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Pigment to Paint: A Chemistry Experiment

CHEM 151 Final Presentation

Edward M

on 27 November 2012

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Transcript of Pigment to Paint: A Chemistry Experiment

Featuring... CHEMISTRY 151 FINAL PRESENTATION Eddie Mackay Alexis Garcia Monica Casarez The Problem (why we did the experiment) Background... Guiding Questions The Experiment Synthesizing a Pigment. Making the Paint. Testing the Paint. Weigh 3.7 grams of Iron (III) Chloride and put the amount into a small beaker. Stir and dissolve the water and Iron Chloride to make a saturated solution. Measure 5mL water and add it to the beaker. Weigh 1.4 grams of Potassium Ferrocyanide and put amount in small beaker.

Measure 5mL water and add to the beaker.

Stir and dissolve the water and Potassium Ferrocyanide to make a saturated solution. The Reaction Pour the Potassium Ferrocyanide solution into the beaker with the Iron Chloride and Stir. Potassium Ferrocyanide 4FeCl3 + 3K4[Fe(CN)6] Iron (III) Chloride Fe4[Fe(CN)6]3 + 12KCl Not Soluble in Water Vacuum Filtration Synthetic inorganic pigments are created through chemical manufacturing rather than by grinding and washing clays or minerals taken directly from the earth.

Many inorganic pigments are prepared by mixing two colorless or lightly colored inorganic chemical solutions to produce a highly colored, insoluble precipitate of the desired pigment.

In the industrial production of paints, pigments are used to give the paint its color and finish, protect the underlying surface from corrosion and weathering, and help hold the paint together.

While inorganic pigments have fewer colors in comparison to organic pigments, they are generally cheaper and more useful. For example, inorganic pigments have the ability to retain their color after long exposure to light and can be used for special application such as metallic finishes on cars for hard wear on roads. As employees of Paint World Inc. we have been contracted to make a custom run of oil-based paints in a variety of designer colors. Leave the pigment on the eye glass to dry until the next lab session. Grind the dry, clumpy pigment with a mortar and pestle until a fine grain. Put even amounts (1.104g) on 3 different eye glasses to mix with each binder. Make Small hole in pigment for the binder. After a binder is added mix around with spatula. Results Linseed Oil Glue Egg Glass Foil Paper Bleed: Yes

Dry Rate: 30 seconds

Adhesion: Moderate

Texture: Smooth, 10+ Strokes Bleed: Yes

Dry Rate: 1 min +

Adhesion: Barely

Texture: Very Broken Bleed: No

Dry Rate: 20 sec

Adhesion: Very Good

Texture: Smooth, 2 strokes Bleed: No

Dry Rate: 50 sec

Adhesion: Very Good

Texture: Slightly Bumpy, 5 strokes Bleed: Yes

Dry Rate: 1 min +

Adhesion: Barely

Texture: Very Broken Bleed: No

Dry Rate: 1 min

Adhesion: Very Good

Texture: Smooth, 2 strokes Bleed: No

Dry Rate: 45 sec

Adhesion: Very Good

Texture: Smooth, 3 strokes Bleed: No

Dry Rate: 30 sec

Adhesion: Moderate

Texture: Smooth, 4 strokes Bleed: No

Dry Rate: 40 sec

Adhesion: Very good

Texture: Smooth, 1-2 strokes Percent Yield Discussion and Reflection We were given a variety of chemical substances to choose from in making our product. Out of the different paint products, which is the best? How can we synthesize an inorganic pigment using Iron (III) Chloride and Potassium Ferrocyanide? How do different oil-based paints perform on certain surfaces? Pour the synthesized solution into the Buchner Funnel. Allow time for significant filtering (10 min). Scrape the excess onto an eye glass. Prussian Blue! Weigh the final amount of pigment (3.312g). Linseed Oil Glue Egg Using Egg yoke for
a binder. Make an aqueous solution of the two substances, mix the solutions, and filter out the precipitate by vacuum filtration. As seen in results, glass and metallic surfaces like foil require an adhesive paint for successful results. Using a glue binder and wet paintbrush produced the most successful, consistent results proving to be the best product. Using a wet paint brush, stroke the different paints on paper. Time how long the paint takes to dry. Using a wet paint brush, stroke the different paints on a clean eye glass. Using a wet paint brush, stroke the different paints on aluminum foil. Observe the texture and strokes needed for solid consistency. Observe adhesion. Observe the paint for any bleeding. Glass Foil Paper Paint World Inc. Approved Adios! #1. Finding the Limiting Reagent:

3.7grams FeCl3 x 1 mole FeCl3/160 grams x 4 moles = .0925 moles FeCl3 >>>excess reagent
1.4grams K4[Fe(CN)6] x 1 mole K4[Fe(CN)6]/367 grams x 3 moles = .0114 moles K4[Fe(CN)6] >>>limiting reagent

From our results we can infer that glue was the best binder due to its consistent, successful performance on all 3 surfaces.

We had a high percent yield of 51 % Prussian Blue pigment. It is normal to lose product throughout a reaction process. Product was most likely lost during filtering and transferring of the product. Ways we could have improved our experiment are things such as reducing the amount of product in our experiment which would have saved us from disposing of a lot of material that could have been used for other purposes.

How this can be done in the future is by dividing the amount of product used in this original experiment at least by half to reduce the amount of waste. Ways to improve the experiment Another way to have improved the production of our product would have been to add additional pigment extenders like paint thinners to improve the paint's performance. Additional Questions Like the amount lost from sticking to the glass. #2. Calculating theoretical yield:

.0114 moles K4[Fe(CN)6] x 1 mole Fe4[Fe(CN)6]3/ 3 moles K4[Fe(CN)6] x 853 grams Fe4[Fe(CN)6]3 / 1 mole = 3.25 grams Fe4[Fe(CN)6]3 >>> theoretial yield
Percent yield= mass of actual yield/mass of theoretical yield X 100
Percent yield = 1.656/3.25 x 100 = 50.95%
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