Last Updated on : August 18th, 2026
When humanity first reached for color, the nearest material at hand was the earth itself. Earth pigments, such as ochres, umbers, and siennas found in soil and stone, are among the oldest art materials ever used. From the cave paintings of Lascaux to contemporary studios, they have served artists across every culture and era.
This guide covers the history behind these colors, step-by-step methods for turning raw pigment powder into working paint, and studio techniques from pigment.mom for making the most of each pigment's natural character.
Contents
1. The Origins of Color in Earth Pigments
The color of the earth is more than a visual phenomenon, it is a record of deep geological time that is shaped by the very place from which it was gathered. In this section, we examine the durability and wide-ranging hues of earth pigments from a scientific standpoint. We also clarify how they differ from synthetic pigments and from Suihi pigments, two categories that are often confused with natural earths.
The Lightfastness and Durability of Earth Pigments
Earth pigments have already undergone millions of years of oxidation and weathering in nature. As a result, they are exceptionally stable inorganic pigments with very little tendency toward further chemical change.
The outstanding durability allows them to resist fading from ultraviolet light as well as damage from humidity and temperature swings. The proof is visible in cave paintings tens of thousands of years old that still hold their color today, which showcase their testament to permanence that few synthetic.
The Science of Color: Minerals, Geology and Hue
The hue of an earth pigment is determined by the proportion of iron oxide and manganese oxide in the source soil, and by the type of clay mineral that forms its base.
The reds, yellows and browns that dominate the earth-pigment palette all come from iron oxide, the same chemical compound as rust. When the manganese oxidation occurs, its dark component lowers the chroma and produces deep brown to near-black tones. Opacity also varies widely from one raw earth to another. For example, some earths are highly opaque, while others are transparent enough to serve as luminous glazes.
Below, we compare three major earth pigments with distinct hues: yellow ochre, red ochre and green earth. Let's take a look at their mineral composition and working properties.
Yellow Ochre
Primary Components: Iron oxide-hydroxide (goethite), clay (also referred to as limonite).
Hue Range: Warm and creamy tint, from golden yellow to yellow-brown, producing a broad and natural warm shade.
Properties: Semi-transparent to semi-opaque. Moderate tinting strength; blends harmoniously with other pigments.
Red Ochre
Primary Components: Iron oxide (hematite), clay
Hue Range: Red-brown at its core, spanning from the deep, assertive red of traditional Bengara (red iron oxide) to a brighter, vermilion-leaning warmth of a Taisha (red ochre).
Properties: Generally more opaque than yellow ochre. High-purity hematite grades offer strong coverage. High tinting strength, causing a noticeable shift even with a small addition of the mixture.
Green Earth
Primary Components: Silicate minerals originating from ancient marine sediments, such as celadonite and glauconite.
Hue Range: From yellow-green or celadon-like sea green to muted gray-green. The shade changes dramatically by source: Bohemian Green Earth, Italian Green Earth and German Green Earth each have a distinctive hue.
Properties: Low opacity and gentle tinting strength, with a naturally transparent quality. This delicacy has made green earth a favored pigment throughout history for underpainting and for building subtle color transitions.
2. How Earth Pigments Differ from Synthetic and Suihi Pigments
To place earth pigments in a clearer context, let's compare them with two related but distinct categories: synthetic pigments that are composed in different elements; and suihi pigments, which share a similar manufacturing process but not the same material structure.
Synthetic vs Natural: Vivid Precision Meets Earthy Complexity
ynthetic pigments, developed in the eighteenth century, are manufactured under strict chemical control. Their main characteristic is high saturation and strong tinting strength with barely any impurities.
Natural earth pigments are also refined, yet they retain trace minerals from their geological source. In scientific terms, these traces might be referred to as "impurities," but in practice they are the very thing that gives earth pigments depth and a unique nuance that synthetic colors cannot replicate.
As a working principle, reach for synthetic pigments when you need a vivid, punchy accent. On the other hand, use earth pigments when you want atmospheric depth and the subtle irregularity of a natural material. You may also use both on the same painting and enjoy the difference of each and in between.
Two Pigments, One Process: Understanding Suihi and Earth Pigments
"Suihi" originally refers to the process of purifying with water and drying it into a board shape. The generally available "suihi pigments" and "earth colors" follow similar processes, but there is a decisive difference in their color structures.
Although it is crushed to some extent during the production stage, hard plate-like pieces (flakes) and powders of various sizes are mixed in.
Suihi pigments
An extender pigment such as gofun (oyster shell) serves as the base, while colorants like pigments or dyes are blended in. This makes it possible to produce a wide, stable color range from vivid brights to deep darks.
Earth pigments
These are simply crushed, refined earth. No colorant is added at any stage. The color runs through every particle to its core, giving earth pigments the authentic, unmanufactured beauty of natural earth tones.
【Related Article】
3. How Different Binders Transform the Look of Earth Pigments
Paint is made by combining two elements: pigment and a binder.
Pigment powder alone will not adhere to a painting support such as paper or canvas without being thoroughly coated with an appropriate binder. With a proper formula of pigment and binder, the mixture begins to function as paint with true color and sheen.
How to Choose Painting Media and Binders
The same pigment can look remarkably different depending on the binder it is mixed with.
|
Main painting techniques (paints) |
Color vehicle |
|
Oil Paint |
Drying Oils |
|
Acrylic Paint |
Acrylics |
|
Traditional Paints and Tempera |
Animal Glue & Egg Yolk |
|
Watercolors |
Gum Arabic |
To explore more detail about the relationships between paints and binders, please check out the following articles.
How Different Binders Affect the Earth Pigment Colors
We applied Moroccan Taisha (red ochre) with three different binders: oil color medium, acrylic emulsion and animal glue. By comparing the results, you can learn about each binder's effect, which will help you choose the right one for your work.
In this article, we are making Italian Bengara, Moroccan Odo, and Bohemian Green Earth into watercolors and comparing them.
Oil Paint (Oil Color Medium)
Paint Application（From Top）：Thick ／Medium／Thin
【Art Materials Used】
Earth Pigment：Moroccan Taisha (Red Ochre)
Binder：Oil Color Medium
Substarte:Tenjiku Cotton(Primed with canvas coating agent)
Oil painting uses a drying oil as its binder. For this demonstration, we chose the Oil Color Medium made from safflower oil with plant-derived stearic acid. The high transparency of safflower oil reveals the full warmth of red ochre's natural red and lends the deep, glossy finish that defines oil paint.
The medium also has enough plasticity for impasto and other textured techniques.
*Note: Oil paint requires a properly primed support.
Acrylic Paint (Acrylic Emulsion)
Paint Application（From Top）：Thick/ Average
【Art Materials Used】
Earth Pigment：Moroccan Taisha (Red Ochre)
Binder：Acrylic Emulsion
Substrate: Bamboo Washi for Watercolor
When acrylic emulsion dries, it creates a water-resistant paint film with strong adhesion, making it compatible with a wide range of supports even though it is water-based. It holds coarse pigment particles firmly in place. Because the acrylic resin covers each particle, the dried surface retains a rich, saturated "wet" appearance that is deeper than the pigment's dry color. Combining the saturated finish with fast drying time, you can move fluidly from transparent washes and soft gradations to heavy impasto, which allows you to explore the full expressive range of earth pigments on a single surface.
Animal Glue
Paint Application & Technique: Simple Application／Wet-in-wet Technique／Blending with Water
【Art Materials Used】
Earth Pigment：Moroccan Taisha (Red Ochre)
Binder：Ox Glue Liquid 20% Concentrated
Substrate:: Bamboo Washi for Watercolor
As animal glue dries, its moisture evaporates and the binder contracts, drawing pigment particles to the surface. The result is a rough, tactile surface texture that is one of earth pigment's most appealing qualities. Animal glue also causes a noticeable color shift: the paint lightens as it dries. The dried surface scatters light softly, producing a matte, subdued finish that lets the pigment's true earth tone come through undistorted.
| Animal Glue for Painting (Solid & Granular) Deer Glue Wako Drum Leather (Ox) Glue Wako Ox Glue Clear (Fish) Glue |
4. How to Make Paints
Grinding Pigments
Earth pigments are produced by the traditional water-refining and sheet-drying method. Although the product is broken up before packaging, hard flakes and huge particles will still remain.
This roughness is not a defect. It is evidence that the material has been processed purely, by traditional means, with no fillers or additives. Grinding those flakes yourself and refining the particle size is the first step toward unlocking the full potential of the pigment and also the beginning of making paint by hand.
What Can I Use Instead of a Mortar and Pestle?
For small amounts or making multiple colors at once, you can substitute a thick piece of paper (A4 or larger) and a cylindrical rod. Fold the paper in half, place the pigment inside, and crush it by rolling a thick stick (such as a rolling pin or pestle) over the paper.
Different Techniques for Making Paint Based on Binders
Regardless of the method, thorough mulling increases sheen and brings out a smooth texture and vibrant color.
Key steps and mixing ratios vary depending on the type of binder used. Please refer to the article below for details on tools and paint-making techniques.
Mixing Ratio of the Pigments and Binders
The best mixing ratio is depending on pigment types (such as specific gravity and oil absorption), but please refer to the following ratios as a general guideline.
[Watercolor / Acrylic] Pigment 1 : Binder 1
[Oil Paint] Pigment 1 : Binder 0.5
[Animal Glue] Pigment 1: Binder 0.7-1
Making Paint with a Muller and a Marble Stone Board
Because this method grinds the pigment particles while thoroughly blending them into the binder, it is ideal for making paints that require intense mixing, such as oil paints or flaky earth pigments.
Please clean these tools immediately after use.
Suitable Paint Types: Watercolors, acrylic paint, and oil paint
Check out more details in the following articles.
*Note: Acrylic paint becomes waterproof once dry. Lightly spray with water while working to keep the paint from drying out.
Click here for details.
| PIGMENT ARTICLES How to Make Your Own Paint [Watercolor Paint] [Oil Paint] |
Making Paint with a Palette and a Painting Knife
IIf the pigment has already been dry-ground into fine particles, you can also mix it using a paper palette and a painting knife. Paper palettes have a white background that makes it easy to see the colors, making them well-suited for color mixing (Note: This method may not be suitable depending on the pigment type or the volume you make).
This is the most accessible method for making small quantities or for trying to make paints for the first time.
Suitable Paint Types: Watercolor with fine pigments, acrylic paint, and oil paint.
[Related Video]
How to knead with your fingers using Animal Glue
This is a traditional technique in which pigments are placed in a dish, etc., animal glue is added, and the mixture is carefully kneaded with the pads of the fingers.
Paints that can be created: Paints for traditional Japanese painting techniques
[Related Article & Videos]
| PIGMENT ARTICLES How to Make Your Own Paint [Mineral Pigments] |
Earth Pigments from Around the World at pigment.mom
pigment.mom carries a collection of roughly 50 earth pigments sourced from about ten countries. At our Tennozu Isle store, you can compare pigments side by side and see how each origin produces a distinct character.
By grinding these pigments yourself, you bring an unbroken thread of geological and artistic history directly into your work.
References
Web Exhibits: Pigments through the Ages
・Yellow https://www.webexhibits.org/pigments/indiv/overview/yellowochre.html
・Red Ochre https://www.webexhibits.org/pigments/indiv/overview/redochre.html
・Green Earth http://www.webexhibits.org/pigments/indiv/overview/greenearth.htmlh
(accessed February 24, 2026)
CAMEO (Conservation & Art Materials Encyclopedia Online) - Museum of Fine Arts, Boston
・Yellow Ochre https://cameo.mfa.org/wiki/Yellow_ochre
・Red Ochre https://cameo.mfa.org/wiki/Red_ocher
・Green Earth https://cameo.mfa.org/wiki/Green_earth
(accessed February 24, 2026)
Editor & Writer
Natsuko Shiraishi
Graduated from the Textile Design at Tama Art University. She is an artist who mainly works with original Washi paper and calligraphy.
Favorite matière: Paper, dynamic moves of wood fiber
Graduated from the Textile Design at Tama Art University. She is an artist who mainly works with original Washi paper and calligraphy.
Favorite matière: Paper, dynamic moves of wood fiber
pigment.mom
PIGMENT ARTICLES delivers a wide variety of information about art. You’ll find instructions on traditional painting techniques, art materials, and the latest updates on products, workshops, and events.
We invite you to explore our articles for creative inspiration and to deepen your knowledge.
PIGMENT ARTICLES delivers a wide variety of information about art. You’ll find instructions on traditional painting techniques, art materials, and the latest updates on products, workshops, and events.
We invite you to explore our articles for creative inspiration and to deepen your knowledge.
Translator
Atsumi Okano
Completed her post-baccalaureate program at the School of the Art Institute of Chicago in Painting and Drawing.
While working with PIGMENT ARTICLES mainly as a translator, she also creates paintings and installations with translucent materials as an artist.
Favorite matière: Interaction of intentionality and coincidence created by the layers of transparent materials and colors.
Completed her post-baccalaureate program at the School of the Art Institute of Chicago in Painting and Drawing.
While working with PIGMENT ARTICLES mainly as a translator, she also creates paintings and installations with translucent materials as an artist.
Favorite matière: Interaction of intentionality and coincidence created by the layers of transparent materials and colors.
Translator
Nelson Hor Ee Herng
Graduated with a BFA in Japanese painting from Tama Art University. Using paintings, embroideries and installations to document issues related to our modern society.
Favorite material: Mineral pigments used by ancient people to paint murals.
Graduated with a BFA in Japanese painting from Tama Art University. Using paintings, embroideries and installations to document issues related to our modern society.
Favorite material: Mineral pigments used by ancient people to paint murals.