Palygorskite-indigo and sepiolite-indigo adducts (2 wt.% indigo) were prepared by crushing the two compounds together in a mortar and heating the resulting mixtures at 150 and 120°C, respectively, for 20 h. The samples were tested chemically to ensure that they displayed the characteristic properties of Maya Blue. Textural analysis revealed that no apparent changes in microporosity occurred in sepiolite or palygorskite after thermal treatment at 120°C (sepiolite) and 150°C (palygorskite) for 20 h. Micropore measurements showed a loss of microporosity in both sepiolite and palygorskite after reaction with indigo. The TGA-DTG curves of the sepiolite-indigo and palygorskite-indigo adducts were similar to their pure clay mineral counterparts except for an additional weight loss at ∼360°C due to indigo.

The 29Si CP/MAS-NMR spectrum of the heated sepiolite-indigo adduct is very reminiscent of the spectrum of dehydrated sepiolite. Crushing indigo and sepiolite together initiates a complexation, clearly seen in the 13C CP/MAS-NMR spectrum, which can be driven to completion by heat application. In contrast to the broad peaks of the pure indigo 13C CP/MAS-NMR spectrum, the sepiolite-indigo adduct spectrum consists of a well-defined series of six narrow peaks in the 120.0–125.0 ppm range. In addition, the sepiolite-indigo spectrum has two narrow, shifted peaks corresponding to the carbonyl group and the C-7 (C-16) of indigo. A model is proposed in which indigo molecules are rigidly fixed to the clay mineral surface through hydrogen bonds with edge silanol groups, and these molecules act to block the nano-tunnel entrances.

Pigments similar to the famous Maya Blue were prepared by entrapment of indigo inside the channels of natural zeolites such as clinoptilolite and mordenite. The zeolites were mixed and ground with indigo and then heated at 150°C. Surplus (unbound) dye was removed by solvent extraction or by vacuum sublimation. As is the case when synthetic zeolites are used as matrices, the colouration of the resulting pigments could be modified by the previous cation exchange of the zeolite.

Maya Blue is a colour that is more than a pigment; it had roles in status, ritual and performance, being daubed onto pots and people before sacrifice. Here researchers use experimental and historical evidence to discover how it was made, including direct scientific analysis of Maya Blue on a pot thrown into the sacred well at Chichén Itzá. The results indicate that the formation of the colour was actually part of the ritual.