning beauty. 

This reputation extended not only to Afghanistan, where high-quality lapis lazuli could be found, but also to Mesopotamia (present-day Iraq), Egypt, the Indus Valley (India), China, and other regions where ancient civilizations flourished throughout Europe.

However, lapis lazuli was extremely expensive, as it could only be mined in a limited number of locations, while only the purest dark blue obtained in the refining process could be used to create ultramarine paint.

Consequently, only a handful of artists had the opportunity to work with this rare pigment.

A significant advancement in the production of ultramarine took place during the Industrial Revolution in the 18th and 19th centuries, a period when technological innovation and rapid growth in the iron and steel industries. In the early 19th century, ultramarine was created by firing soda ash, quartz, and other minerals with charcoal at high temperatures.

Prussian Blue

A strong passion for the color blue can also be found among Japanese artists.

Back then, the most common blue coloring materials used in Japan were Gunjo, a mineral pigment derived from azurite; and dyes extracted from plants. 

Pigments made from natural minerals were typically very expensive, which means that artworks featuring a significant amount of these mineral pigments were only accessible to aristocrats and the upper class.

During the Edo period (17th to 19th centuries), an art form known as ukiyo-e emerged for the common people. Initially, the blue used in ukiyo-e was a vegetable dye extracted from Asiatic dayflower and indigo plants.

In the 18th century, a new synthetic blue called Prussian blue was discovered in Berlin, Germany. This pigment was later introduced to Japan and came to be known as Bero-Ai, an abbreviation of Berlin Blue in Japanese; it was also referred to as Hokusai Blue, in honor of the renowned Japanese artist.

For a limited time, PIGMENT TOKYO will hold a workshop where participants can learn about the history of pigments while experiencing the process of making paints.

[Limited time offer]  Ukiyoe Immersive Art exhibition TOKYO Special Workshop "Create and Paint with Hokusai Blue"

*Note

This workshop will be conducted exclusively in Japanese, and no English materials will be provided. If you are concerned about understanding the content, we kindly recommend enrolling in one of our workshops where English course materials are available. Thank you for your understanding.

Dates: February 8 - March 29, 2025 (10 sessions available)

　February - 8 (Sat), 11 (Sat), 15 (Tue/ Public holiday), 22 (Sat)

　March - 1 (Sat), 8 (Sat), 15 (Sat), 20 (Thu/ Public holiday), 22 (Sat), 29 (Sat)

Time: 2:00 - 4:00 p.m.

Venue: PIGMENT TOKYO

Fee: JPY 11,550 (tax and materials included with exhibition ticket)

Recommended Age: 4th grade elementary school students and above

Reservation / Information: WORKSHOPS - PIGMENT TOKYO

<Ticket Option  (please select according to your preference)>

■ Guardian's seat (1 person): Free of charge

One additional chair will be provided.

*The number of seats is limited.

*One parent/guardian may attend with one participant per workshop.

*Materials are not included (assistance is permitted).

＜"Ukiyoe Immersive Art exhibition TOKYO"Ticket>

Your tickets grant you access to the “Ukiyoe Immersive Art Exhibition TOKYO” at the Warehouse Terrada G1 Building.

*Please note that tickets are only valid for the day of the workshop (you may enter the museum at any time of your choice).

As a collaboration project with the “Ukiyoe Immersive Art Exhibition TOKYO,” taking place at Tennoz Isle until the end of March 2025, PIGMENT TOKYO will host a workshop focused on Prussian blue. Participants will have the opportunity to learn through a lecture and hands-on practice.

In this workshop, participants will mix two types of chemicals to create their own Prussian blue pigment, which will then be used to make paints. The workshop will also start with naturally occurring mica, which is often used in ukiyo-e prints, and participants will also experience scraping off pieces of the mineral to make the pigment.

After that, they will apply the pigments they've created to a draft featuring sakura-wari, or cherry blossom split patterns, that was invented by Hokusai. This process will culminate in the creation of a postcard-sized artwork. Once completed, the artwork will be framed for participants to take home.

We hope that through this workshop and the exhibition, you can experience the passion of ukiyo-e masters for painting materials and colors!

YInMn Blue

YInMn Blue is a new pigment that was accidentally discovered in 2009 during research for the development of electrically related materials.

A research team led by Professor Subramanian at Oregon State University documented the bright blue color that appeared as a result of experiments in which manganese oxide was heated at high temperatures with other compounds.

The pigment was subsequently named YInMn, after the element symbols Yttrium, Indium, and Manganese.

This pigment has the property of absorbing red and green light wavelengths while reflecting blue light wavelengths and infrared rays.

Observations indicate that this brilliant blue color is chemically stable and extremely durable with high lightfastness. Moreover, from a health and safety standpoint, it is important to note that the substances used in its synthesis do not contain any harmful components, making it safe for use.

Like other synthetic pigments such as ultramarine blue, prussian blue, and phthalo blue, it is recognized for its chemically stable color.

Although it was not intended to be developed as a painting material, its unique qualities certainly make it a valuable pigment.

Meanwhile, looking at YInMn Blue from an artistic perspective, it has a very high vibrancy and brilliant color compared to other blue pigments. 

It has a subtle reddish tone, and this singular brilliance is based on the pigment's particle structure according to its high light reflectance value.

In contrast to International Klein Blue, YInMn Blue could be the new rival or exceed it in brilliance and properties. It is expected to become a popular “new blue” in the future of art fields and creative industries.

For more information on YInMn Blue, please check the article below.

There is still much to explore and the path for the history of pigments is never-ending, thus, the encounter with new colors will always be exciting!

Translated by Atsumi Okano, Nelson Hor Ee Herng
PIGMENT TOKYO Art Materials Experts