Colorants (Sep 2022)

Exploring the Colors of Copper-Containing Pigments, Copper (II) Oxide and Malachite, and Their Origins in Ceramic Glazes

  • Iris Peng,
  • Katie Hills-Kimball,
  • Isabela Miñana Lovelace,
  • Junyu Wang,
  • Matthew Rios,
  • Ou Chen,
  • Li-Qiong Wang

DOI
https://doi.org/10.3390/colorants1040023
Journal volume & issue
Vol. 1, no. 4
pp. 376 – 387

Abstract

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The colors of copper-containing pigments, copper (II) oxide and malachite, and their origins in ceramic glazes were systematically examined over a wide firing temperature range using a suite of analytical and spectroscopy techniques including SEM, UV-Vis FORS, XRD, FTIR, and EPR to gain new insight into the structural and chemical transformations of the glaze during firing. The two colorants investigated were black copper (II) oxide (CuO) nanopowder and blue-green basic copper carbonate, or malachite (Cu2CO3(OH)2), both of which produce a final light blue color following firing. Additionally, silicon carbide (SiC) was used to locally reduce CuO to simulate firing glazes in a reductive environment and produce a final red color. At lower temperatures, malachite was found to decompose to form CuO at 550 °C, elucidating the reason that two different copper colorants could be used interchangeably to form the same “Robin’s Egg Blue” color. At 850 °C, a glaze sintering process occurred, resulting in the distribution of Cu2+ in a square planar geometry and an observed blue color. This structural change occurred at temperatures lower than the glaze’s melting point, indicating that complete vitrification of the glaze is not required for glaze coloration. Conversely, the reduction in Cu2+ to Cu+ through the addition of SiC did not occur until the glaze was fired above the melting temperature (1000 °C), signifying that high temperatures are required for the redox reaction to occur. This study sheds light on intermediate colorant-glaze interactions that are beneficial for understanding and predicting glaze coloring upon exposure to varying temperatures, and the results from this study can be applied to better-controlled glaze production for artists and a deeper appreciation of ceramic glaze chemistry and aesthetics.

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