,illustration3 ,,primary ,,and ,,secondary ,,colors ,all colors in this 8color chart0 are made from the primary colors1 yellow1 red and blue4 ,illustration3 ,,secondary ,,and ,,tertiary ,,colors ,overlapping plates on this sheet are printed in full color4 ,tints are avoided in order to show secondary and tertiary colors in full strength4 ,to lighten secondary or tertiary colors add more of the lightest color of the combination4 ,for example1 if a lighter shade of primary green is more desirable1 use more yellow2 to deepen1 add blue2 to use as a tint1 add white4 ,illustration3 ,the above plates illustrate the primary and secondary colors broken up with light4 ,color ,mixing ,guide ,,for ,,artists1 ,,painters1 ,,decorators1 ,,printing ,,pressmen1 ,,show ,,card ,,writers1 ,,sign ,,painters1 ,,color ,,mixers ,,gives ,,color ,,mixtures ,,by ,,parts ,about three thousand colors and shades can be made from yellow1 red1 blue1 black and white4 ,this little ,color ,mixing ,guide is worth many dollars1 as it shows you exactly how1 without waste of time and material4 ,compiled by ,john ,l4 ,king ,,new ,,york2 ,j4 ,s4 ,,ogilvie ,,publishing ,,company #eg ,,rose ,,street ,no possession can surpass or even equal a good library to the lover of books4 ,here are treasured up for his daily use and delectation riches which increase by being consumed1 and pleasures which never cloy4 ,,john ,,alfred ,,langford4 ,illustration ,copyright1 #aibc1 ,j4 ,s4 ,,ogilvie ,,publishing ,,co4 ,,what ,,is ,,color8 ,color is an effect caused by the reflection of certain rays of light4 ,in order to understand this statement1 it is necessary that we know what light is4 ,science teaches us that light is a form of intense vibration which reaches the earth direct from the sun4 ,these vibrations affect certain nerves of the retina of the eye1 causing the sensation known as color4 ,in the study of color1 or in practice1 it is necessary that we have a standard4 ,the standard colors are those seen in the spectrum or in the rainbow4 ,these colors are selected as standard colors because they are the true colors as reflected by pure light and they never change4 ,in dealing with pigments the primary colors are yellow1 red and blue4 ,they are called primary colors because all other colors are produced from them1 and because they can not be produced by mixing other colors4 ,in other words1 they are the original colors from which all other colors are produced4 ,,warm ,,and ,,cold ,,colors ,cold and warm colors3 ,red warm1 blue cold1 yellow bright4 ,white1 which is also a cold color when added to black makes a cold gray4 ,yellow added to red forms a warm orange4 ,,meaning ,,of ,,colors ,white is said to mean purity2 blue1 fidelity or truth2 red1 love or sacrifice2 green1 envy2 pink1 modesty2 violet1 innocence2 yellow1 jealousy2 black1 sorrow or distress1 and lavender1 passion4 ,,art ,,of ,,color ,,mixing ,mixing colors is an art in itself4 ,with a combination of the chief colors--red1 yellow1 blue 7and black and white71 thousands of shades and hues may be produced4 ,mixed in various proportions1 either in twos1 or all three together1 these three colors produce every hue in nature or in art1 every tint that is physically possible4 ,the primary colors are yellow1 red and blue4 ,the secondary colors are orange1 violet and green4 ,the tertiary colors are citron1 russet and olive4 ,the secondary colors are made as follows3 ,yellow and red make orange1 red and blue make violet1 yellow and blue make green4 ,the tertiary colors are mixed from the secondary colors as follows3 ,orange and violet make russet1 violet and green make olive1 orange and green make citron4 ,black1 white and gray are natural tones in which no color is apparent3 ,white pales but does not brighten any color4 ,yellow is the brightening color and always stands out strong and advancing2 to deepen a color1 use its complementary color2 to deepen yellow add purple2 to deepen red add blue2 to deepen blue add burnt sienna1 then you will have purity of color4 ,,the ,,two ,,extremes ,,of ,,warm ,,and ,,cold ,vermilion or any other red of orange hue 7warm74 ,bluish blue 7cold74 ,these two colors mixed together in certain proportions form light brown1 dark brown1 red-brown1 neutral brown and scarlet red4 ,purple made from this combination is inferior4 ,,color ,,blindness ,today1 color-blindness is a serious difficulty in the way of a person earning a living4 ,a generation or so ago1 it was considered a matter of small importance4 ,many persons1 suffering from the disease1 went through life without knowing they were afflicted4 ,the only persons1 as a class1 who were greatly affected by the problem were railroad men1 who had to take tests for the distinction of colors4 ,today1 with the common use of automobiles and the rapidly growing use of colored lights for signs and signals1 color-blindness becomes an important matter4 ,the defect is hereditary and much more common in men than in women4 ,a woman may have normal eyesight herself and yet transmit the color-blindness to her children4 ,this is because it is what the geneticist calls a recessive character4 ,a man may have a color-blind father and still not transmit the defect4 ,but a color-blind woman1 married to a color-blinded man1 transmits the defect to all off-springs1 both sons and daughters4 ,,altering ,,color ,to brighten color1 add yellow2 to give it warmth1 add red4 ,to brighten and warm1 add orange4 ,to deepen and cool1 add blue4 ,to cool and lighten1 add green2 to deepen and warm1 add purple4 ,ultramarine blue contains sulphur and will tarnish with admixtures of pigment containing lead4 ,substitute zinc white4 ,,pigment ,pigment is any color preparation used by painters1 printing pressmen1 etc4 ,coloring matter is found in pigment cells of plants1 tissues of animals and fish2 in mineral form found in the earth1 from coal1 vegetables1 etc4 ,pigments may be divided into two classes1 the organic and the inorganic4 ,organic pigments are compounds of carbon and the inorganic all other pigments4 ,paints and printers' inks are made from the same pigments2 the difference is in the mordant4 ,it all depends on the nature of the object to be colored4 ,the mordant is the fixer which holds the pigment4 ,the selection of color material should be carefully made4 ,purchase from reliable dealers an assortment of reds1 blues and yellows1 some black and white4 ,,nature',s ,,color ,,chart ,,of ,,harmonious ,,combinations ,nature has given us a wonderful color chart1 of harmonious colors mingled together4 ,flowers furnish countless color combinations which are perfect in every detail4 ,colors ranging from soft1 delicate tints to deep1 rich solids1 are found in great variety4 ,observe also the birds1 whose plumage range from the most gorgeous to the so-called jet black raven or black birds2 even they when viewed in sun or strong light reveal a picture of dazzling beauty4 ,beautiful tones and semi-tones of purple1 green and blue blending perfectly with the black4 ,it is unnecessary to mention in detail1 the fields1 woods and forest1 the seas1 the lofty1 stately mountain peaks of somber hues silhouetted against an azure sky or viewed in the setting sun4 ,,color ,,harmony ,the secret of harmony is equal value1 complementary colors are the color or colors which1 with any color or colors mentioned1 make the three primary colors1 which constitute white light4 ,for example if given color is a primary1 its complementary color is composed of the other two primary colors2 the complementary color of blue is orange1 red and yellow4 ,and if given color be a secondary1 its complementary color is the remaining color4 ,thus the complementary color of green1 blue and yellow is red4 ,it is well to bear in mind whether the subject to be treated is a landscape scene1 color design1 form to be printed in colors1 sign or house painting that equal value of colors is the correct way4 ,any subject that has been ill-treated with too much red1 or colors which do not harmonize1 form a combination that irritates4 ,when colors are correctly used the effect is soothing4 ,remember that red is the most irritating color and a little will balance well with a large amount of other colors4 ,the object to be painted or printed has a lot to do with the selection of colors4 ,it is well to study the subject carefully4 ,printing pressmen have their problems4 ,when printing on white material which is a neutral color he does not encounter the obstacles as when printing colored inks on colored material4 ,all fine pictorial color printing is executed on white material1 this being the only way to get pure coloring1 as it is generally printed with transparent ink4 ,,mixing ,,tints ,paints1 ,inks1 ,etc4 ,tint mixing is both interesting and profitable1 but in order to obtain the best results1 first-class materials are very essential4 ,great care should be exercised in the selection of this material1 as the product of one manufacturer often varies1 as to shade with that of another manufacture1 therefore it is well for the color mixer to make it a rule1 never to select colors promiscuously4 ,with the following colors at hand all known colors may be obtained4 ,lemon yellow1 which is of greenish hue2 yellow of orange hue2 red with orange hue2 red which has a bluish cast4 ,blue with a reddish tone1 also blue with a leaning toward green4 ,a liberal supply of white and some black which does not contain blue4 ,to produce a pure tint you must first produce a pure base of the primary colors4 ,white1 which is a neutral color1 does not alter the original hue1 it merely pales4 ,in making pure greens from yellow and blue1 the yellow and blue should contain none of the primary color red2 use a greenish yellow and greenish blue4 ,for pure orange use a yellow and red which contain none of the primary blue2 the yellow must be of reddish hue1 the red of yellowish cast4 ,pure violets are made with bluish reds and reddish blues4 ,the red and blue should not contain any of the primary color yellow4 ,gray tint is white with black in various proportions4 ,neutral gray must be mixed from a black which is unadulterated with a mixture of blue4 ,to warm1 add a touch of red2 to cool1 add a small amount of blue4 ,the object in making neutral gray as above mentioned is to make possible a true blending with other colors4 ,for example1 a bluish gray is desired1 add blue to neutral gray until the exact shade is acquired2 for orange gray add a touch of orange1 etc41 etc4 ,primary colors are made neutral by admixture1 a medium or neutral yellow is obtained by mixing lemon yellow with orange yellow4 ,the greenish tinge of lemon yellow is absorbed by the reddish tinge of orange yellow4 ,neutral red and blue is made in the same manner2 likewise the blues4 ,as has been previously mentioned1 white when added for tinting purposes does not alter the hues4 ,for example1 the result of adding white in any quantity to purplish red is a purplish pink tint1 the purple hue will remain4 ,when warm tints are desired use a warm base4 ,for warm pink select a red of orange hue1 a cool pink from bluish red1 a neutral pink must be made from a neutral base which is the result of adding primary bluish red and primary yellowish red4 ,,to ,,match ,,special ,,colors ,in mixing special colors or shades for large jobs1 first mix a small quantity1 write down exact proportions either by weight or volume1 keep a record for future reference4 ,if you have failed to keep a record and have a small quantity on hand and wish to duplicate it exactly1 put a small amount on a piece of white paper and after mixing a little dribble or let it string across the original sample you can get a perfect match4 ,still another way2 brush a small quantity on a piece of transparent glass1 add a like amount of the paint you mix beside it and hold to the light4 ,to match a specimen in printing ink2 mix the color 7small quantity71 ink up press1 pull an impression then with your make ready knife cut a small hole 7any shape7 in the most solid part of print1 lay this over a solid part of sample4 ,,origin ,,and ,,definition ,,of ,,colors4 ,alumina--,one of the earths containing aluminum4 ,aureolin ,yellow--,a transparent1 delicate medium yellow4 ,is a nitrate of cobalt4 ,amber--,a mineralized pale yellow1 and sometimes reddish or brownish resin of extinct pine trees4 ,ambergris--,a morbid secretion of the spermaceti whale of solid opaque ash color4 ,aniline--,a substance obtained from indigo and benzol1 a product of coal tar4 ,amaranth--,the unfading flower2 a color inclined to purple4 ,antwerp ,blue--,a transparent color lighter than prussian blue2 splendid to mix with yellow for greens and tints4 ,bronze ,blues--,made by mixtures of ferro and ferricyanides of iron and potassium or sodium4 ,bronze blue1 so called for its bronzy effect4 ,it is an opaque1 deep blue1 used almost exclusively by printers4 ,bronzes--,are pulverized gold1 brass1 copper and aluminum4 ,can be dyed with aniline colors such as violet1 green1 etc4 ,bone ,black--,made by charring bones which are then finely ground4 ,semi-transparent4 ,burnt ,sienna--,raw sienna when burnt yields a brownish orange1 quite transparent4 ,buttercup--,common species of ranunculus1 having bright yellow cup-shaped flowers4 ,bistre ,brown--,obtained from soot of wood fires4 ,a deep citron brown4 ,cerulean ,blue--,a compound of oxides of tin and cobalt4 ,opaque1 azure blue4 ,claret--,a red wine color4 ,carmine--,a very deep toned crimson red1 of the lake family4 ,cobalt--,a mineral of grayish color1 and a metal obtained from it1 which in the state of oxide yields a permanent blue pigment4 ,when cobalt blue is unobtainable substitute ultramarine blue4 ,cobalt ,blue--,a deep1 rich1 transparent blue of violet hue4 ,is often substituted for ultramarine4 ,cobalt ,green--,semi-transparent bluish green4 ,this color and cobalt blue are of ,french origin1 and the process of manufacture is practically the same4 ,cadmium--,a metal related to zinc2 produces a bright semi-transparent yellow or orange hue4 ,chrome ,yellows--,made by precipitation of potassium bichromate1 with lead acetate1 varying in shade from pale yellow to deep orange4 ,they are opaque1 and of good covering strength4 ,chinese ,white--,a semi-transparent white of zinc oxides1 equally as white as flake white4 ,chrome--7,chromium74 ,a metal which produces many colors and semi-colors4 ,chrome green now takes the place of the dangerous arsenical green pigment that was formerly used in printers' ink1 enamel and wall paper4 ,chrome ,greens--,are a mixture of chrome yellow with blue4 ,carbon ,black--,soot formed with natural gas and forced through finely woven silk4 ,one thousand cubic feet of gas being required to obtain one pound of black4 ,opaque4 ,crimson ,lake--,transparent red1 similar to carmine1 but less scarlet4 ,cremnitz ,white ,lead--,an opaque white4 ,made permanent by coating with varnish4 ,coal ,tar ,dyes--,are derived from coal tar by distillation and other chemical processes4 ,,cochineal ,much credit is due the cochineal as most all of our brightest reds can be attributed to them4 ,scarlet and crimson furnish the base for carmine and lake4 ,it requires seventy thousand dried bodies of this small insect to equal one pound of color4 ,the task of gathering cochineal is a tedious one4 ,they are gathered by gently brushing them into cloth sacks with brushes made of fur just before egg laying time1 as only the bodies of the female can be used4 ,at this period they are scarlet1 the brightest of all reds4 ,later they assume a deeper cast called crimson4 ,dye is a colored substance which can be made soluble in either water or oil4 ,dragon's ,blood--,a resinous substance from the ,east ,indies4 ,a dull semi-transparent red4 ,emerald--,a stone or gem of bright green4 ,fawn--,light brown4 ,flake ,white--,a carbonate of lead4 ,an opaque fine white4 ,french ,blue--,an artificial imitation of ultramarine1 discovered by ,french chemists early in the nineteenth century4 ,it is more transparent than the original1 and an excellent imitation4 ,gypsum--,a mineral found in a compact state and crystallized state1 as alabaster1 or in the form of soft1 chalky stone which by heat becomes the fine white powder known as plaster of paris4 ,geranium ,lake--,a bright transparent red of bluish hue1 also of yellowish hue4 ,should not be mixed with earth pigments such as raw sienna1 ochers1 umbers1 etc4 ,geranium lake if a coal tar product is more permanent than if obtained from other sources4 ,gamboge--,a gum resin from trees1 native of ,ceylon4 ,is a bright transparent yellow of little depth4 ,gallstone--,rich deep toned fugitive yellow from the gall bladder of oxen4 ,yellow carmine can be substituted4 ,heliotrope--,flower of a grayish purple color4 ,ivory ,black--,a rich transparent black1 from charred ivory4 ,indigo ,blue--,deep blue from the leaves of the ,indigofera plant of ,india4 ,intense ,blue--,purified ,indigo blue4 ,indian ,yellow--,deposit obtained from the urine of the camel4 ,a beautiful yellow4 ,indian ,red--,an earth pigment of ,bengal4 ,ranges in color from a light1 bright red to a dark red of purplish hue2 nearly opaque2 mixes well with all other colors except indigo4 ,when genuine ,indian red and indigo come into contact with one another1 they soon assume a faded shade resembling rust4 ,indian red substitute may be mixed with indigo substitute in safety2 tints made are more permanent than obtained from the originals4 ,lake ,colors--,the term 8lake0 as applied to color pigments1 has reference to the method of manufacture4 ,the pigment is produced by the saturation of a base with a dye in it1 which is then ground in varnish4 ,avoid mixing lake colors with raw earthen pigments if permanency is desired4 ,lamp ,black--,is made by burning creosote or tar oil4 ,opaque4 ,lacquer--,a varnish which has the appearance of enamel4 ,maroon--,a brownish crimson or claret color4 ,mauve--,a brilliant red violet1 of the lake group4 ,also of a bluish violet hue4 ,the most fugitive of all colors4 ,marigold--,several composite plants bearing golden-yellow flowers4 ,magenta is a brilliant blue-red color derived from coal tar4 ,madder red is obtained from the madder plant roots1 a climbing perennial4 ,mastic--,resin from a tree of southern ,europe1 yielding a varnish4 ,mummy ,yellow--,the ancients obtained a dark yellow pigment by grinding mummified human bodies4 ,naples ,yellow--,a pale semi-opaque1 straw colored yellow4 ,the greenish hue of prussian blue may be neutralized with a touch of crimson lake4 ,new ,blue--,pale ultramarine4 ,prussian ,blue--,of ,german origin4 ,a deep blue1 possessing a greenish undertone4 ,a transparent and good covering pigment4 ,pure ,scarlet--,an iodide of mercury4 ,more brilliant than vermilion and opaque4 ,pipsissewa--,an evergreen plant bearing waxen flesh-colored flowers4 ,permalba ,white--,a fine opaque white for artists1 etc4 ,contains neither lead or zinc4 ,can safely be mixed with ultramarine and all other pigments4 ,a product of an ,american manufacturer4 ,red ,lead--,used on iron prevents rust4 ,is an inexpensive product of lead1 largely used as barn paint4 ,possesses good covering qualities4 ,rose ,madder or ,madder ,lake--,a beautiful transparent rose color of a clove or flesh pink hue4 ,alizarin1 a coal tar product1 now affords a better substitute than the original pigment obtained from the madder plant4 ,raw ,sienna--,an ocherous transparent earth pigment of orange yellow1 from ,toscany4 ,saffron--,a bulbous plant1 the stigmas of which are used as a coloring4 ,yields an orange red extract4 ,some blacks are precipitated oxide of iron and aniline black made from coal tar dye with the addition of blue to offset the natural grayish cast4 ,spruce--,a name given to several species of pine trees4 ,shades vary1 but the general hue is between a light yellowish brown and yellowish orange4 ,sepia--,a brown substance taken from the sepia cuttle fish4 ,this dark inky substance which he emits into the water thoroughly screens him from enemies4 ,scarlet ,lake--,a transparent red of scarlet hue4 ,snuff ,brown--,pulverized tobacco4 ,sienna--,an ocherous earth4 ,sienna yields an orange yellow tint2 burnt sienna a reddish brown4 ,turquoise--,a stone or gem of greenish blue4 ,tantalum--,a rare metallic element obtained as a black powder from several minerals4 ,imitation ,ultramarine ,blue--,is made by heating together1 ,china-clay soda1 sulphur and charcoal4 ,umber--a soft earthy pigment of an olive brown color in the raw state2 burnt umber has a reddish hue and oftimes called turkey umber4 ,ultramarine ,blue--,a rare and durable sky blue obtained from the mineral lapis-lazuli1 a stone found in ,asia4 ,the tedious mechanical process of extracting the color1 makes it the most costly of all pigments4 ,ultramarine ,ash--,bluish gray of azure hue1 residue of ultramarine4 ,venetian ,red--,a semi-transparent bright red with little orange4 ,vine ,blue--,is made from charred vine twigs4 ,is imitated with acetylene gas4 ,vernis ,martin--,french name for imitation of ,chinese and ,japanese ,lacquer1 which resembles enamel4 ,brought to perfection by the ,martin brothers in the reign of ,louis ,,xv of ,france4 ,vandyke ,brown--,prepared from a bituminous ochre4 ,a slow drying1 rich1 semi-transparent brown1 so named in honor of the eminent artist1 ,vandyke4 ,very sensitive to sunlight2 requires a liberal amount of japan dryer4 ,vermilion ,red--,a sulphide of mercury4 ,varies in hue from crimson and scarlet to deep orange4 ,opaque4 ,white ,lead--,a hydrated carbonate of lead1 obtained as a dry powder4 ,opaque2 covers well4 ,whitewash--,a composition of lime and water1 or of whiting4 ,yellow ,ochre--,an earth pigment varying in color from a light yellow to an orange brown2 possesses little transparency4 ,,complementary ,,and ,,harmonious ,,color ,,combinations ,for ,painters1 ,decorators1 ,show ,card ,writers1 ,sign ,painters1 ,art ,instructors1 ,students1 ,printers1 ,pressmen1 ,etc4 ,complementary color combinations may be used full strength or as soft delicate tints1 the hue and harmony will remain4 ,azure ,blue with very light gray4 ,azure ,blue with white4 ,amber with straw4 ,amber with cream4 ,amber with old ivory4 ,blue with red4 ,brownish ,buff with old ivory4 ,deep ,cream or ,buff with ivory4 ,deep ,cream with light sage green4 ,green with red4 ,greenish ,blue with light pinkish gray4 ,gray with white4 ,india ,tint with ,persian orange4 ,light ,olive ,green with ivory4 ,light ,brownish ,buff with cream4 ,light ,tan with straw4 ,light ,tan with old ivory4 ,lavender with white4 ,lavender with gray4 ,lavender with old gold4 ,lavender with old ivory4 ,lavender with ivory4 ,lavender with cream4 ,lavender with straw4 ,lavender with pea green4 ,lavender with regular pink4 ,lavender with dull pink4 ,lavender with purplish pink4 ,lavender with orange4 ,lavender with golden rod4 ,medium ,tan with light brownish buff4 ,medium ,blue with old ivory4 ,medium ,blue with azure blue4 ,old ,rose with old ivory4 ,old ,rose with pearl gray4 ,old ,rose with azure blue4 ,old ,rose with light ivory4 ,old ,rose with cream4 ,old ,rose with straw4 ,old ,rose with light buff4 ,purple with red4 ,purple with green4 ,pearl ,gray with light ivory4 ,red with blue4 ,sage ,green with light ivory4 ,silk ,green with pale lavender4 ,sea ,green with old ivory4 ,tan with old rose4 ,turquoise ,blue with lavender4 ,violet with orange4 ,violet with red4 ,violet with brown4 ,violet with pink4 ,violet with salmon4 ,violet with buff4 ,violet with white4 ,violet with amber4 ,violet with ivory4 ,violet with old ivory4 ,violet with cream4 ,violet with straw4 ,violet with raw sienna4 ,violet with burnt sienna4 ,violet with white4 ,violet with gray4 ,violet with drab-gray4 ,violet with pink gray4 ,violet with brown gray4 ,violet with emerald green4 ,violet with olive green4 ,violet with sage green4 ,violet with sea green4 ,violet with apricot4 ,violet with cherry4 ,violet with scarlet4 ,violet with russet4 ,violet with old gold4 ,violet with brass4 ,violet with silver4 ,violet with copper4 ,violet with bronze4 ,vermilion with sage green4 ,yellow with purple4 ,white with black4 ,yellow with green4 ,,color ,,mixtures ,,by ,,parts ,color ,desired ,parts ,azure ,blue--#ej white2 #a ultramarine blue4 ,brilliant--#d ,indian red2 #a madder lake4 ,blue-,gray--#ajj white2 #c ,prussian blue2 #a black4 ,bright ,blue--#bj zinc white2 #a cobalt blue4 ,blue ,grass--#g white2 #b ,paris green2 #a ,prussian blue4 ,blue--#ab borate of lime2 #f oxide of zinc2 #aj litharge2 #i feldspar2 #d oxide of cobalt4 ,blue ,black--#i black2 #d ,prussian blue4 ,bronze ,green1 ,light--#c raw turkey umber2 #a medium chrome yellow4 ,bronze ,green1 ,medium--#e medium chrome yellow2 #c burnt turkey umber2 #a black4 ,bronze ,green1 ,dark--#bj black2 #b medium chrome yellow2 #a dark orange chrome4 ,bottle ,green--#e medium chrome green2 #a black4 ,brown ,stone--#ah burnt umber2 #b dark golden ocher2 #a burnt sienna4 ,cherry ,red--#ej vermilion2 #ej ,no4 #dj carmine4 ,coffee ,brown--#f burnt turkey umber2 #b ,french ocher2 #a burnt sienna4 ,french ,blue--#e cobalt blue2 #b zinc white4 ,flesh ,color--#ai ,french ocher2 #a deep ,english vermilion4 ,fern ,green--#e lemon chrome yellow and #a each of light chrome1 green and black4 ,foliage ,green--#c medium chrome yellow2 #a brownish black4 ,foliage ,brown--#ej ,vandyke brown2 #ej orange chrome yellow4 ,green ,blue--#ajj white2 #e lemon chrome yellow2 #c ultramarine blue4 ,gold ,russet--#e lemon chrome yellow2 #a light ,venetian red4 ,hazy ,blue--#fj white2 #af ultramarine blue2 #a burnt sienna4 ,indian ,brown--#ej light ,indian red2 #ej ,french ocher2 #ej black4 ,mahogany--#c dark golden ocher2 #a dark ,venetian red4 ,maroon1 ,light--#e dark ,venetian red2 #a black4 ,maroon1 ,dark--#i dark ,indian red2 #a black4 ,mineral ,blue--#e white2 #d cobalt blue2 #b red madder lake2 #a black4 ,olive ,green--#g light golden ocher2 #a black4 ,orient ,blue--#be white2 #b ,prussian blue2 #a lemon chrome yellow4 ,ocherous ,olive--#i ,french ocher2 #a raw umber4 ,orange ,brown--#ej burnt sienna2 #ej orange chrome yellow4 ,oriental ,red--#b light ,indian red2 #a red lead4 ,purple--#h crocus martis2 #b red hematite2 #a oxide of iron4 ,purple--#b rose pink2 #a ultramarine blue4 ,purple1 ,black--#c black2 #b rose pink4 ,purple1 ,brown--#e dark ,indian red2 #a each of ultramarine blue and black4 ,roman ocher--#bc parts ,french ocher2 #a each of burnt sienna and burnt umber4 ,royal ,blue1 ,dark--#ah ultramarine blue2 #b ,prussian blue2 to lighten use white4 ,royal ,purple--#b ultramarine blue2 #a carmine or lake4 ,russet--#ad orange chrome yellow2 #a medium chrome green4 ,royal ,blue--#cd white2 #ai ultramarine blue2 #b ,prussian blue2 #a rose madder or rose lake4 ,seal ,brown--#aj burnt umber2 #b golden ocher2 #a burnt sienna4 ,snuff ,brown--#ej burnt umber2 #ej light golden ocher4 ,solid ,blue--#e white2 #a ultramarine blue4 ,sapphire ,blue--#b zinc white2 #a chinese blue4 ,terra ,cotta--#b white2 #a burnt sienna2 #b ,french ocher2 #a ,venetian red4 ,tuscan ,red--#i ,indian red2 #a rose pink4 ,turquoise ,blue--#bj white2 #c ultramarine blue2 #a lemon chrome yellow4 ,violet--#c ultramarine blue2 #b rose lake2 #a black4 ,yellow--#d parts tin ashes2 #a crude antimony2 #a litharge and #a red ocher4 ,yellow1 ,amber--#aj medium chrome yellow2 #g burnt umber2 #c burnt sienna4 ,yellow1 ,canary--#e white2 #b permanent yellow2 #a lemon chrome yellow4 ,yellow1 ,golden--#aj lemon chrome yellow2 #c deep orange chrome2 #e white4 ,yellow1 ,brownstone--#c white2 #a lemon chrome yellow2 #a permanent yellow4 ,,tint ,,mixtures ,,by ,,parts ,green ,tints ,color ,desired ,parts ,apple ,green--#ej white2 #a medium chrome green4 ,citron ,green--#ajj white2 #c medium chrome yellow2 #a black4 ,emerald ,green--#aj white2 #a ,paris 7emerald7 green4 ,grass ,green--#aj oxide of chrome2 #b tin ashes2 #e whiting2 #a crocus martis2 #a bichromate potash4 ,gray ,green--#e white2 #a ,verona green4 ,marine ,green--#aj white2 #a ultramarine green4 ,nile ,green--#ej white2 #f medium chrome green2 #a ,prussian blue4 ,olive ,green--#ej white2 #b medium chrome yellow2 #c raw umber2 #a black4 ,olive ,drab--#ej white2 #h raw umber2 #e medium chrome green2 #a black4 ,pea ,green--#ej white2 #a light chrome green4 ,satin ,green--#c white2 #a ,milori green4 ,sage ,green--#ajj white2 #c medium chrome green2 #a raw umber4 ,sea ,green--#ej white2 #a dark chrome green4 ,stone ,green--#be white2 #b dark chrome green2 #c raw umber4 ,velvet ,green--#bj white2 #g medium chrome green4 ,violet--#c ultramarine blue2 #b rose lake2 #a black2 #b burnt sienna4 ,water ,green--#ae white2 #aj ,french ocher2 #a dark chrome green4 ,brown ,tints ,chocolate--#be white2 #c burnt umber4 ,cinnamon--#aj white2 #b burnt sienna2 #a ,french ocher4 ,cocoanut--#ej white2 #ej burnt umber4 ,dark ,drab--#dj white2 #a burnt umber4 ,dark ,stone--#bj white2 #a raw umber4 ,fawn--#ej white2 #c burnt umber2 #b ,french ocher4 ,golden ,brown--#be white2 #d ,french ocher2 #a burnt sienna4 ,hazelnut ,brown--#bj white2 #e burnt umber2 #a medium chrome yellow4 ,mulberry--#aj manganese2 #b cobalt blue2 #b saltpeter4 ,purple-,brown--#ej white2 #f ,indian red2 #b ultramarine blue2 #a black4 ,red-,brown--#ab hematite ore2 #c manganese2 #g litharge2 #b yellow ocher4 ,seal ,brown--#cj white2 #e burnt umber2 #a medium chrome yellow4 ,snuff ,brown--#be white2 #a burnt umber2 #a ,oxford ocher4 ,red ,tints ,cardinal ,red--#ej white2 #ej scarlet lake4 ,carnation ,red--#ae white2 #a scarlet lake4 ,claret--#ba oxide of zinc2 #d crocus martis2 #d oxide of chrome2 #c red lead2 #c boracic acid4 ,coral ,pink--#ae white2 #b bright vermilion2 #a deep orange chrome4 ,deep ,rose--#aj white2 #a red lake4 ,deep ,purple--#e white2 #a ultramarine blue2 #a rose pink4 ,deep ,scarlet--#ae bright vermilion2 #b red lake2 #e white4 ,flesh ,pink--#ajj white2 #a orange chrome yellow2 #a red lake4 ,indian ,pink--#ajj white2 #a light ,indian red4 ,lavender--#ej white2 #b ultramarine blue2 #a red lake4 ,light ,pink--#ej white2 #a bright vermillion4 ,lilac--#ej white2 #a rose pink4 ,mauve--#ae white2 #b ultramarine blue2 #a carmine lake4 ,orange ,pink--#b white2 #a dark orange chrome4 ,purple--#e white2 #b ultramarine blue2 #a red madder lake4 ,royal ,pink--#e white2 #a carmine lake4 ,royal ,rose--#bj white2 #a rose lake4 ,red ,brick--#aj white2 #c light ,venetian red2 #a yellow ocher4 ,reddish ,terra ,cotta--#b white2 #a burnt sienna4 ,salmon--#ej white2 #e deep orange chrome4 ,shell ,pink--#ej white2 #b bright vermilion2 #a orange chrome2 #a burnt sienna4 ,violet--#ae white2 #d ultramarine blue2 #c rose lake2 #a black4 ,gray ,tints ,ash ,gray--#cj white2 #b ultramarine blue2 #a burnt sienna4 ,cold ,gray--#ejj white2 #f black2 #a ,antwerp blue4 ,dove ,color--#ab manganese2 #e steel filings2 #c whiting2 #a oxide of cobalt4 ,dove ,gray--#bjj white2 #e ultramarine blue2 #b black4 ,french ,gray--#aej white2 #b black2 #a orange chrome yellow2 #a chrome red4 ,lead ,color--#ej white2 #a black4 ,lustrous ,gray--#aj white2 #a graphite 7plumbago74 ,olive ,gray--#bjj white2 #b black2 #a medium chrome green4 ,pure ,gray--#ajj white2 #a black4 ,pearl ,gray--#ajj white2 #a ultramarine blue2 #a black4 ,silver ,gray--#aej white2 #b black2 #c ,oxford ocher4 ,warm ,gray--#ajj white2 #c black2 #b ,french ocher2 #a light ,venetian red4 ,,color ,,mixtures ,,colors ,,as ,,seen ,,by ,,individuals ,the same color scheme does not appeal to every one4 ,persons of refined temperament are best pleased with soft1 delicate colors and shades4 ,people who are less refined admire deeper tones2 yet want absolute harmony1 while coarse individuals are satisfied with bright gaudy colors4 ,color is a sensation produced on the retina of the eye1 by the action of one or more of the elements of light4 ,exact proportion by parts are not given in the following in order to let you be the judge of the exact shade4 ,follow the simple rule of using a little more of the dark colors of each color combination if a deeper shade is wanted and vice versa for a lighter one4 ,you will note in the entire list of color mixtures different combinations to get practically the same color1 scarcely no two persons view the same shade alike4 ,in listing different mixtures for the same color you have a better chance of using up some of the many colors that would otherwise accumulate1 also giving you your choice of the color that is best adapted to your needs4 ,more than #aj1jjj colors1 hues and tints can be obtained from this ,guide4 ,example or rule for obtaining special shades such as are not listed4 ,look through the list1 carefully select the combination that comes nearest to your requirements4 ,if the listed color is too light add more of the darker colors or if too dark add the lighter colors4 ,in mixing colors1 always commence with the lighter and add the darker1 otherwise you will mix a greater quantity than desired4 ,in this list of color combinations the first named color always predominates2 the others are named in the order of amount needed4 ,follow this rule unless otherwise instructed4 ,color ,desired ,parts ,alderney ,brown--,deep chrome yellow and white1 darkened with black4 ,amber--,equal parts burnt sienna and burnt umber2 warm with orange and tone down with black and white4 ,apricot--,warm medium yellow with venetian red or vermilion and deepen with crimson4 ,ash ,gray--,white1 tinged with black and softened with ocher4 ,asiatic ,bronze--,is raw umber lightened with yellow and white4 ,autumn ,green--,is two parts emerald green and one of yellow toned down with a little black4 ,azure ,blue--,like sky blue4 ,no definite proportion4 ,one part cobalt1 prussian or ultra blue may be added to about forty zinc white4 ,acacia--,black1 indian red1 and a tinge of prussian blue4 ,acorn ,brown--,same as chocolate1 but lighten with white4 ,alderney ,brown--,black1 orange chrome yellow1 ,french ocher and white4 ,amber ,brown--,burnt sienna1 orange chrome yellow1 burnt umber1 a touch of black1 and white4 ,ashes of roses--,white with tints of black and purple4 ,amaranth--,tuscan red and vermilion in about equal parts1 and ultramarine blue4 ,anemone--,vermilion1 prussian blue1 a little white and black4 ,alabaster--,white faintly tinged with medium chrome yellow4 ,apricot--,medium chrome yellow1 venetian red and carmine4 ,armenian ,red--,venetian red and ,french ocher4 ,ash ,gray--,white1 ,french ocher1 orange chrome yellow and a touch of venetian red4 ,asiatic ,bronze--,raw umber1 medium chrome yellow and white4 ,autumn ,leaf--,white1 ,french ocher1 orange chrome yellow and a touch of venetian red4 ,azure ,blue--,white and prussian blue4 ,azure ,gray--,white1 ultramarine blue tinted with black4 ,bottle ,green--,dark green and purple4 ,bronze ,green--,bronze blue and yellow4 ,brown--,red and black4 ,brown 7red hue7--,red1 blue and a small amount of black4 ,brown 7regular7--,medium yellow1 red1 blue1 toned with black4 ,buff--,white1 dark yellow and venetian red4 ,buff--,medium yellow1 white and a touch of red4 ,buff--,orange and white4 ,buff--,orange yellow and white4 ,for deeper shades add brown of orange hue4 ,begonia--,black1 scarlet vermilion1 a touch of prussian blue4 ,bismark ,brown--,burnt sienna1 burnt umber1 orange chrome yellow and white4 ,bordeaux ,blue--,black warmed with orange and toned down with prussian blue4 ,black ,slate--,tone black with ,prussian blue and lighten with white4 ,biscuit ,color--,zinc white and a little ,naples yellow4 ,buff--,yellow and white1 tinted with red4 ,black--,yellow1 red and blue4 ,black ,slate--,black1 prussian blue and white4 ,bordeaux ,blue--,black1 orange chrome yellow1 prussian blue4 ,bottle ,green--,prussian blue1 black and chrome yellow4 ,brass--,white1 medium chrome yellow and ,french ocher4 ,bronze-,red--,vermilion1 orange chrome yellow1 and black4 ,brick ,color--,yellow ocher and venetian red4 ,bronze ,green--,deep chrome green and black4 ,or medium chrome green1 black and raw umber4 ,bronze ,yellow--,medium chrome yellow1 raw umber and touch of white4 ,brown--,venetian red1 yellow ochre1 deepen with black4 ,browns--,use venetian red for base and add ,french ocher and black in various proportions for different shades of brown wanted4 ,brown ,drab--,same as above with a little white added4 ,buttercup--,white and lemon chrome yellow4 ,cambridge ,red--,vermilion and prussian blue4 ,cafe au ,lait 7,coffee with ,milk ,color7--,burnt umber1 white1 ,french ocher and venetian red4 ,carnation--,english vermilion1 madder lake 7or carmine71 and for lighter shades add zinc white4 ,cerulean ,blue--,zinc white and ultramarine blue4 ,cobalt blue is better but not so common4 ,chamois--,white1 ,french ocher1 and medium chrome yellow4 ,chamoline--,white raw sienna1 and lemon chrome yellow4 ,chartreuse--,venetian red1 medium chrome yellow1 ,french ocher and black4 ,chocolate--,burnt umber and crimson vermilion 7or madder lake74 ,or ,french ocher1 black1 and a little venetian red4 ,chocolate--,brown1 red and black4 ,chocolate--,raw umber1 red1 black4 ,claybank--,french ocher1 orange chrome yellow and white4 ,clay ,drab--,white1 medium chrome yellow1 raw and burnt sienna4 ,cinnamon--,white1 burnt sienna1 ,french ocher and medium chrome yellow4 ,cobalt ,blue--,when not obtainable as a color may be mixed ultramarine blue and zinc white4 ,coral ,pink--,vermilion1 white and medium chrome yellow4 ,colonial ,yellow--,white1 medium chrome yellow1 and a touch of orange chrome yellow4 ,chestnut--,red1 black and yellow4 ,chestnut--,yellow1 red1 toned with black4 ,claret--,madder lake1 ultramarine blue1 ,english vermilion and black4 ,claret--,red and prussian blue4 ,claret--,red1 umber1 black4 ,copper--,red1 yellow and black4 ,copper--,red1 yellow1 black4 ,cream--,white and pale yellow4 ,cobalt ,green--,zinc yellow and ultramarine blue4 ,cobalt ,green--,cadmium yellow and cobalt blue4 ,claret--,red1 yellow1 black4 ,dark ,green--,blue1 lemon and black4 ,drab--,white1 medium yellow and black4 ,drab--,white1 yellow ocher1 red1 black4 ,drab--,white1 yellow1 red4 ,drab--,white and umber4 ,dark ,brown--,red1 black and blue4 ,deep ,blue--,black and blue4 ,deep ,lilac--,ultramarine and carmine4 ,dove--,white1 ultramarine blue1 indian red and black4 ,dove--,white1 vermilion1 blue1 yellow4 ,dregs of ,wine--,dark tuscan red1 black1 a touch of zinc white4 ,electric ,blue--,ultramarine blue1 white and raw sienna4 ,ecru--,white1 ,french ocher1 burnt sienna and black4 ,properly this color is that of raw1 unbleached flax4 ,emerald--,pale chrome green1 and a touch of prussian blue4 ,paris green is a true emerald green4 ,egyptian ,green--,white1 raw umber1 lemon chrome yellow1 and prussian blue4 ,fawn--,white1 medium yellow1 bright red1 toned with black4 ,fawn--,white1 medium chrome yellow1 venetian red and burnt umber4 ,flesh ,color--,white1 medium chrome yellow1 ,french ocher1 and venetian red4 ,flesh--,white1 yellow ocher1 vermilion4 ,flesh--,white1 lemon yellow1 tone with lake red or other bright red4 ,flesh--,straw and carmine4 ,french ,gray--,white1 black1 a touch of ultramarine blue1 and madder lake4 ,french ,gray--,purple1 tinted with black4 ,french ,red--,indian red1 ,english vermilion1 with a second impression of madder lake over the other two mixed4 ,fawn--,white1 red1 yellow4 ,flesh--,white1 lake and lemon yellow4 ,gazelle--,french ocher1 dark tuscan red1 venetian red1 black1 and white4 ,geranium--,vermilion1 indian red1 and black4 ,gobelin ,blue--,black1 white1 prussian blue1 and medium chrome green4 ,gold--,white1 medium chrome yellow1 ,french ocher1 a touch of ,english vermilion4 ,golden ,brown--,french ocher1 orange chrome yellow1 black1 and a touch of white4 ,gray ,green--,white1 ultramarine blue1 lemon chrome yellow1 and black4 ,grass ,green--,very light chrome green4 ,it is improved by a second impression of emerald green4 ,green ,stone--,white1 medium chrome green1 raw umber and ,french ocher4 ,green ,bronze--,chrome green1 yellow and a touch of black4 ,green 7bright7--,lemon yellow and greenish blue4 ,green 7olive7--,medium yellow and purple4 ,grass ,green--,lemon yellow with chrome1 ,antwerp1 milori or bronze blue4 ,sea ,green 7neutral7--,prussian blue toned with light red4 ,deep ,green--,antwerp blue and emerald green4 ,iris ,leaf ,green--,light chrome yellow and medium chrome green4 ,grays--,white and black in various proportions4 ,gray ,stone--,white1 black1 prussian blue and venetian red4 ,gray ,drabs--,white1 black and a little burnt umber in various proportions1 according to shade wanted4 ,gray 7cold7--,white and a little black tinted with azure blue4 ,gray 7sky7--,white1 rose madder and cobalt or ultramarine blue4 ,gray 7warm7--,white and a little black tinted with red of yellowish hue or orange4 ,gray 7neutral7--,white and black4 ,black not to contain any blue4 ,cool ,gray--,antwerp blue toned with black4 ,warm ,gray--,burnt sienna toned with black4 ,warm ,gray ,tints--,white and black in various proportions warm with burnt sienna4 ,gray 7cool7--,antwerp blue toned with black4 ,gray 7warm7--,burnt sienna toned with black4 ,french ,gray--,white1 prussian blue1 lake4 ,greens--,some very good greens are made from mixtures of yellows and ,antwerp blue4 ,green ,tints--,white1 yellow and ,antwerp blue4 ,green 7dark7--,lemon yellow1 ,antwerp blue1 tone with black4 ,gold--,white1 yellow and sienna4 ,gold--,yellow ocher1 white1 tinted with red4 ,green--,yellow and black4 ,grass ,green--,lemon yellow and bronze blue4 ,hay ,color--,white1 orange chrome yellow1 light chrome green and indian red4 ,heliotrope--,zinc white1 venetian red and ultra blue4 ,indian ,pink--,white and indian red4 ,indian ,brown--,indian red1 black and ,french ocher4 ,iron ,gray--,black1 white1 and a touch of orange chrome4 ,indigo--,antwerp blue toned with black4 ,icy ,green--,french ocher1 black and prussian blue4 ,jasper--,black1 white1 medium chrome yellow and indian red4 ,jonquil--,white1 medium chrome yellow and a touch of ,english vermilion4 ,lavender--,white1 black1 ultramarine blue and a touch of madder lake4 ,lead ,color--,white1 black and a touch of prussian blue4 ,leather--,french ocher1 burnt umber4 ,for marn tones add venetian red4 ,lemon--,is afforded by lemon chrome yellow4 ,leaf ,buds--,white1 orange chrome yellow and light green4 ,lilac--,white and dark indian red4 ,london ,smoke--,yellow ocher1 ultramarine blue1 black1 white4 ,lavender--,white and purple4 ,lavender--,white1 red and blue4 ,limestone--,white1 yellow ocher1 tinted with black and red4 ,lemon--,lemon green1 toned with white4 ,lemon--,lemon yellow1 white and a very small quantity of chrome green4 ,lemon ,tints--,add white to lemon4 ,magenta--,lake and purple4 ,maroon--,medium yellow and red darkened with black4 ,mauve--,yellow ocher1 venetian red1 black and white4 ,mastic--,white1 ,french ocher1 venetian red1 a touch of black4 ,maroon--,carmine 7or madder lake71 black1 and a little orange chrome yellow4 ,or tuscan red1 orange chrome yellow and a touch of black4 ,manila--,white1 medium chrome yellow and ,french ocher4 ,marigold--,medium chrome yellow1 white and orange yellow4 ,mignonette--,medium chrome green1 prussian blue1 medium chrome yellow and black4 ,moorish ,red--,vermilion and madder lake4 ,mouse ,color--,white1 black and a touch of venetian red and burnt umber4 ,moss ,rose--,lemon chrome yellow1 medium chrome green and white4 ,mulberry--,black1 vermilion and a touch of prussian blue4 ,myrtle ,green--,dark chrome green1 ultramarine blue and white4 ,nile ,blue--,white1 prussian blue and a touch of medium chrome green4 ,normandy ,blue--,medium chrome green1 ultramarine blue and a touch of white4 ,nut ,brown--,black1 venetian red1 medium chrome yellow and ,french ocher4 ,neutral ,tint--,white1 alizarin red and indigo toned with black4 ,orange 7neutral7--,cadmium yellow and venetian red4 ,olive--,yellow and a small amount of black4 ,olive--,yellow1 white1 blue and black4 ,olive--,gray1 yellow and blue4 ,orange--,red and yellow4 ,old ,gold--,white1 medium chrome yellow1 ,french ocher and a little burnt umber4 ,olive ,brown--,raw umber and lemon chrome yellow4 ,olive--,lemon chrome yellow1 prussian blue and black2 about equal parts of the latter4 ,another olive1 less bright1 is made with ,french ocher1 prussian blue and black4 ,oak ,color--,white1 ,french ocher and a little venetian red4 ,orange--,is orange chrome yellow4 ,orange ,brown--,orange chrome yellow1 raw sienna and a touch of burnt umber4 ,oriental ,green--,raw umber and lemon chrome yellow4 ,opal ,gray--,white1 burnt sienna and ultramarine blue4 ,olive ,green--,medium yellow and purple4 ,pearl--,white1 ultramarine blue and black4 ,pink--,white and lake4 ,purple--,blue and lake4 ,peach ,blossoms--,white1 pale indian red and a touch of madder lake4 ,pearl--,white1 black and a touch of ultramarine and carmine4 ,pea ,green--,white and medium chrome green4 ,peacock ,blue--,ultramarine blue1 light chrome green and zinc white4 ,peach--,white1 vermilion4 ,pink--,white1 vermilion and lake4 ,pink--,white and carmine4 ,purple 7pure7--,mix together red with bluish cast and blue of reddish hue4 ,purple 7light7--,violet1 red with a bluish cast and white4 ,purple 7deep7--,violet1 red with a bluish cast1 deepen with black4 ,purple--,rose madder and ultramarine blue4 ,purple--,rose madder and cobalt blue4 ,purple--,lake red and ultramarine blue4 ,persian ,orange--,orange chrome yellow1 ,french ocher1 white4 ,pink--,zinc white and either madder lake1 carmine or crimson vermilion4 ,pompeian ,red--,vermilion1 orange chrome yellow and black4 ,pompeian ,blue--,white1 ultramarine blue1 vermilion and ,french ocher4 ,plum ,color--,white1 indian red and ultramarine blue4 ,portland ,stone--,french ocher1 raw umber and white4 ,pistache 7,pistachio7--,black1 ,french ocher and medium chrome green4 ,primrose--,white and lemon or medium chrome yellow4 ,purple-,brown--,dark indian red1 ultramarine blue and a touch of black and white4 ,pea ,green--,white and pale green4 ,quaker ,green--,white1 ,french ocher1 black and burnt sienna4 ,russet--,orange1 lake and purple4 ,roan--,black1 venetian red1 prussian blue and white4 ,robin's ,egg ,blue--,white1 ultra blue and pale chrome green4 ,russet--,white1 orange chrome yellow and a touch of black4 ,russian ,gray--,white1 ultra blue1 light indian red and black4 ,rose ,tint--,white and madder4 ,rose--,white tinted with lake red4 ,rose ,tint--,white and madder1 tinted with lake4 ,royal ,purple--,carmine1 cobalt blue and white4 ,scarlet ,lake--,crimson lake and pale vermilion4 ,sepia 7warm7--,sepia and browns of reddish hue4 ,sepia--,burnt umber and lamp black4 ,sienna 7burnt7--,same as raw sienna but add more yellow and red4 ,sienna 7raw7--,medium yellow1 white and a little red4 ,scarlet--,vermilion1 yellow and a touch of white4 ,sandstone--,white1 yellow ochre1 black1 red4 ,snuff--,yellow and ,vandyke brown4 ,sky ,blue--,white and milori blue4 ,shell ,pink--,chrome yellow and vermilion1 tinted with burnt sienna4 ,straw--,white and chrome yellow4 ,spruce--,yellow1 vermilion1 green and white4 ,silver ,gray--,indigo and lamp black4 ,slate--,white1 raw umber1 ultra blue and black4 ,sea ,foam--,white1 green and yellow4 ,shrimp ,pink--,white1 vermilion1 black and burnt sienna4 ,sage ,green--,white1 medium chrome green and black4 ,salmon--,white1 ,french ocher1 burnt sienna and a touch of vermilion4 ,sapphire ,blue--,zinc white and ultramarine blue4 ,sap ,green--,white1 medium chrome yellow and black4 ,sea ,green--,white1 prussian blue and raw sienna4 ,seal ,brown--,burnt umber1 ,french ocher and a touch of white4 ,scarlet--,use pale ,english vermilion or scarlet vermilion4 ,shrimp ,pink--,white1 venetian red1 burnt sienna and a touch of vermilion4 ,sky ,blue--,white and prussian blue4 ,sky ,blue--,white and ultramarine blue4 ,salmon--,red1 yellow and sienna4 ,sienna--,medium yellow1 red and white4 ,slate--,ultramarine blue1 black and white4 ,snuff--,white and umber4 ,straw--,white and yellow4 ,slate--,white1 raw umber1 ultramarine blue1 black4 ,spruce ,yellow--,french ocher1 venetian red and white4 ,snuff ,color--,french ocher1 burnt umber and a touch of venetian red4 ,straw ,color--,medium chrome yellow1 ,french ocher1 a touch of venetian red and lighten with white4 ,stone ,color--,white1 ,french ocher and of medium chrome yellow and burnt umber4 ,tan--,white burnt sienna and a touch of black4 ,tan--,yellow1 burnt umber and burnt sienna4 ,tally-,ho--,white1 ,french ocher1 venetian red1 and dark chrome green and touch of black4 ,terra ,cotta--,french ocher1 venetian red1 and white1 indian red is added for some shades4 ,still other shades are made with orange yellow1 venetian red and a touch of burnt umber4 ,turkey ,red--,vermilion and black4 ,turquoise--,white1 cobalt blue and green lake4 ,turquoise ,blue--,zinc white1 cobalt blue and light chrome green4 ,umber--,white1 yellow1 red and black4 ,velvet ,green--,burnt sienna1 green lake and white4 ,vermilion--,an orange red1 to lighten add yellow1 to deepen add burnt sienna4 ,vienna ,brown--,burnt umber1 venetian red1 ,french ocher1 and a touch of white4 ,violet--,white1 light indian red and a touch of dark indian red4 ,violet--,white1 blue and red4 ,violet--,crimson lake and ,antwerp blue4 ,violet--,red1 blue1 white4 ,violet--,lake and ultramarine blue4 ,violet ,tint--,lake1 ultramarine blue1 white in various proportions4 ,violet--,crimson lake and ,antwerp blue in various proportions4 ,willow ,green--,white1 medium chrome yellow and a little raw umber and black4 ,wine ,color--,english vermilion 7or scarlet vermilion71 madder lake 7or carmine71 ultramarine blue and black4 ,or tuscan red and a little black4 ,water ,green--,white1 raw sienna1 dark chrome green4 ,yellow ,bronze--,lemon or medium chrome yellow1 ,french ocher and a touch of burnt umber4 ,yellow ,drabs--,same as the preceding1 in various proportions4 ,,color ,,mixtures ,,by ,,parts ,in this list where green is mentioned1 8,universal0 regular green is referred to4 ,the yellow to be used can be chrome yellow for a darker shade1 or lemon yellow for a lighter shade1 although lemon yellow is to be preferred4 ,,greens ,,by ,,two-,,color ,,mixture ,color ,desired ,parts ,bronze green #b bronze blue1 #c yellow4 ,bright green #a deep blue1 #e yellow4 ,brilliant green #a green1 #d yellow4 ,blue green #b blue1 #d green4 ,dark green #b blue1 #a yellow4 ,dark green medium #a blue1 #a yellow4 ,emerald green #a green1 #c white4 ,green-black1 dark #a blue green1 #c black4 ,green-black1 light #e blue green1 #a black4 ,green tint #b bright green1 #cj white4 ,grass green #a bronze green1 #a bright green4 ,japanese green #bj emerald green1 #a black4 ,light green #a green1 #a yellow4 ,olive green #a blue1 #d orange4 ,olive green1 light #d yellow1 #a black4 ,olive green1 dark #d yellow1 #b black4 ,orange-green #a deep blue1 #fj yellow4 ,sea green #a blue1 #c green4 ,sage green #d green-black1 #f white4 ,universal green #a blue1 #d yellow4 ,yellow-green #a deep blue1 #ajj yellow4 ,,good ,,greens ,some very fine greens can be made with lemon yellow and ,antwerp blue in various proportions4 ,can be toned or deepened with black4 ,,browns ,,by ,,two-,,color ,,mixture ,with the browns1 lemon yellow is best4 ,the red can be a color like brilliant scarlet1 flag-red or scarlet lake4 ,color ,desired ,parts ,brown-tint #a red-brown1 #dj white4 ,brown-black #a red1 #a black4 ,bronze-brown #b bronze-red1 #a bronze blue4 ,chocolate brown #ab red1 #b deep blue4 ,copper-brown #ae vermillion1 #a black4 ,green-brown #b red1 #d green4 ,maroon-brown #ae red1 #b black4 ,photo-brown #a vermillion1 #a black4 ,purple-brown #f red1 #a deep blue4 ,red-brown #ab red1 #a black4 ,sepia-brown #bj orange1 #a black4 ,snuff brown #h vermillion1 #a deep blue4 ,tan-brown #b yellow1 #a purple4 ,yellow-brown #d yellow1 #c red-brown4 ,yellow-brown tint #a yellow-brown1 #cj white4 ,,grays ,,by ,,two-,,color ,,mixture ,color ,desired ,parts ,blue-gray #b regular gray1 #a blue4 ,dark gray #ab white1 #b black4 ,drab-gray #ae regular gray1 #a orange4 ,green-gray #f regular gray1 #a green4 ,lead-gray #ae regular gray1 #a deep blue4 ,light gray #bj white1 #a black4 ,purple-gray #h regular gray1 #a purple4 ,pink gray #ab light gray1 #a red4 ,regular gray #ab white1 #a black4 ,red-gray1 light #f regular gray1 #a red4 ,red-gray1 dark #ae regular gray1 #b red4 ,warm gray #aj regular gray1 #a vermillion4 ,yellow-gray #h regular gray1 #a yellow4 ,,purple ,,by ,,two ,,mixtures ,color ,desired ,parts ,bright violet #a purple1 #a blue4 ,light purple #a purple1 #a white4 ,regular purple #aj rose lake1 #a blue4 ,scarlet purple #ae rose lake1 #a blue4 ,typewriter purple #a purple1 #d white4 ,violet #d rose lake1 #a ultramarine ,,miscellaneous ,all colors in the left-hand column of the following are the base upon which to work4 ,by adding white to them you form the colors given in middle column1 but when black is substituted for white you obtain the colors given in the right-hand column4 ,example3 ,add white to 8any lake red0 for pink2 add black to 8any lake red0 for maroon4 ,base ,result of ,adding ,white ,result of ,adding ,black ,any lake red ,pink ,maroon ,vermilion ,yellowish ,pink ,russet ,scarlet ,salmon ,buff ,brown ,orange red ,yel4 sal4 buff ,yellow-brown ,orange ,salmon ,terra ,cotta ,yellow-orange ,amber ,yel4 terra cotta ,orange yellow ,cream ,old ,gold ,yellow ,lemon or ,sulphur ,citrine ,yellow-green ,straw ,olive ,emerald green ,pea green ,sage ,bluish green ,sea green ,myrtle ,turquoise ,pale turquoise ,dull ,indigo ,ultramarine ,azure ,blue ,slate ,,miscellaneous ,color ,desired ,parts ,azure ,blue #a ultramarine1 #dj white4 ,antwerp ,blue #d emerald green1 #h ultramarine1 #a white4 ,autumn ,leaf #bj straw1 #b orange1 #a ,venetian red4 ,autumn ,gray #bj emerald green1 #aj yellow1 #a black4 ,apple ,green #d orange1 #i chrome green1 #a white4 ,ash ,gray #b burnt sienna1 #c ultramarine blue1 #gj white4 ,amber #d burnt sienna1 #d burnt umber1 #b orange1 tinged with black and white4 ,apricot #cj chrome yellow1 #b vermilion1 #a crimson4 ,alabastar #a chrome yellow1 #d white4 ,amaranth #d ,tuscan red1 #d vermillion1 #a ultramarine4 ,anemone #f ,english vermilion1 #f deep bronze blue1 #b black1 #a white4 ,amaranth #c ,english vermilion1 #a deep bronze blue4 ,armenian ,red #b venetian red1 #a ocher4 ,ash ,gray #fj zinc white1 #c ultra blue1 #b burnt sienna4 ,antique ,bronze #c black1 #a orange4 ,apple ,green #cj white1 #a chrome green4 ,blue ,grass #a ,prussian blue1 #c emerald green1 #g white4 ,bordeaux ,blue #c orange1 #a black1 #f ,prussian blue4 ,begonia #e ,english vermilion1 #d black1 #d ,prussian blue4 ,biscuit color #bj white1 #a ,naples yellow4 ,bismark ,brown #bj burnt sienna1 #bj umber1 #b orange1 #a white4 ,blood ,red ,english vermilion1 tinged with blue and yellow4 ,blue ,green #c chrome green1 #a prussian blue4 ,blue ,grass #a prussian blue1 #c emerald green4 ,bluish ,gray #f regular gray1 #a dark blue4 ,purple-,brown #f deep red1 #a purple4 ,brown-,black #b bluish red1 #e black4 ,photo-,brown #d bluish red1 #a brown-black4 ,maroon-,brown #h bluish red1 #a blue4 ,bay #c venetian red1 #c black1 #a orange4 ,chocolate ,brown #ab deep red1 #b deep blue tinted with black4 ,milk ,chocolate #ab deep red1 #b deep blue1 #a white tinted with black4 ,chestnut ,brown #c ,venetian red1 #c black1 toned down with orange4 ,maroon1 deep #e black1 #c red1 #a ,prussian blue4 ,cologne #b parts of yellow chromate of lead1 #a of sulphate of lead1 and #g of ,sulphate of lime or gypsum4 ,citron #b yellow1 #a red1 #a blue4 ,crimson ,red #cj bright red1 #a blue4 ,campanula #c blue1 #a red4 ,citron #b yellow1 #a red1 #a blue4 ,garnet #c red1 #a blue4 ,greenish ,gray #h regular gray1 #a medium green4 ,green ,tint #a light green1 #ae white4 ,nasturtium #c red1 #a chrome yellow4 ,olive #b blue1 #a red1 #a yellow4 ,purple tint #a purple1 #ej white4 ,russet #b red1 #a blue1 #a yellow4 ,sulphur #cj yellow1 #a blue4 ,sea ,green #a medium green1 #c white4 ,saffron #c chrome yellow1 #a red4 ,sky ,blue #ii white1 #a prussian blue4 ,sky ,blue #ii white1 #a ultramarine blue4 ,turquoise #c blue green1 #a white4 ,violet-blue #aj violet1 #a blue4 ,violet tint #a violet1 #cj white4 ,,hints ,,for ,,painters ,,and ,,decorators ,a house painted white not only looks cool1 but is cool1 as white reflects the sun's rays4 ,the effect at night is reversed4 ,the amount of trimming color necessary is usually about one-fifth of that required for the entire surface4 ,do not paint damp or unseasoned1 sappy or pitchy wood4 ,do not paint or paper walls having a northern exposure with cold color such as blue1 gray or white4 ,use warm tones like rose1 tan1 etc4 ,and in like manner better results are obtained by using the cold shades or colors in rooms with a southern exposure4 ,,covering ,,capacity ,,of ,,varnish ,one gallon of varnish will cover approximately #cjj square feet1 two coats when properly flowed on4 ,varnish is transparent and therefore cannot hide any defects in a surface4 ,if the surface is badly marred1 use graining materials4 ,or cover up the old surface with a suitable paint or enamel4 ,,new ,,wood4--,before varnishing new open grained wood such as oak1 ash and mahogany1 it is necessary to fill the pores with a good filler4 ,some prefer it in paste form4 ,this is not absolutely necessary for close-grained woods such as maple1 pine and birch4 ,paint for general purpose is composed of lead1 zinc1 linseed oil and turpentine dryer1 which are the best known ingredients1 excepting such colors that cannot be made from lead and zinc4 ,lead1 when used alone does not make as serviceable a paint as lead and zinc ground together in pure linseed oil and colors4 ,zinc is recognized as an indispensable ingredient in paint4 ,lead1 while quite necessary1 is likely to change when used alone1 by that is meant1 it discolors easily1 and when exposed to the air chalks off and leaves the wood exposed4 ,zinc1 which is a more durable metal1 retains its whiteness also gives to colors and permits incorporating the largest possible quantity of linseed oil1 thus giving life and durability to the paint4 ,a mixture of both lead and zinc1 is1 therefore1 necessary to obtain best results to resist light1 heat and cold4 ,,new ,,work ,to secure best results1 new work should have three coats1 that is two besides the priming coat4 ,do not prime or apply paint to a new building until plastering is thoroughly dried out4 ,,adulterating ,,colors ,do not imagine that the durability of paint is increased by the use of whiting1 clay1 silica and other cheap materials4 ,they only make bulk and trouble4 ,,aggregated ,,form ,,of ,,checking ,avoid 8alligatoring10 which is a form of checking and frequently caused by applying finished coats over priming or second coats before drying4 ,,seedy1 ,,specky1 ,,sandy ,,varnish ,you may find varnish to be full of small grains4 ,this may be due to chill in transit or in storage1 or a decided difference in temperature between the varnish and the work4 ,allow the varnish to reach the temperature of the work before applying4 ,the same appearance may be caused by what painters term a 8lousy0 brush4 ,,use ,,only ,,an ,,absolutely ,,clean ,,brush4 ,,paint ,,for ,,stippling ,for rough stipple1 mix your paint from equal parts of white lead in oil1 zinc white in oil and dry plaster of paris 7the latter of the finest grade74 ,thin down with raw linseed oil and turpentine in equal parts1 adding two teaspoonfuls of pale japan to each pint of liquid4 ,make the paint just stout enough to apply with a wall brush and put it on in that consistency4 ,when the surface has been so coated1 and before the paint begins to set1 use a good size stippler1 and see that you do the work uniformly and evenly4 ,you can color the white to any desired tint with finely powdered dry color or you may use color ground in oil1 but if much of the latter is required1 use one-third raw oil and two-thirds turpentine for thinning4 ,when solid color is desired for wall stippling1 use colors ground in oil and the finest bolted whiting1 dry to make stout paste4 ,mix in this paste with one part oil and three parts turpentine and add one part japan4 ,when the paint is applied in stout consistency1 it may be stippled or combed and very pretty effects are obtained4 ,before applying the stipple to unpainted walls1 two coats of pure lead in oil should be given4 ,,good ,,brushes ,,get ,,good ,,results ,keep brushes out of water4 ,when paint and varnish brushes are not in use1 they should be suspended in raw linseed oil away from the bottom of the container by at least two inches and at least an inch above the bottom ferrule or strap4 ,water is not a paint solvent4 ,when brushes are suspended in linseed oil1 the oil will dissolve the pigment which1 being heavier1 will sink to the bottom of the container1 in this way cleaning the brush4 ,quantity ,needed4 ,to ascertain the number of gallons of paint required for a building3--add the width of front and rear with the length of both sides1 and multiply by the height4 ,a gallon of paint1 properly brushed out1 will cover #cej square feet1 two coats4 ,do not flow the paint on1 but thoroughly brush it on4 ,by dividing the total feet of surface by #cej1 you will obtain the number of gallons necessary to paint the house1 two coats4 ,the above estimate1 owing to the fact that surfaces vary in their natures1 is based on a surface of good condition to receive the paint4 ,,example ,front #be feet ,rear #be feet ,side #de feet ,side #de feet -------- #adj feet ,multiply by average ,height1 #be feet ,divide by #cej #cejj feet --#aj gallons ,,to ,,remove ,,rust ,,stains ,,from ,,concrete ,,or ,,stucco ,rust stains can be removed from concrete or stucco work by scrubbing the spots with a solution of #a part muriatic acid and #e parts water4 ,when using this1 the hands should be well protected from the acid as it is very strong1 and will cause severe burns4 ,after scrubbing the concrete1 the acid must be well rinsed off with clean water4 ,,aluminum ,,paint ,,makes ,,radiators ,,less ,,efficient ,the aluminum or bronze paint generally applied to radiators greatly reduces their effectiveness and makes it necessary to have a larger surface for the same heating effect1 according to experiments performed by ,dr4 ,w4 ,w4 ,coblentz1 of the ,bureau of ,standards4 ,dr4 ,coblentz finds that the heat radiated from an aluminum painted radiator surface is less than a third of that emitted by a radiator of the same size painted with a non-metallic paint1 enameled1 or simply allowed to rust4 ,on the other hand1 he finds that aluminum paint is a very effective means of reducing the amount of heat transmitted through a thin material4 ,applied to the under side of a tent or awning1 it reduces by three-fourths the amount of heat from the sun which gets through the cloth1 while if used on the cover of an automobile or ice wagon it cuts in half the heat let through and makes the temperature inside the vehicle more nearly that found in natural shade1 thereby making it much more comfortable4 ,,paint ,,and ,,varnish ,,remover ,benzol and denatured alcohol1 equal parts applied to a painted or varnished surface1 will eat through to the bare wood in less than ten minutes' time4 ,,how ,,enamel ,,is ,,applied ,,to ,,metal ,the basis of all enamels is an easily fusible1 colorless glass1 to which the desired color and opacity are imparted by mixtures of metallic oxides4 ,the mass1 after being fused together and cooled1 is reduced to a fine powder1 washed and applied to the surfaces to be covered4 ,the whole is then exposed in a furnace till the enamel is melted when it adheres firmly to the metal4 ,,to ,,retard ,,the ,,drying ,,of ,,plaster ,,of ,,paris ,,for ,,five ,,hours ,plaster of ,paris can be retarded by dissolving carpenter's glue or common paste in the mixing water4 ,to retard it so that it will not set within five hours will require about #b per cent4 of glue1 the percentage being based on the weight of the plaster4 ,,cement ,,panel ,,paint ,,for ,,blackboards ,if you prefer to mix your own paint for cement panel blackboards1 use drop black in turpentine1 add an equal weight of finest powdered pumicestone mixed in turps and hard oak finish1 and thin with enough varnish and turpentine to bind it hard4 ,,painting ,,stucco ,in painting stucco1 the following instructions should be observed4 ,after brushing thoroughly1 prepare for the priming coat by mixing one part1 by weight1 of white lead1 red lead1 and boiled oil4 ,white lead1 stainers1 driers1 to the extent of one-fourteenth of the mixture1 two parts boiled oil1 and one part turpentine1 form the basis for the second and third coatings4 ,additional coating should contain less turpentine in proportion to the oil4 ,a ,,remedy ,,for ,,low ,,ceilings ,rooms with low ceilings can be made to appear much higher by using a striped paper1 preferably in a pale tint4 ,,to ,,remove ,,paint ,,from ,,glass ,common washing soda dissolved in water2 let it soak a while--if put on thick1 say thirty minutes--then wash off4 ,if it does not completely remove1 give it another application4 ,,cleaning ,,painted ,,walls ,dissolve two ounces of borax in two quarts of water4 ,add one teaspoonful of ammonia1 put half this mixture into a pail of water4 ,use no soap4 ,a ,,good ,,wallpaper ,,varnish ,dissolve equal parts of borax and shellac in ten times their weight of alcohol2 strain4 ,give two coats4 ,for a very light-colored paper use sandarac instead of shellac4 ,paper treated with this lacquer can be washed with water1 and even with soap1 if necessary4 ,,luminous ,,paint ,,formula ,linseed ,oil cold compressed and thickened by heat #c oz41 barium sulphate #c oz41 prepared calcium carbonate #c oz41 white zinc sulphide #f oz41 luminous calcium sulphide #ah oz4 ,mix well and grind in a paint mill1 very fine4 ,,fireproof ,,paint ,incorporate powdered asbestos into paint to be used on sheds1 garages1 etc4 ,,to ,,color ,,concrete ,cinnabar is mixed with cement to produce a bright red concrete and carmine to produce a violet red4 ,,grease ,,spots ,,on ,,wall ,,paper ,grease spots can be removed from wall paper by rubbing with camphorated chalk4 ,,furniture ,,polish ,oil of cedarwood #c ounces1 turpentine #b ounces1 hydrochloric acid 7commercial7 #a ounces1 lubricating oil 7light7 #a ounces1 gasoline #a pint4 ,mix the turpentine1 lubricating oil1 and gasoline thoroughly and add oil of cedarwood1 mixing thoroughly4 ,now add the hydrochloric acid1 stirring briskly4 ,allow to set for three days1 stirring occasionally until hydrochloric acid is thoroughly mixed4 ,,inflammable1 ,,keep ,,from ,,fire ,,or ,,open ,,flame4 ,can be colored if desired 7any color7 by adding a small amount of soluble color4 ,,furniture ,,and ,,automobile ,,polish 7,one quart47 ,to of paraffin oil add two tablespoonfuls of turpentine oil1 one tablespoon of ammonia1 one tablespoonful of alcohol4 ,add enough gasoline to make the quart4 ,keep away from open flame4 ,,white ,,spots ,,on ,a ,,shellac ,,surface ,restore the color of a shellac surface which has become white in spots by holding a hot iron over the spot4 ,,dustless ,,concrete ,,floors ,paint concrete floors several coats with a mixture of boiled linseed oil mixed with gasoline1 half and half4 ,,old ,,wide ,,soft ,,flooring ,,made ,,to ,,appear ,,as ,,hardwood ,when the cracks have been filled and floor has been stained the desired color grain half of each board differently4 ,thus the wide boards appear narrow by graining every other half4 ,it resembles two kinds of wood dovetailed together4 ,,automobile ,,polish ,this produces a fine luster that does not collect dust or show rain streaks4 ,although not a cheap polish1 it is less costly than some now on the market4 ,it consists of gal4 turpentine1 pt4 paraffin oil1 #b oz4 oil of citronella1 and #a oz4 cedar oil4 ,these are thoroughly mixed1 applied with a soft cloth1 and rubbed lightly and briskly until dry4 ,,lime ,,when ,,not ,,in ,,use ,,in ,,whitewash ,lime will lose its value as a whitewash after long exposure to the air1 but is ideal when used as fertilizer4 ,,to ,,frost ,a ,,pane ,,of ,,glass ,after the glass has been painted white1 and still is wet1 gently tap it all over with a soft cloth which has been wadded into a ball or puff4 ,,yellow ,,piano ,,keys ,to clean1 a paste made from whiting and a solution of potash is laid on1 and allowed to remain for twenty-four hours4 ,the ivories will be restored very nearly1 if not quite1 to their original color without removing them from the keys4 ,,painting ,,on ,,glass ,paints will adhere to glass better if colors are ground in oil4 ,thin with pale japan and turpentine4 ,,remove ,,ink ,,stains ,,from ,,wood ,prepare a mixture of #h ounces of concentrated sulphuric acid and #a pints of water4 ,scour the stain thoroughly with water and sand and then pour some of the mixture upon it and rub until the stain disappears4 ,,to ,,clean ,,smoked ,,or ,,blackened ,,walls ,,and ,,ceilings ,wash with a cloth wrung out of a strong solution of baking soda and water or use vinegar and water4 ,if the stain is not all removed1 dissolve gum shellac in alcohol to the consistency of milk or cream1 and with it cover the sooty parts4 ,paint or whitewash over the shellac4 ,the black will not show through4 ,,common ,,whitewash ,ordinary whitewash is made by slaking #aj lbs4 of quicklime in #b gals4 of water4 ,the lime is placed in a pail1 the water added1 and the bucket covered with a piece of old carpet1 or an old bag1 and allowed to stand for about an hour2 the whitewash is then ready for application4 ,,weatherproof ,,whitewash ,for exterior use1 a weatherproof limewash is made by slaking #a bu4 7#fb lbs47 of quicklime in #ae gal4 of water4 ,a solution consisting of #b lbs4 of ordinary salt and #a lb4 of zinc sulphate1 dissolved in #b gals4 of boiling water1 is prepared1 and #b gals4 of skim milk is provided4 ,the salt and zinc-sulphate solution is added to the lime and water1 the skim milk being put in last4 ,,linoleum ,,cement ,a mixture of glue1 isinglass and dextrin1 which dissolved in water and heated1 is given an admixture of turpentine4 ,the strips pasted down must be weighted with boards and brick on top until the adhesive agent has hardened4 ,,weight ,,of ,,paint ,good paint weighs #ah pounds and upwards to the gallon4 ,ordinary paint weighs #ae-af pounds4 ,,hints ,,for ,,pressmen ,,cover ,,white ,when cover white is too short or stiff to be workable1 add a small amount of mixing white4 ,,process ,,color ,,printing ,for the very best results in this fascinating art1 print the lighter colors first1 as follows3 ,yellow1 red1 blue and black unless otherwise instructed by the engraver4 ,when dark colors are run first contrary to progressive proof1 the full richness and detail are lost and hues altered4 ,light colors printed over the dark detail1 modify and subdue the sharpness which is not always desirable4 ,use opaque yellow for the first color when printing on tinted stock2 follow with transparent colors4 ,,gold ,,size ,,for ,,bronze ,,powder ,all pigment that enters into the manufacture of gold size must be earthen4 ,yellow ocher is admirably adapted for this purpose1 as in hue it ranges from a pale yellow to light brown4 ,it is insoluble in oil and will not dull the luster of bronze powder or bleed through4 ,gold size for pale gold bronze should be pale yellow2 for deep rich gold bronze use medium light orange brown size4 ,deep rich gold when applied over pale yellow size produces a medium gold cast4 ,,streaking ,,and ,,shadows ,streaking or shadows which occur when running heavy solids1 can oftimes be overcome on three roller platen presses by using a steel vibrator1 also expansion trucks which trip third roller4 ,if expansion trucks are not available use vibrator and remove third roller1 as in most cases this roller is causing the trouble4 ,coach varnish adds lustre to printers' ink4 ,,mottling ,,and ,,picking ,mottling of printers' ink is largely due to an over-abundance of reducer1 which separates the pigment from the mordant4 ,this difficulty is sometimes overcome by adding silicate of soda 7water glass71 magnesia1 etc4 ,these absorb some of the superfluous oil and force the pigment into a solid mass4 ,reducing to eliminate picking is the principal cause of mottle4 ,before mixing reducer with ink1 add a little soft ink1 such as halftone2 if straight halftone picks1 add #jj varnish4 ,inks are made for all purposes4 ,best results are obtained by using them without adulteration4 ,oftentimes a drop or two of linseed oil distributed on press will do the trick4 ,if ink mottles from the start with no other inks at hand1 use less ink and double roll4 ,picking and mottling on platen presses is more prevalent than on cylinders4 ,the reasons are obvious4 ,the cylinder requires less ink1 has ample distribution and the printed sheet is peeled from the form4 ,every printing press has its capacity4 ,you can not successfully print a solid oversize form just because it can be locked in a platen chase4 ,even with a good vibrator1 this kind of form requires double or triple rolling4 ,taking into consideration the fact that friskets jerk printed sheet from the form1 you need not look farther for the cause of picking4 ,by cutting stock two or more up1 and inking form the narrow way with enough of the sheet to be printed protruding for a good hand hold1 you can peel it from the form4 ,do not allow friskets to touch the sheet4 ,,wash ,,for ,,dirty ,,type ,,or ,,cuts ,crude carbolic acid and turpentine1 equal parts4 ,let stand over night4 ,rinse off with gasoline4 ,color ,printing--,some very pretty effects are obtained by printing transparent yellow and crimson or scarlet over black4 ,the black being so modified as to yield greenish hues under yellow and purple hues under red4 ,,general ,,purpose ,,glue ,always ,ready for ,use4 ,fill a quart glass jar with good broken glue2 then fill up with acetic acid 7which is vinegar in a strong form72 set jar in hot water for a few hours to dissolve4 ,,padding ,,glue 7any color7 ,,for ,,printers ,requires no heating4 ,in addition to the above formula purchase ten cents' worth of analine 7any color desired7 from your druggist1 dissolve this in two ounces of glycerine4 ,then stir all together4 ,the glycerine keeps the glue flexible and prevents cracking4 ,this formula1 in print for the first time1 means the saving of a great many dollars4 ,,mixing ,,glass ,before mixing colors on glass1 glue or lay a sheet of white paper to the back4 ,or paint it white4 ,,when ,,to ,,use ,,opaque ,,process ,,ink ,when printing process colors on tinted stock1 use an opaque yellow1 follow with transparent colors4 ,,protective ,,varnish ,,for ,,printers' ,,plates ,printing plates1 especially etchings which are chiefly composed of zinc1 may be kept free from corrosion by dipping or painting with a liquid solution of gum arabic1 which is soluble in water4 ,,miscellaneous ,,black ,,and ,,white ,,as ,,colors ,figuratively speaking black and white are colors but technically they are not4 ,pigments that are jet black and pure white either vegetable or mineral are unknown4 ,it takes the addition of blue to alter the yellowish cast of white1 and blue to deepen the brownish cast of any so called black pigment4 ,white being a neutral color1 will harmonize with most any color combination4 ,,neutral ,,hues ,,and ,,tints ,neutral hues are made by a #ej-ej mixture of warm and cold colors4 ,white added to neutral hues produce neutral tints4 ,whiting--,chalk pulverized and freed from impurities4 ,,varnish ,,for ,,the ,,back ,,of ,,silvered ,,mirrors ,dammar gum1 #bj parts2 asphalt1 #c parts2 gutta-percha1 #e parts2 benzol1 #ge parts2 mix and dissolve4 ,to use this varnish1 pour it over the silvered surface and move the plate back and forth until it is distributed evenly over the surface4 ,soft toned 7flat finish7 colors and tints are very desirable in the modern home4 ,the flat or dull finish prevents the reflection of light1 and makes a desirable back ground for pictures and draperies4 ,,color ,,in ,,soap ,,bubbles ,the beautiful colors of an ordinary soap bubble are caused by light shining through the thin filament and being reflected from its inner surface4 ,,invisible ,,writing ,,ink ,dissolve two teaspoonfuls of white sugar in half cup full of boiling water4 ,write in the ordinary manner4 ,holding to the fire will cause the saccharine to turn brown4 ,,ink ,,for ,,rubber ,,stamp ,,pads ,dissolve ten cents' worth of red analine 7or any other color7 in two ounces of glycerine and apply to stamp pad with stiff brush2 smooth it on as evenly as possible4 ,,freshen ,,rubber ,,stamp ,,pads ,to freshen up old rubber stamp pads1 scrape surface of pad with a dull knife or edge of stiff cardboard to remove dust4 ,then apply clear glycerine4 ,pad is now almost as good as new4 ,,black ,,tracing ,,paper ,lamp black mixed with cold lard to the consistency of thick paste4 ,apply to thin paper with a piece of cloth4 ,then take a flannel cloth and rub until the color ceases to come off4 ,if red is desired use ,venetian red4 ,for blue use ,prussian blue1 and for green use chrome green4 ,,common ,,black ,,writing ,,ink ,one ounce extract of logwood2 pour over it two quarts of boiling soft water4 ,when dissolved add one drachm of yellow chromate of potassa4 ,put in clean bottles4 ,this formula will cost about #ae cents4 ,,everlasting ,,black ,,writing ,,ink ,two gallons of rain water1 pound gum arabic1 pound copperas1 pound powdered nut-galls1 pound of brown sugar4 ,bruise all and mix4 ,this is valuable for copying deeds1 etc41 as it will last for hundreds of years4 ,shake the mixture occasionally for the first ten days1 then it is ready for use4 ,,painting ,,water-,,colors ,,on ,,parchment ,,shades ,to prevent water-color paints and india inks from crawling on the greasy surface of parchment1 rub gently with finely powdered pumice1 using a soft cloth or cotton4 ,pulverized emery is equally efficient4 ,,to ,,color ,,flowers ,one method of coloring flowers is to cut them with long stems and let them stand for awhile in water containing dye of the desired color4 ,there are some species of dry1 strawlike flowers1 which are merely dipped in dye4 ,,to ,,turn ,a ,,hydrangea ,,blue ,it is claimed that putting a couple of lumps of alum at the roots of the hydrangea will cause it to turn blue4 ,,drawing ,,paper ,,made ,,transparent ,to render ordinary drawing paper transparent for tracing purposes1 sponge paper with a solution of #b parts absolute alcohol to #a of castor oil4 ,the alcohol soon evaporates and tracing paper is ready for use4 ,drawing or tracing may be made with india ink or lead pencil4 ,restore paper to its original state by immersing in absolute alcohol4 ,,drier ,,for ,,paints ,,on ,,parchment ,,lamp ,,shades ,japan drier is used almost exclusively as a paint medium for coloring parchment lamp shades4 ,pale ,japan is almost colorless and will not alter hues4 ,,to ,,clean ,,soiled ,,photographs ,lightly sponge with cotton dipped in alcohol4 ,,to ,,oxidize ,,copper ,,and ,,brass ,a solution for oxidizing copper or brass is composed of #b ounces of nitrate of iron and #b ounces of hyposulphite of soda to #a pint of water4 ,immerse the article until the desired shade is acquired3 then wash1 dry and brush4 ,,grease ,,and ,,paint ,,remover ,oil of turpentine1 fluid oz4 #e2 water of ammonia1 fluid oz4 #d2 wood alcohol1 fluid oz4 #e2 ether drops #be1 acetic acid1 fluid dr4 #d2 water1 fluid oz4 #e4 ,apply a little to stained parts with a brush1 rubbing briskly for a moment or two4 ,rinse out with clear water4 ,,to ,,remove ,,oil ,,stains ,,from ,,leather ,dab the spot carefully with spirits of sal ammoniac1 and after allowing it to act for awhile1 wash with clean water4 ,this treatment may have to be repeated a few times1 taking care1 however1 not to injure the color of the leather4 ,,bleaching ,,tallow ,dissolve alum1 five pounds1 in water1 ten gallons1 by boiling2 and when it is all dissolved1 add tallow1 twenty pounds4 ,continue the boiling for one hour1 constantly stirring and skimming4 ,when sufficiently cool to allow it1 strain through thick muslin2 then set aside to harden4 ,when taken from the water1 lay it by for a short time to drip4 ,,when ,,leather ,,becomes ,,sticky ,either sponge the leather thoroughly with a mild suds of borax soap1 and when perfectly dry1 apply thin coat of white shellac1 or else clean the leather with some solvent such as gasoline4 ,,common ,,blue ,,writing ,,ink ,sulphate of indigo and soft water4 ,color to suit4 ,,water ,,proofing ,,paper ,dissolve #b parts of borax and #b parts of shellac in #b parts of water1 and strain through a fine cloth4 ,with a brush or sponge apply this to the surface of the paper1 and when it is dry1 polish it to a high gloss with a soft brush4 ,,to ,,make ,,ornamental ,,grasses ,,glisten ,make a brine by boiling one quart of common salt in #a quarts of water for fifteen minutes4 ,tie bunches of ornamental grasses together and pour the solution over them while it is hot4 ,place in a dark room or cellar1 where it will not be disturbed and allow the grasses to stand for #bd hours1 then lift them out and hang them up to dry4 ,in a few hours they will be white and glistening4 ,,indelible ,,marking ,,ink #ajj grains nitrate of silver1 #a ounce distilled water1 #b drachms gum arabic1 #a scruple of indigo4 ,thoroughly mix4 ,,eye ,,strain ,eye strain can be eliminated while printing yellow forms under artificial light by using blue eye glasses4 ,this causes the yellow to appear green4 ,,marblizing ,marbling ,show ,cards1 ,backgrounds ,for ,photo ,engravers1 ,lampshades1 ,box ,tops1 ,paper1 ,etc4 ,illustration ,halftone illustrates three different cards marbled and cut to form a diamond shape4 ,process is fully described in the following pages4 ,illustration ,,french ,,ochre #af parts deep chrome yellow1 #d parts medium purple and #d parts bright red4 ,,hints ,,for ,,artists ,,marblizing ,marbling ,show ,cards1 ,backgrounds ,for ,photo ,engravers1 ,lampshades1 ,box ,tops ,paper1 ,etc4 ,illustration3 ,figure #a4 ,very little practice is required in this most fascinating art4 #a4 ,thin any oil paint or printer's ink to the consistency of water with turpentine1 gasoline or kerosene1 any number of colors4 ,mix each separately4 #b4 ,fill a pan1 wash basin1 or bath tub two-thirds full with water4 ,size of vessel to be determined by size of card to be marbled4 #c4 ,a teaspoonful or more of each color which will readily float on the water is the next step4 7,see ,fig4 #a47 ,a little black used along with certain colors produce very satisfactory results4 #d4 ,with your hand or paddle agitate the mixture of water and color and before the turbulent waves subside1 immerse card face down 7,see ,fig4 #b7 being careful to wet entire surface4 ,to avoid air pockets 7wide open colorless spaces7 bend card or paper slightly as shown in figure #b4 ,mottled marble effects are obtained when waves are nearly settled or quite still4 ,illustration3 ,figure #b4 ,the coloring adheres to the sheet instantly and it is needless to hold it under water4 ,colors will run if used in excessive quantity or failure to thin enough4 ,if air pockets form1 wait until thoroughly dry before redipping in solution4 ,white oil paint or printer's ink may be mixed with colors to form tints before same is thinned4 ,more thinning of colors also make lighter shades4 ,over painting on these backgrounds should be executed with color ground in ,japan to better adhere to the slightly greasy surface4 ,show card writers may obtain rather unique effects with the following3 ,on a blank card paint or draw all or part of the lettering and border with show card writer's white which is soluble in water4 ,when thoroughly dry dip into marbling solution as has been previously described1 when dry1 place in running water until all show card writer's white is washed free4 ,a clean soft brush will help loosen it4 ,the marbling colors should be a trifle darker with less agitation4 ,the darker background will help show to better advantage the pure white border and lettering4 ,white material is best for marbling4 ,white1 a neutral color will not alter the various colors and tints applied in this process4 ,however1 colored board may be used to good advantage for certain purposes4 ,,drawings ,,resemble ,,printing ,to ,make ,drawings ,resemble ,printing--,black and ,white or a ,variety of ,colors ,illustration ,first--,make light pencil sketch of subject on any good paper or cardboard such as is used when water-colors are employed4 ,outline all high lights and other portions which are to remain white4 ,second--,with brush or pen fill in all high lights and other portions which are to remain white with show card writer's white1 which is soluble in water1 and let dry4 ,third--,partly fill any shallow tray or dish with 7water proof7 ink1 black or colored1 if desired4 ,now dip drawing and let dry4 ,fourth--,when black or colored water proof inks are thoroughly dry place into running water until the white is washed free from drawing1 exposing the clean surface of material4 ,place between blotters which have been weighted and let dry4 ,with this process your drawings can show no brush marks4 ,the solids will remain smooth and dense as though printed4 ,if plates for printing purposes are to be made from drawings1 you will obtain splendid clean cut results by using this dipping process4 ,show card writer's white and 7water proof7 black or colors may be obtained at any art shop4 ,illustration ,,spatter ,illustration ,most everyone is familiar with spatter work4 ,shading and background effects for drawings1 show cards1 art candles1 etc41 may be treated with spatter in one or more colors4 ,color in the form of fine dots is thrown upon the unprotected portions of material by rubbing the inked bristles of a brush on a sieve or with a knife blade4 ,necessary materials3 ,india or common writing ink1 a tooth brush1 pocket knife1 rubber cement1 cardboard and some thin transparent tracing paper4 ,the latest and most effective method is to spatter through a sieve1 with a round medium stiff brush as shown in the accompanying illustration4 ,with point of knife cut out letters which are traced from painted show card and paste with rubber cement1 or weight with small objects to prevent color from running under the edges1 directly on the face of each corresponding letter and apply spatter4 ,remove these masks when the work has dried4 ,high lights may be added to spatter drawings with touches of ,chinese or show card writers white with a pencil brush4 ,gold ink spatter shows well on dark materials2 white is effective on black material4 ,pleasing backgrounds are produced by thinly covering material with rice1 flax seed1 leaves1 sawdust1 etc4 ,apply spatter and let thoroughly dry before disturbing to prevent smearing4 ,,index ,art of ,color ,mixing1 #d ,altering ,color1 #e ,color-,blindness1 #e ,color ,harmony1 #g ,color ,mixtures1 #bh ,color ,mixtures by ,parts1 #ba ,complimentary and ,harmonious ,color ,combinations1 #ah ,colors as ,seen by ,individuals1 #bg ,extremes of ,warm and ,cold1 #d ,good ,greens1 #da ,hints for ,artists1 #fe ,hints for ,painters and ,decorators1 #dg ,hints for ,pressmen1 #eg ,meaning of ,colors1 #c ,matching ,special ,colors1 #i ,miscellaneous ,colors by ,parts1 #dd ,miscellaneous1 #fj ,nature's ,color ,chart1 #f ,origin and ,definition of ,colors1 #aj ,pigment1 #f ,tint ,mixing1 #h ,tint ,mixtures by ,parts1 #bd ,two ,color ,mixtures by ,parts1 #da ,what ,is ,color1 #c ,warm and ,cold ,colors1 #c ---------------------------------------- -------------------------------- ,,bustanoby',s ,,how ,,to ,,mix ,,colors ,by ,,jacques ,h4 ,,bustanoby ,illustration ,a new practical book by a color expert1 for students1 artists1 dyers1 decorators1 show card writers1 painters1 printers1 pressmen1 etc41 to assist them in mixing oil colors to obtain standard and popular hues in as permanent and practical manner as possible4 ,great thought has been given to the permanency of the resultant colors4 ,it takes the guess work out of color mixing4 ,the book gives also the results of tests for the most legible contrasts of color for show cards1 posters1 billboards and large outdoor advertising display signs--#fj of them4 ,this book is #d x #g inches in size1 contains #aab pages with colored frontispiece and #djf formulas for #bfh colors and shades1 is built to fit the pocket readily1 and is bound in heavy paper covers4 ,sent postpaid upon receipt of ,price1 #a4jj4 ,,the ,,mixing ,,of ,,colors ,,and ,,paints ,by ,f4 ,n4 ,,vanderwalker ,editor of 8,the ,american ,painter and ,decorator10 ,author of 8,automobile ,painting10 8,estimates and ,profits10 8,new ,stencils and ,their ,use10 etc4 ,illustration ,this book will be found useful to all who mix colors or paints as it is very complete4 ,some of the chapter headings follow3 ,color and ,light2 ,description of ,color ,pigments2 ,properties of ,color ,pigments2 ,how ,colors ,are ,prepared for the ,trade2 ,basic ,paint ,pigments2 ,painting ,oils2 ,volatile ,thinners and ,driers2 ,general ,paint ,mixing ,methods2 ,color ,theory1 ,principles and ,use2 ,colored ,paint ,mixing ,methods2 ,mixing ,special ,purpose ,materials2 ,color ,harmony and ,management2 ,selecting ,color ,schemes2 ,printing ,inks4 ,the book contains #bib pages1 illustrated with line drawings and color chart4 ,bound in cloth1 size #e x #g in4 ,price1 #b4be postpaid4 ,,practical ,,color ,,simplified ,by ,,william ,j4 ,,miskella1 ,m4,e4 ,illustration3 ,the ,color ,chart ,this book answers many vexing questions that come up unexpectedly every day--the little technical puzzlers that harass and hinder you most4 ,it contains a wealth of information written in understandable form for the novice as well as the experienced user of colors4 ,the ,color ,chart alone is well worth the price of this entire book4 ,it consists of three sections which tell how to select warm and cool colors1 mix colors to get any tint or shade1 harmonize colors and avoid color discord4 ,twenty-five individual colors appear in the chart1 all applied by hand with lacquer to a cloth backed sheet that cannot be easily damaged4 ,mounted on it are the pivoted triangle and the arrow1 both white celluloid1 by the use of which color mixing1 matching and harmonizing are simplified4 ,four-page ,descriptive ,circular ,sent on ,request ,this book contains #aac pages1 illustrated in colors1 bound in cloth1 and will be sent postpaid upon receipt of ,,price #c4ge ,,the ,,theory ,,and ,,practice ,,of ,,color ,by ,bonnie ,e4 ,snow and ,hugo ,b4 ,froehlich 8,a ,key to the ,world of ,color0 ,,table ,,of ,,contents ,chapter ,i ,a ,world of ,color4 ,chapter ,,ii ,the ,source of ,color4 ,chapter ,,iii ,the ,primary ,colors and ,their ,uses in ,design4 ,chapter ,,iv ,the ,binary ,colors and ,how to ,use ,them4 ,chapter ,v ,color ,values3 ,tints and ,shades4 ,chapter ,,vi ,complementary ,colors and ,how to ,use ,them4 ,chapter ,,vii ,neighboring or ,analogous ,colors4 ,chapter ,,viii ,the ,color ,triad and the ,split ,complement4 ,chapter ,,ix ,colors in ,various ,degrees of ,intensity--or ,grayed ,colors4 ,chapter ,x ,psychology of ,color4 ,chapter ,,xi ,color ,harmonies in ,costume4 ,chapter ,,xii ,color ,harmonies in ,interior ,decorations4 ,chapter ,,xiii ,color in ,commercial ,design4 ,learn the ,correct ,use of ,color--,simply1 ,clearly1 ,scientifically4 ,enjoy ,color ,most by ,using ,it ,best ,,the ,,theory ,,and ,,practice ,,of ,,color is a book size #h x #aj inches and contains #fj pages with nine full-page hand-painted color charts which clearly illustrate the ,color ,theory4 ,price1 ,postpaid1 #d4ej ,,how ,,to ,,paint ,,signs ,,and ,,sho' ,,cards ,by ,e4 ,c4 ,,matthews ,illustration ,an up-to-date book containing a complete course of instruction4 ,illustrated with over #ajj alphabets and designs1 and written in plain ,english that everyone can understand and thus learn to paint good signs4 ,also suitable for commercial artists or anyone who has occasion to do hand lettering4 ,,table ,,of ,,contents3 ,introduction4 ,alphabets4 ,composition4 ,color ,combinations4 ,how to ,mix ,paints4 ,show ,cards4 ,window ,signs4 ,banners4 ,board and ,wall ,signs4 ,ready ,made ,letters4 ,gilding4 ,the ,silk ,screen ,process4 ,commercial ,art4 ,tricks of the ,trade4 ,this book contains #abh pages with #ajj illustrations1 including #be full page illustrations1 is bound in cloth1 with jacket printed in colors4 ,price1 #a4be ,net4 ,postage #aj cents additional4 ,learn ,how to ,,make ,,money as a ,,commercial ,,artist or ,,cartoonist ,illustration ,have you ever wished that you were the one who made comic drawings for the ,daily and ,sunday ,newspapers1 and received the enormous salary that some of those artists make8 ,or have you wanted to draw illustrations for books1 magazines1 cover designs1 posters1 car cards1 advertisements1 etc48 ,if you have1 and still want to do so1 don't fail to get the book4 ,,commercial ,,art and ,,cartooning ,by ,e4 ,c4 ,,matthews ,author of the book 8,how to ,paint ,signs and ,sho' ,cards0 ,this book contains a practical course designed to lead you from the simplest elementary drawing to the higher branches of illustration and is more complete and up-to-date than many 8courses0 selling at many times the price of this book4 ,it contains #abb pages1 #ab chapters with over #abe illustrations1 size #e x #g inches1 printed on coated paper and bound in cloth4 ,price #a4be4 ,postage #aj cents additional4 ,j4 ,s4 ,,ogilvie ,,publishing ,,company #eg ,,rose ,,street ,,new ,,york ,illustration3 ,,color ,,mixing ,,guide ,j4 ,s4 ,ogilvie ,publishing ,company #eg ,rose ,st41 ,new ,york ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,silently corrected obvious typographical errors and variations in spelling4 #b4 ,retained archaic1 non-standard1 and uncertain spellings as printed4 #c4 ,enclosed italics font in underscores4