A great variety of yellows may be obtained by using the different shades of yellow chrome, etc., on the market, adding a little red occasionally. It may be taken as a general rule that blacks should not be added to yellow unless a greenish tint is desired. If a yellow is too bright it may be lowered by adding a small quantity of blue and red. Instructions for obtaining the various grades of yellow are given explicitly below.
—This is yellowish white in colour. Mix four parts of white with one of middle chrome yellow.
—An imitation of amber can be produced by mixing equal portions of burnt sienna, burnt umber, blue black and orange chrome yellow, and adding a quantity of white lead until the desired tint is obtained.
—Add ivory black to orange chrome yellow in the proportion of about five parts of black and one part of orange.
—One part medium chrome yellow, two parts raw umber, and lighten with white lead.
—This may be obtained by mixing forty parts of white lead, twelve parts of light chrome yellow, one part raw umber, and one part burnt umber. Or a mixture of French ochre and medium chrome yellow, added to a little umber, with a touch of blue, may be used to tint white as a base.
—Take fourteen parts of black and add one part of yellow and two of green.
—Mix together five parts of medium chrome yellow, three parts of white lead, and one part of raw umber. A mixture preferred by some painters is obtained from chrome yellow, French ochre and a little burnt umber.
—Two parts of white lead and one part of yellow ochre produces a good buff, or white lead may be tinted with French ochre alone. Other shades are obtained with mixtures of two parts of black, four of white, one of red, and one and one-eighth of yellow.
—White lead tinted with lemon chrome gives a nice buttercup yellow.
—This is an artist’s colour of considerable value, but is, generally speaking, too expensive for house painters. It should not be mixed with chrome yellow or emerald green. It is made in three shades: pale, medium and deep, and it cannot be successfully imitated.
—This is practically another name for straw tint, and it may be mixed in the same way. The proportions for an ordinary shade of canary are three parts of lemon chrome yellow to one part of white lead, but less yellow is often preferred. Another shade is obtained by mixing two parts of white, six of yellow and two of green. Some manufacturers make an extra light chrome yellow which they call by this name.
—A dull yellow made by mixing four parts of white, five of yellow ochre and one of green.
—Mix together five parts of white lead, three parts of raw sienna and one part of lemon yellow.
—Although this is a tertiary colour, and theoretically can be made from green and orange, opinions as to the exact shade somewhat differs. It may be made by mixing four parts of medium chrome yellow and one part of raw umber; or five parts of lemon chrome yellow and two parts of raw umber.
—To produce this colour use Venetian red as a base and add one part of Prussian blue, two of chrome yellow and two of white.
—Medium chrome yellow mixed with white lead and a little dark orange chrome yellow gives this tint.
—A good shade is obtained by mixing eight parts of white lead, two parts of French yellow ochre and a touch of Venetian red. French ochre and lead alone are often employed. There are many other methods of obtaining this tint.Note.—Light buff, medium buff, and dark buff may all be obtained in the same way by adding more or less of the French ochre or white.
—Lemon chrome mixed with a little Venetian red will give this colour.
—This colour is made by tinting white lead with yellow ochre and a little Venetian red. (SeeCream.)
—Tint white lead with French ochre and medium chrome yellow. A tint which is sometimes called stone colour is produced in the same way. Another shade of ecru may be obtained by mixing three parts of black, eight parts of white, three of medium chrome yellow, and one of Brunswick green.
—This is an artist’s colour. It is a gum resin, is somewhat fugitive, and is useless for the purpose of the house painter.
—To obtain the colour known as “gold” white lead may be tinted with five parts of golden or yellow ochre, and one part of vermilion, or a mixture of light chrome yellow, French ochre and vermilion may be used instead to tint the white lead. The quantity of yellow used should be considerably more than the ochre.
—French ochre, medium chrome yellow, and lamp black used as tinting colour for white lead will give a hay colour, or raw Italian sienna and lamp black may be employed if desired.
—The addition of a very little medium chrome yellow to white lead produces this tint, or a very little golden ochre may be used.
—Tint white lead with medium chrome yellow to which has been added a very little vermilion red. One of the favourite methods is to employ sixteen parts white lead, one part of indigo and two parts of light red, adding as much chrome yellow as may be desired. Another way of making jonquil yellow is by simply mixing with a little green about forty times the quantity of yellow.
—This is a pale yellow shade, which is obtained by mixing white and medium chrome yellow in about equal proportions.
—For this colour lemon chrome yellow is used alone, but the tint may be made by using white lead for a base and adding medium chrome yellow until the desired tint is obtained. The tint that is usually preferred is obtained by mixing five parts of chrometo two parts of white lead, and adding a little green. However, lemon chrome yellow purchased ready made is the best.
—A little yellow ochre added to white lead gives a good buff colour, the tint varying with the quantity of ochre.
—This colour may be produced by mixing medium and lemon chrome yellow with white.
—Tint white lead with French ochre and lamp black.
—This is also called lemon chrome, and is the palest shade of lemon chrome yellow. It is very useful for preparing the lighter shades of yellow, and may be imitated by adding cadmium yellow to zinc white.
—Mix yellow and white in the proportion of about three parts of the former to one of the latter to get this light yellow shade.
—This is intended to be used as a substitute for old Oxford ochre, but is claimed to be superior. It is based on ochre and is of great strength and body.
—This colour is sometimes called “deep deck.” It is made by tinting white lead with French ochre and chrome yellow. Or a mixture of white with four times the quantity of yellow will produce a shade of manila.
—This is obtained by mixing a very little bright yellow with orange chrome.
—Mix equal quantities of black and white; add twice the bulk of orange chrome and a quantity of medium chrome equal to the mixture of black and white.
—A dull yellow shade, which may be obtained by adding one part of orange and two of yellow to ten parts of black.
—Mix as described under “Stone,” but use more umber and ochre.
—This yellow is not now much used, chrome yellow having to a large extent taken its place. It may be imitated by tinting zinc white with cadmium yellow and a very little yellow ochre.
—This is obtained by mixing orange with twice as much yellow and three times as much white. It is also the name given to an artist’s colour.
—Mix orange and yellow in about equal proportions with a rather larger quantity of black.
—Use middle chrome with a little vermilion and burnt sienna, and add a very little cobalt. A cheaper colour may be made by mixing ochre and burnt sienna. One part of green and three of bright yellow mixed with a little white will give an old gold shade. Or it may be obtained in the same way asGold, which see, but a little burnt umber may be added. Some painters prefer to tint white lead with a mixture of chrome, raw sienna and vermilion.
—This colour is sometimes called olive brown. It is made by mixing three parts of burnt umber with one part of lemon chrome yellow, a larger quantity of yellow being added if a lighter shade is required. Another method is to mix ten parts of black, one of orange, twelve of yellow, and five of green.
—Mix white, yellow and orange in the following proportions: one part each of yellow and white and eighteen parts of orange. Or another shade is got with seventeen parts of orange, six of yellow and two of white. Orange chrome yellow can be easily purchased, however, and gives this colour without any admixture being necessary.
—Mix fourteen parts of orange chrome, five parts of yellow ochre and one of white.
—Tint white with Italian ochre and add a very little ultramarine and vermilion.
—Mix equal parts of yellow ochre and raw umber and lighten up with white until the desired tint is obtained.
—Lemon chrome used by itself answers admirably.
—Ten parts of white, three parts of green and four parts of yellow will give this light greenish yellow. Another shade is got by mixing one part of orange, two parts of green and five parts of yellow.
—Add a little Venetian red to a mixture of French ochre and white lead.
—This colour, so much used in London, is usually made by mixing together five parts of white lead, two parts of Frenchyellow ochre and one part of burnt umber. By adding a little raw umber, the tint may be varied as desired. This colour is suitable for outside work. Another method for obtaining the shade is to tint white with medium chrome yellow and burnt umber.
—Lemon chrome mixed with raw umber.
—White lead tinted with a little chrome yellow produces an excellent straw tint, but some prefer to add a little French ochre. Or medium chrome yellow may be used as a base, and a mixture added of white, French ochre and Venetian red.
—This is a somewhat fugitive colour which has but little body, but is useful for glazing. To imitate it use equal parts of burnt umber and white lead and tint with chrome yellow and lake. Or, mix umber and white in equal proportions and add Naples yellow and scarlet lake. To obtain this colour in its full richness it is quite necessary to glaze either admixture with yellow lake.
—The ochres are natural mineral pigments, which are among the cheapest and most useful at the command of house painters. They can be used in any vehicle and are quite permanent, while they do not affect any other colour with which they may be used. Oxford ochre is generally accepted to be the brightest of the series, while it is distinguished also for the depth of its covering power.
—This is a chromate of zinc which is quite fast in light, and possesses the advantage of permanence even in the presence of impure sulphuretted hydrogen, etc. It may be mixed with other colours without adversely affecting them.
There is, of course, an immense range of greens, and the list below includes only those which are more or less frequently called for. To obtain a green, one can mix with yellow either blue or black. This forms a very good example of the difference which is obtained by mixing rays of light and pigments. The painter who wishes to make a systematic study of the subject of colour mixing is advised to experiment. He may first mix, say, medium chrome yellow with Prussian blue, then with cobalt and then with ultramarine or indigo, noting carefully the difference in the hue obtained. It is well to keep the quantity of chrome about the same in each case, so that the difference obtained by the use of the respective blues may be the better appreciated. He should then change his yellow, mixing the same proportions as nearly as possible with lemon chrome and then with deep chrome, again noticing the difference in the colours obtained. Having done this he can go back to middle chrome and mix black with it in varying proportions. In this way he will obtain a good deal of practical knowledge in a short time concerning the different shades of green obtainable from these simple mixtures, and he will at the same time not forget the relative costs of the different materials, so that he may learn to obtain desirable mixtures of colour from the least expensive of the pigments. Sometimes a green is obtained simply by lightening up, with white, a stock commercial green, for example, pea green may easily be obtained by lightening pale Brunswick green. In some cases greens are produced by an admixture of two or more colours, such, for instance, as Willow Green, which is made from ochre and indigo, and Olive Green from ochre and French ultramarine. Others have the addition of white, such as Grass Green, which is white ochreand cobalt, and Spring Green, which is white, middle chrome and black.
Having performed the foregoing experiments, the reader should next take up the study of lights and shades. In other words, he should add to the various mixtures obtained in the manner described, different quantities of first white and then black, and notice the effect obtained.
Some colours are very much stronger for tinting purposes than others. For example, a Prussian blue will go a long way and a very little is sufficient to colour a considerable quantity of white lead. In the plates we show pure Turkey umber, French ochre, raw Italian sienna, orange chrome yellow, Prussian blue, medium chrome yellow, etc. Each of these is also shown when mixed with twenty-five parts of zinc and one hundred parts of zinc respectively. The object of using the zinc instead of white lead is to obtain a purer tint, the white being much whiter than white lead. A careful examination of this tint will give some useful information concerning the tinting strength of different colours. Observe, for example, Prussian blue, which is quite a decided blue even when only one part in one hundred of the colour is used. The next thing to be done is to add a little black to these colours and to note the result. We must urge the reader not to use black in reducing his colours as a rule. If it is desired to reduce or lower a yellow in tone use blue and red, if a blue is too vivid add a little red and yellow, and if a red is too bright add a little blue and yellow—in other words, taking the three primaries, add to any one a very little of the other two.
—A pale sage green shade. To obtain it mix six parts of black, three of white, one of chrome yellow, and three of Brunswick green.
—The simplest way to obtain this is to mix medium chrome green with about thirty times the quantity of white lead, but other greens may be employed with the addition of a little Prussian blue when necessary. Or a little orange chrome yellow may be added to the medium chrome green and white lead. A very good shade can be produced by mixing one part of white with four of yellow and nine of green.
—Mix one part of chrome yellow with seven of black and two of emerald green.
—Equal proportions of deep chrome green and cobalt, or three parts of chrome green and one of Prussian blue, added to white lead in the proportion of about four times the quantity of lead to the mixture of green and blue, will give a tint which is sometimes called “blue green.”
—Mix together five parts of medium chrome green and one part of blue black. A similar colour may be obtained by adding Prussian blue to blue black and lemon chrome. Another shade is made by using four parts of black and one of green.
—The usual method is to mix black with chrome yellow (deep), but indigo may be used instead if desired. A much brighter colour is obtained from a mixture of medium chrome yellow, Prussian blue and burnt sienna. Or the following recipe may be used: Medium chrome green, five parts; blue black, one part; burnt umber, one part. A light bronze colour may be obtained by adding more green or by using light instead of medium green. Other shades of bronze green may be got by adding a little lamp black to dark chrome green, or by taking medium chrome green and adding lamp black and a little raw umber.
—This colour is sold in three shades. It may be imitated by a mixture of Prussian blue and chrome yellow, but chrome green, toned down with black, is sometimes used.
—This is a light yellowish green colour. Mix four of chrome yellow and five of chrome green, lightening up with white.
—This colour is bought ready made. To produce it by admixture, add Prussian blue to lemon chrome yellow in the proportion of about one part of blue to eight parts of yellow.
—Tint white lead with medium chrome yellow, emerald green and a touch of Prussian blue.
—Add two parts of raw umber and one part of lemon chrome yellow to white lead. Give the green tone to it by means of a little Prussian blue.
—A dark green, obtained by adding a little emerald green to black.
—This beautiful, bright green cannot be successfully imitated. It must not be mixed with ultramarine. The pigment is a great favourite with some painters, while others neveruse it. In America, the pigment is known as “Paris green,” but it is not there used to any extent by painters, although it is used as an insecticide. In the absence of the real thing, a more or less presentable imitation may be obtained by mixing eight parts of white lead and one part of medium chrome green, or a light shade of chrome green may be used without lead.
—One part of blue black may be mixed with four parts of lemon chrome. Use medium chrome yellow if a darker shade is required.
—This is a bright yellowish green, which may be obtained by adding to emerald or deep chrome green about one-tenth part chrome yellow. Yellow ochre is sometimes used instead.
—This is a variety of sage green. It may be made in the same way as pea green, and when that is reached a little black should be added to bring it to the required sage colour.
—This is usually to be had ready mixed, but it varies considerably in name as well as in the exact tint. It comes very near to what some manufacturers call deep royal green, while it is not far removed from an olive.
—The colour sold as “extra light chrome green” makes a splendid grass green without any addition, but if it is not available lighten up medium or dark chrome green with chrome yellow.
—Tint white lead with a bright green toned down with ochre and lamp black.
—Twelve parts white lead tinted with one part medium chrome green and one part of raw umber give this tint, or the tinting colours may be French ochre and emerald green with a little lamp black.
—Use ultramarine blue, lemon chrome yellow, blue black and white lead.
—A dark green made by mixing nine parts of black and one of bright green.
—This is produced by a mixture of French ochre, lamp black and Prussian blue.
—This colour is suitable for inside work. It is made by mixing orange chrome yellow, light chrome green and white lead in equal proportions.
—Equal quantities of white and blue and rather more than twice the amount of green give a very good shade.
—This is bought ready for use, and is only suitable for distemper, etc. It cannot be used with oil.
—This is produced from a mixture of a bright green, medium chrome yellow and French ochre.
—Mix one part of middle chrome green with four of black.
—A green of this name may be purchased ready made. It is very similar to middle Brunswick green.
—This is a dark green shade, obtained by mixing one part of chrome yellow and one of Prussian blue with three parts of chrome green and fifteen parts of black.
—This is a dark sage-yellow greenish shade. It may be obtained by mixing six parts of Prussian blue, thirteen of chrome green, three of orange chrome, eight of white, and twenty of black.
—Tint white lead with French ochre, a bright green and a little lamp black.
—This pale greenish shade is obtained by mixing chrome or Brunswick green, bright yellow and white in the proportions of one part green, four of yellow and three of white.
—Add to medium chrome yellow sufficient cobalt to produce the desired hue, adding a little white if necessary.
—Three parts of dark chrome green, one part of ultramarine blue, and a little white lead will give an excellent myrtle colour.
—Seven parts of chrome green and three parts of yellow ochre will give this shade.
—Five parts of white, nine of emerald green and six of Prussian blue will give this shade.
—Mix together ten parts of lemon chrome yellow, one part of ultramarine blue and one part of light Indian red. Another method is to use eight parts of lemon chrome yellow, one part of blue black and one part of Prussian blue. Or the following proportions give very good shades: three parts black, four parts white, four parts red, two parts yellow, and eleven parts green; or, fifteen parts of white, twenty of red, twelve of yellow, and fifty-three of green. Some painters add equal portions of Prussian blue and lamp black to lemon chrome yellow for a base, or the base may be ochre instead of chrome, and a little of the yellow be added.
BUFFSEERED GREENDOE COLOURMOSS GREENSANDSTONELIGHT CHOCOLATELIGHT DRABVENETIAN GREENSTONE GREYSAGESTEEL GREYBRONZE BROWNSLATETEA GREENPEA GREENBRONZE GREEN
—Is made by mixing equal proportions of raw umber and lemon chrome yellow.
—This colour is bought ready made.
—A mixture of seven parts of white, fifty parts of emerald green and forty-three of Prussian blue will give this shade. A little yellow is sometimes added.
—Forty-eight parts of white lead and one part of chrome green will give this colour, or emerald green may be used if desired. Some makers mix medium chrome green and white lead in the proportion of five parts of the latter to one part of the former to obtain a pea green, but the proportions may be varied considerably according to the exact shade required.
—This is only another name for emerald green, the vivid and somewhat staring hue being sometimes employed in Oriental decoration and being then termed “Persian Green.”
—This is a yellowish green shade. It may be got by mixing seven parts of black, one of yellow ochre and one and half of chrome green. Or chrome yellow may, if desired, be substituted for the ochre.
—To produce this mix five parts black, three parts chrome yellow and twelve parts emerald or medium chrome green.
—Mix equal proportions of Venetian red and medium chrome yellow and add blue black. Add to this mixture a quantity of chrome green equal in bulk to the three. This will give an excellent quaker green.
—Mix white, chrome yellow and chrome green in about equal quantities to produce this shade. The name, however, has no special significance, and an admixture of almost any yellow and green, lightened up with white, might be used instead.
—This may be produced by tinting white lead with four parts of light chrome green and one part of ivory black, or the white lead may be tinted with a mixture of French ochre, lamp black, and Prussian blue. Another recipe is as follows: Addraw umber and chrome green in the proportion of about one part of the former to two parts of the latter added to white lead until the desired shade is obtained.
—Mix with white lead medium chrome yellow and a very little lamp black.
—Tint white lead with medium chrome yellow and emerald green, or if too bright use medium chrome green instead of the emerald.
—This colour is obtained by adding deep chrome to white lead. Another sea green, and a very good one, is obtained by mixing light Brunswick green, raw sienna or ochre and white.
—Tint white lead with French ochre, medium chrome yellow and a little bright green.
—A mixture of light chrome and Prussian blue, lightened up with white, will produce this colour.
—Medium royal green, chrome yellow, and lamp black, added to white lead, will give this colour.
—Mix three parts of burnt sienna, five parts of light chrome green and eight parts white lead.
—Lighten up dark chrome green with white lead.
—Raw sienna mixed with a little deep chrome green and added to white lead gives a water green tint.
—Tint white lead with medium chrome green and add a little burnt umber or ivory black.
—This is very similar to a rich chocolate, and may be made in the same way.
—This is an orange brown in hue, and may be made by mixing fourteen parts of black, one of white, two of orange and three of yellow.
—This is a dark terra-cotta, and may be made by adding white and black to Indian red.
—This is a very dark brown, and may be made by mixing twelve parts of black with two parts of orange and one part of yellow.
—Mix together one part of burnt umber, three parts of golden ochre and twenty parts of white lead.
—This is also called “leather lake.” It may be made by mixing on a base of white lead French ochre, orange chrome yellow and Venetian red.
—A shade of this name may be produced by using two parts of black, one of red and one of orange, which mixed together form an orange brown.
—This colour is obtained by mixing with six parts of black, one part of orange and one of yellow.
—This colour is principally used by artists. It must not be mixed with oil, and it is not always reliable for its permanency. It may be imitated by mixing together ten parts of black with two of red and a little green.
—Black coloured with a little orange chrome and bright green.
—The methods of obtaining different browns will be found under the headings of the respective names, such as “Chesnut,” etc. A good average brown may be obtained by mixingtogether three of Indian red, two parts of lamp black and one part of yellow ochre. A lighter colour is obtained by using more ochre and less black, in fact, a large variety of brown tints may be produced by varying the proportions of ochre and black.
—This is a dark red brown shade. To produce it use eight parts of black, one and half parts of red, two parts of orange, and one of blue.
—This is a sienna calcined, the effect being to produce a darker shade.
—This is a rich dark greenish brown, but the shade varies considerably in different qualities. Turkey umber is the richest. Umbers should always be purchased ground ready for use.
—To produce this shade mix five parts of black, three of white, one of yellow and a little orange. A little red may also be added if desired.
—This is an artist’s colour of a reddish brown colour, being very like umber.
—This rich brown may be obtained by mixing four parts of medium chrome yellow and two parts of Venetian red. One part of yellow ochre may be added if desired.
—Five parts of burnt sienna and one part of carmine or lake give a rich chocolate. A less expensive colour is obtained by mixing Indian red and lamp black with a little yellow ochre. A touch of vermilion will clear and brighten this mixture. Another way to produce chocolate is to mix twenty parts of black with three parts of red, but this gives a more or less muddy shade.
—Six parts white lead, two parts burnt sienna, and one part of golden ochre makes a good cinnamon; or French ochre, English Indian red and a little lamp black will produce the same colour. Another way is to mix Italian sienna and burnt umber.
—Mix equal parts of white lead, raw umber and raw sienna, and add a little chrome if desired. Some painters prefer to add a little medium chrome yellow.
—This shade may be obtained by mixing one part of white lead with double the quantity of burnt umber.
—To produce this colour mix together five parts of burnt umber, two parts of yellow ochre and one part of burnt sienna.
—Tint zinc white with French ochre, Italian sienna and lamp black to obtain the shade shown in the sample. A very good copper shade is obtained by mixing two parts of medium chrome yellow, one part of Venetian red, and one part of drop black or two parts of lamp black, three parts of medium chrome yellow and six parts of Venetian red.
—Tint white lead with French ochre, Indian red and a little lamp black, or with raw Italian sienna and burnt umber.
—French grey, Indian red and lamp black added to white lead give this colour.
—Mix French ochre, Indian red and lamp black, and lighten with white lead.
—Add French ochre and Venetian red to white lead as a base.
—This may be produced by mixing raw Italian sienna and burnt umber with white lead, or French ochre and mineral brown with a little lamp black.
—White lead, with a little Prussian blue and a touch of ivory black will produce an excellent dove colour; but French ochre, Indian red, and lamp black may be employed, or a mixture of raw and burnt Turkey umber and Italian sienna.
—A good drab is made by using burnt umber and white lead in the proportion of one of the former to ten of the latter, but raw umber and a little Venetian red may be used instead.
—This might also be called deep drab. It is produced by tinting white lead with a mixture of French ochre, Indian red, and lamp black or raw Italian sienna and raw Turkey umber. Another shade of fawn is obtained by using eight parts of white lead, one part of chrome yellow, one part of Indian red, and one part of burnt umber; or eight parts of white lead, two parts of medium chrome yellow, one part Venetian red, and one part of burnt umber.
—Mix burnt umber with raw and burnt sienna and lighten with white as may be necessary.
—This colour, of course, is bought ready made, and it must be observed that, in addition to the fineness, the particular tone of this colour is very important, especially to grainers.
—Sixteen parts of white lead are mixed with one of burnt sienna and three parts of yellow ochre.
—Mix equal parts of Indian red, lamp black and yellow ochre.
—An orange brown lava shade can be got by mixing fifteen parts of black, five parts of orange, four of yellow and a very little white.
—Four parts of yellow ochre, three parts of Venetian red, two parts of white lead, and one part of blue black give a rich leather brown. If a lighter tint is required less black should be used. Or the following recipe may be used: Mix white with three times the quantity of red and the same amount of yellow. Some painters use French ochre for a base and tint with burnt umber or Venetian red.
—A mixture of raw umber and raw sienna added to white will give this colour.
—This is a speciality of Messrs.Mander Bros.It is suitable for mixing in water or oil and is very useful for all purposes of the decorative artist.
—Add French ochre and Venetian red to white as a base.
—Fifteen parts of black, one of orange, five of yellow, and four of green will produce this dark greenish yellow shade.
—A reddish brown madder shade is produced with one part blue, three parts each of orange and red, and six parts black.
—Mix orange and yellow in equal proportions with five times the quantity of black.
—The following recipe gives good results. Mix twelve parts of genuine dry white lead with two parts of French ochre, two parts of grey barytes, and one part of genuine oxide of iron.
—Equal quantities of red and yellow mixed with ten times as much black will give this shade.
—To get this shade mix one part of blue and red, two of orange and five of black.
may be made by mixing three parts of burntumber and one part of lemon chrome yellow; or another shade is given by mixing equal quantities of orange and green with about twelve times as much black. Some painters add lemon chrome yellow to raw umber for a base.
—Two parts of orange chrome yellow mixed with three parts sienna.
—A golden brown shade sometimes called by this name is given by mixing three parts of red, six of orange, four of yellow with twenty parts of black.
—Mix four parts of dark Indian red with one part of ultramarine blue and of lamp black. The addition of white lead will usually make a more satisfactory tint; if the shade is too purple, a similar quantity of blue should be added; if too red, more black may be used, or a little yellow added, but purple brown pigment is cheap.
—Siennas are valuable earth colours most useful for staining or tinting, but practically useless as body colours. The degree of transparency determines to some extent the quality.
—A valuable earth colour.
—Indian red lightened with white produces a tint sometimes called by this name.
—A very good russet shade is got by mixing twenty parts of black, twelve parts of red, ten of orange, three of yellow, and five of green. Or medium chrome green, raw umber, and a little orange chrome yellow added to white as a base will give an excellent russet.
—A tinting colour made by mixing raw and burnt umber will produce this colour.
—Four parts burnt umber, one part golden ochre.
—This is a natural colour used chiefly by artists. It cannot be imitated and it must not be used in oil.
—This colour is variously called “sienna brown,” “teak brown,” and by other names. It is made by mixing burnt Italian sienna and French ochre with pure zinc.
—French ochre and Indian red added to zinc white will produce this colour. Another way to produce a snuff colour is to mix four parts of medium yellow and two parts of Vandyke brown, or burnt umber may be substituted for theVandyke brown if desired. Another snuff colour may be obtained by mixing burnt umber and yellow ochre, tinging with a little Venetian red.
—Mix ten parts of burnt sienna and four parts of medium chrome yellow with three parts of raw umber. White lead and burnt sienna, to which has been added a very little lamp black, will also produce a tan colour.
—One part yellow ochre, three parts burnt umber, twelve parts white lead.
—The richest variety of the many umbers on the market.
—This is an important brown to the house painter. It cannot be imitated, although a little red added to umber produces a colour somewhat similar to it.
—The best burnt umber should be tinted with lemon chrome yellow and a little Venetian red.
—This beautiful brown may be made by a mixture of medium chrome yellow and brown lake. Or crimson lake and burnt sienna may be mixed with medium chrome.