Dyes used in fresco technique

Holy white

Lasered lime was subjected to weathering, and then it was made into a pulp and used as sapwood. Some fresh lasered lime was added to make it bind better.
And also:
The lime was washed with water for several days, boiled, dried and blended with water.

Purified chalk

Zinc white and barite white

Zinc white binds less well with plaster

Yellows

Neapolitan, cadmium yellow, ochre, natural sienna, yellow marls.

Reds

Ugry red, cadmium, English red.

Browns

Umbre, earth green (burnt), sienna, mars.

Greens

Chromium (chromium oxide) earth green, cobalt, ultramarine green.

Blues

Cobalt, ultramarine (natural and artificial).

Blacks

Wine blacks.
Less oily blacks are used; as long as they are oily, they should be washed with spirit.
All dyes change after drying, but to varying degrees.
Lime and chalk brighten the most.
They also brighten strongly:

• ultramarine,
• cobalt,
• light ugier,
• green earth.

Less brightly brighten:

• golden ugier,
• iron reds,
• sienna.

Before painting, the dyes are ground with pure water to a fairly thick slurry, which is diluted with lime water during painting.
To get the right color after drying, you need to try it on a special plate (1 part gypsum to 3 parts chalk) before putting it on the plaster.
In general - we use alkali-resistant dyes for fresco.
The dyes listed above can be used primarily in interiors.
Some of them can not be used outdoors, such as zinc white in the air quickly fades, ultramarine of all shades and umber - also not durable in the air.
Cadmium reds are also problematic, although they have not been tried enough in the air.