Fresco - Pigments

Black
Ivory Black
Mars Black

Yellow
Cadmium yellow, deep --sometimes suggested but it should be checked for fading
Mars yellow
Raw sienna
Yellow ocher

Red
Cadmium red --recommended by some artists, questioned by others. I have seen examples used in indoor frescoes that have remained in good condition over twenty years.
Earth reds [English, Indian, Light red, Venetian]
Mars red
Pozzuoli red --when genuine it is like a cement. Other colors may not set well over it. Therefore it should be used only in top layers of a fresco painting.

Blue
Cerulean blue
Cobalt blue
Ultramarine blue --If of good quality it should not react to lime but may bleach out because of the action of polluted air containing dilute acids. It is not recommended for fresco, although it has survived in interiors in clean country air unpolluted by corrosive city smoke.

Green
Chrome oxide opaque
Cobalt green
Terre vert
Viridian

Violet
Cobalt violet --should be tested before use for its setting action in lime. The poisonous cobalt violet [cobalt arsenate] should be avoided.
Mars violet
Ultramarine red and violet --under some limitations as ultramarine blue.

Brown
Burnt sienna
Burnt umber --sometimes sets badly and powders off wall.
Raw umber

White
Lime putty
Titanium dioxide
Bianco sangiovanni --the preparation of this white is described by Cennini. [See Bianco Sangiovanni.] It is still considered the most appropriate white for fresco technique by many painters

On a glass slab all colors are ground with distilled water to paste consistency, using a muller or a spatula. Then, like pastes for egg tempera painting, they can be stored in clean screw-top jars. A little water should be gently poured over the top of the paste to keep it from drying out. The jar covers should be made of plastic, rather than metal, so that they will not rust.