diff options
Diffstat (limited to 'old/69507-0.txt')
| -rw-r--r-- | old/69507-0.txt | 3531 |
1 files changed, 0 insertions, 3531 deletions
diff --git a/old/69507-0.txt b/old/69507-0.txt deleted file mode 100644 index 85059b2..0000000 --- a/old/69507-0.txt +++ /dev/null @@ -1,3531 +0,0 @@ -The Project Gutenberg eBook of Color mixing guide, by John L. King - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Color mixing guide - for artists, painters, decorators, printing pressmen, show card - writers, sign painters, color mixers gives color mixtures by - parts - -Author: John L. King - -Release Date: December 9, 2022 [eBook #69507] - -Language: English - -Produced by: Richard Tonsing and the Online Distributed Proofreading - Team at https://www.pgdp.net (This file was produced from - images generously made available by The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK COLOR MIXING GUIDE *** - - - - - -[Illustration: - - PRIMARY AND SECONDARY COLORS -] - -All colors in this “color chart” are made from the primary colors, -yellow, red and blue. - -[Illustration: - - SECONDARY AND TERTIARY COLORS -] - -Overlapping plates on this sheet are printed in full color. Tints are -avoided in order to show secondary and tertiary colors in full strength. - -To lighten secondary or tertiary colors add more of the lightest color -of the combination. For example, if a lighter shade of primary green is -more desirable, use more yellow; to deepen, add blue; to use as a tint, -add white. - -[Illustration: - - The above plates illustrate the primary and secondary colors broken up - with light. -] - - - - - Color Mixing Guide - FOR - ARTISTS, PAINTERS, DECORATORS, PRINTING PRESSMEN, SHOW CARD WRITERS, - SIGN PAINTERS, COLOR MIXERS - GIVES COLOR MIXTURES BY PARTS - - - About three thousand colors and shades can be made from - yellow, red, blue, black and white. This little Color - Mixing Guide is worth many dollars, as it shows you - exactly how, without waste of time and material. - - Compiled by John L. King - - - NEW YORK; - J. S. OGILVIE PUBLISHING COMPANY - 57 ROSE STREET - - - - -No possession can surpass or even equal a good library to the lover of -books. Here are treasured up for his daily use and delectation riches -which increase by being consumed, and pleasures which never cloy. - - JOHN ALFRED LANGFORD. - -[Illustration] - - Copyright, 1923, - J. S. OGILVIE PUBLISHING CO. - - - - - WHAT IS COLOR? - - -Color is an effect caused by the reflection of certain rays of light. In -order to understand this statement, it is necessary that we know what -light is. Science teaches us that light is a form of intense vibration -which reaches the earth direct from the sun. These vibrations affect -certain nerves of the retina of the eye, causing the sensation known as -color. - -In the study of color, or in practice, it is necessary that we have a -standard. The standard colors are those seen in the spectrum or in the -rainbow. These colors are selected as standard colors because they are -the true colors as reflected by pure light and they never change. - -In dealing with pigments the primary colors are yellow, red and blue. -They are called primary colors because all other colors are produced -from them, and because they can not be produced by mixing other colors. -In other words, they are the original colors from which all other colors -are produced. - - - - - WARM AND COLD COLORS - - -Cold and warm colors: Red warm, blue cold, yellow bright. White, which -is also a cold color when added to black makes a cold gray. Yellow added -to red forms a warm orange. - - - - - MEANING OF COLORS - - -White is said to mean purity; blue, fidelity or truth; red, love or -sacrifice; green, envy; pink, modesty; violet, innocence; yellow, -jealousy; black, sorrow or distress, and lavender, passion. - - - - - ART OF COLOR MIXING - - -Mixing colors is an art in itself. With a combination of the chief -colors—red, yellow, blue (and black and white), thousands of shades and -hues may be produced. - -Mixed in various proportions, either in twos, or all three together, -these three colors produce every hue in nature or in art, every tint -that is physically possible. - -The primary colors are yellow, red and blue. - -The secondary colors are orange, violet and green. - -The tertiary colors are citron, russet and olive. - -The secondary colors are made as follows: Yellow and red make orange, -red and blue make violet, yellow and blue make green. - -The tertiary colors are mixed from the secondary colors as follows: -Orange and violet make russet, violet and green make olive, orange and -green make citron. - -Black, white and gray are natural tones in which no color is apparent: -White pales but does not brighten any color. Yellow is the brightening -color and always stands out strong and advancing; to deepen a color, use -its complementary color; to deepen yellow add purple; to deepen red add -blue; to deepen blue add burnt sienna, then you will have purity of -color. - - - - - THE TWO EXTREMES OF WARM AND COLD - - -Vermilion or any other red of orange hue (warm). Bluish blue (cold). -These two colors mixed together in certain proportions form light brown, -dark brown, red-brown, neutral brown and scarlet red. Purple made from -this combination is inferior. - - - - - COLOR BLINDNESS - - -Today, color-blindness is a serious difficulty in the way of a person -earning a living. A generation or so ago, it was considered a matter of -small importance. Many persons, suffering from the disease, went through -life without knowing they were afflicted. The only persons, as a class, -who were greatly affected by the problem were railroad men, who had to -take tests for the distinction of colors. - -Today, with the common use of automobiles and the rapidly growing use of -colored lights for signs and signals, color-blindness becomes an -important matter. - -The defect is hereditary and much more common in men than in women. A -woman may have normal eyesight herself and yet transmit the -color-blindness to her children. This is because it is what the -geneticist calls a recessive character. A man may have a color-blind -father and still not transmit the defect. But a color-blind woman, -married to a color-blinded man, transmits the defect to all off-springs, -both sons and daughters. - - - - - ALTERING COLOR - - -To brighten color, add yellow; to give it warmth, add red. To brighten -and warm, add orange. To deepen and cool, add blue. To cool and lighten, -add green; to deepen and warm, add purple. - -Ultramarine blue contains sulphur and will tarnish with admixtures of -pigment containing lead. Substitute zinc white. - - - - - PIGMENT - - -Pigment is any color preparation used by painters, printing pressmen, -etc. Coloring matter is found in pigment cells of plants, tissues of -animals and fish; in mineral form found in the earth, from coal, -vegetables, etc. - -Pigments may be divided into two classes, the organic and the inorganic. -Organic pigments are compounds of carbon and the inorganic all other -pigments. - -Paints and printers’ inks are made from the same pigments; the -difference is in the mordant. It all depends on the nature of the object -to be colored. The mordant is the fixer which holds the pigment. - -The selection of color material should be carefully made. Purchase from -reliable dealers an assortment of reds, blues and yellows, some black -and white. - - - - - NATURE’S COLOR CHART OF HARMONIOUS COMBINATIONS - - -Nature has given us a wonderful color chart, of harmonious colors -mingled together. - -Flowers furnish countless color combinations which are perfect in every -detail. Colors ranging from soft, delicate tints to deep, rich solids, -are found in great variety. - -Observe also the birds, whose plumage range from the most gorgeous to -the so-called jet black raven or black birds; even they when viewed in -sun or strong light reveal a picture of dazzling beauty. Beautiful tones -and semi-tones of purple, green and blue blending perfectly with the -black. - -It is unnecessary to mention in detail, the fields, woods and forest, -the seas, the lofty, stately mountain peaks of somber hues silhouetted -against an azure sky or viewed in the setting sun. - - - - - COLOR HARMONY - - -The secret of harmony is equal value, complementary colors are the color -or colors which, with any color or colors mentioned, make the three -primary colors, which constitute white light. For example if given color -is a primary, its complementary color is composed of the other two -primary colors; the complementary color of blue is orange, red and -yellow. And if given color be a secondary, its complementary color is -the remaining color. Thus the complementary color of green, blue and -yellow is red. - -It is well to bear in mind whether the subject to be treated is a -landscape scene, color design, form to be printed in colors, sign or -house painting that equal value of colors is the correct way. - -Any subject that has been ill-treated with too much red, or colors which -do not harmonize, form a combination that irritates. - -When colors are correctly used the effect is soothing. Remember that red -is the most irritating color and a little will balance well with a large -amount of other colors. - -The object to be painted or printed has a lot to do with the selection -of colors. It is well to study the subject carefully. - -Printing pressmen have their problems. When printing on white material -which is a neutral color he does not encounter the obstacles as when -printing colored inks on colored material. - -All fine pictorial color printing is executed on white material, this -being the only way to get pure coloring, as it is generally printed with -transparent ink. - - - - - MIXING TINTS - - Paints, Inks, Etc. - - -Tint mixing is both interesting and profitable, but in order to obtain -the best results, first-class materials are very essential. Great care -should be exercised in the selection of this material, as the product of -one manufacturer often varies, as to shade with that of another -manufacture, therefore it is well for the color mixer to make it a rule, -never to select colors promiscuously. - -With the following colors at hand all known colors may be obtained. -Lemon yellow, which is of greenish hue; yellow of orange hue; red with -orange hue; red which has a bluish cast. Blue with a reddish tone, also -blue with a leaning toward green. A liberal supply of white and some -black which does not contain blue. - -To produce a pure tint you must first produce a pure base of the primary -colors. White, which is a neutral color, does not alter the original -hue, it merely pales. In making pure greens from yellow and blue, the -yellow and blue should contain none of the primary color red; use a -greenish yellow and greenish blue. For pure orange use a yellow and red -which contain none of the primary blue; the yellow must be of reddish -hue, the red of yellowish cast. Pure violets are made with bluish reds -and reddish blues. The red and blue should not contain any of the -primary color yellow. - -Gray tint is white with black in various proportions. Neutral gray must -be mixed from a black which is unadulterated with a mixture of blue. To -warm, add a touch of red; to cool, add a small amount of blue. The -object in making neutral gray as above mentioned is to make possible a -true blending with other colors. For example, a bluish gray is desired, -add blue to neutral gray until the exact shade is acquired; for orange -gray add a touch of orange, etc., etc. - -Primary colors are made neutral by admixture, a medium or neutral yellow -is obtained by mixing lemon yellow with orange yellow. The greenish -tinge of lemon yellow is absorbed by the reddish tinge of orange yellow. -Neutral red and blue is made in the same manner; likewise the blues. - -As has been previously mentioned, white when added for tinting purposes -does not alter the hues. For example, the result of adding white in any -quantity to purplish red is a purplish pink tint, the purple hue will -remain. - -When warm tints are desired use a warm base. For warm pink select a red -of orange hue, a cool pink from bluish red, a neutral pink must be made -from a neutral base which is the result of adding primary bluish red and -primary yellowish red. - - - - - TO MATCH SPECIAL COLORS - - -In mixing special colors or shades for large jobs, first mix a small -quantity, write down exact proportions either by weight or volume, keep -a record for future reference. - -If you have failed to keep a record and have a small quantity on hand -and wish to duplicate it exactly, 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 match. Still another way; brush a -small quantity on a piece of transparent glass, add a like amount of the -paint you mix beside it and hold to the light. - -To match a specimen in printing ink; mix the color (small quantity), ink -up press, pull an impression then with your make ready knife cut a small -hole (any shape) in the most solid part of print, lay this over a solid -part of sample. - - - - - ORIGIN AND DEFINITION OF COLORS. - - -Alumina—One of the earths containing aluminum. - - -Aureolin Yellow—A transparent, delicate medium yellow. Is a nitrate of -cobalt. - - -Amber—A mineralized pale yellow, and sometimes reddish or brownish resin -of extinct pine trees. - - -Ambergris—A morbid secretion of the spermaceti whale of solid opaque ash -color. - - -Aniline—A substance obtained from indigo and benzol, a product of coal -tar. - - -Amaranth—The unfading flower; a color inclined to purple. - - -Antwerp Blue—A transparent color lighter than prussian blue; splendid to -mix with yellow for greens and tints. - - -Bronze Blues—Made by mixtures of ferro and ferricyanides of iron and -potassium or sodium. Bronze blue, so called for its bronzy effect. It is -an opaque, deep blue, used almost exclusively by printers. - - -Bronzes—Are pulverized gold, brass, copper and aluminum. Can be dyed -with aniline colors such as violet, green, etc. - - -Bone Black—Made by charring bones which are then finely ground. -Semi-transparent. - - -Burnt Sienna—Raw sienna when burnt yields a brownish orange, quite -transparent. - - -Buttercup—Common species of ranunculus, having bright yellow cup-shaped -flowers. - - -Bistre Brown—Obtained from soot of wood fires. A deep citron brown. - - -Cerulean Blue—A compound of oxides of tin and cobalt. Opaque, azure -blue. - - -Claret—A red wine color. - - -Carmine—A very deep toned crimson red, of the lake family. - - -Cobalt—A mineral of grayish color, and a metal obtained from it, which -in the state of oxide yields a permanent blue pigment. - -When cobalt blue is unobtainable substitute ultramarine blue. - - -Cobalt Blue—A deep, rich, transparent blue of violet hue. Is often -substituted for ultramarine. - - -Cobalt Green—Semi-transparent bluish green. This color and cobalt blue -are of French origin, and the process of manufacture is practically the -same. - - -Cadmium—A metal related to zinc; produces a bright semi-transparent -yellow or orange hue. - - -Chrome Yellows—Made by precipitation of potassium bichromate, with lead -acetate, varying in shade from pale yellow to deep orange. They are -opaque, and of good covering strength. - - -Chinese White—A semi-transparent white of zinc oxides, equally as white -as flake white. - - -Chrome—(Chromium). A metal which produces many colors and semi-colors. -Chrome green now takes the place of the dangerous arsenical green -pigment that was formerly used in printers’ ink, enamel and wall paper. - - -Chrome Greens—Are a mixture of chrome yellow with blue. - - -Carbon Black—Soot formed with natural gas and forced through finely -woven silk. One thousand cubic feet of gas being required to obtain one -pound of black. Opaque. - - -Crimson Lake—Transparent red, similar to carmine, but less scarlet. - - -Cremnitz White Lead—An opaque white. Made permanent by coating with -varnish. - - -Coal Tar Dyes—Are derived from coal tar by distillation and other -chemical processes. - - - COCHINEAL - -Much credit is due the cochineal as most all of our brightest reds can -be attributed to them. - -Scarlet and crimson furnish the base for carmine and lake. It requires -seventy thousand dried bodies of this small insect to equal one pound of -color. - -The task of gathering cochineal is a tedious one. They are gathered by -gently brushing them into cloth sacks with brushes made of fur just -before egg laying time, as only the bodies of the female can be used. At -this period they are scarlet, the brightest of all reds. Later they -assume a deeper cast called crimson. - - -Dye is a colored substance which can be made soluble in either water or -oil. - - -Dragon’s Blood—A resinous substance from the East Indies. A dull -semi-transparent red. - - -Emerald—A stone or gem of bright green. - - -Fawn—Light brown. - - -Flake White—A carbonate of lead. An opaque fine white. - - -French Blue—An artificial imitation of ultramarine, discovered by French -chemists early in the nineteenth century. It is more transparent than -the original, and an excellent imitation. - - -Gypsum—A mineral found in a compact state and crystallized state, as -alabaster, or in the form of soft, chalky stone which by heat becomes -the fine white powder known as plaster of paris. - - -Geranium Lake—A bright transparent red of bluish hue, also of yellowish -hue. Should not be mixed with earth pigments such as raw sienna, ochers, -umbers, etc. Geranium lake if a coal tar product is more permanent than -if obtained from other sources. - - -Gamboge—A gum resin from trees, native of Ceylon. Is a bright -transparent yellow of little depth. - - -Gallstone—Rich deep toned fugitive yellow from the gall bladder of oxen. -Yellow carmine can be substituted. - - -Heliotrope—Flower of a grayish purple color. - - -Ivory Black—A rich transparent black, from charred ivory. - - -Indigo Blue—Deep blue from the leaves of the Indigofera plant of India. - - -Intense Blue—Purified Indigo blue. - - -Indian Yellow—Deposit obtained from the urine of the camel. A beautiful -yellow. - - -Indian Red—An earth pigment of Bengal. Ranges in color from a light, -bright red to a dark red of purplish hue; nearly opaque; mixes well with -all other colors except indigo. When genuine Indian red and indigo come -into contact with one another, they soon assume a faded shade resembling -rust. - -Indian red substitute may be mixed with indigo substitute in safety; -tints made are more permanent than obtained from the originals. - - -Lake Colors—The term “lake” as applied to color pigments, has reference -to the method of manufacture. The pigment is produced by the saturation -of a base with a dye in it, which is then ground in varnish. - -Avoid mixing lake colors with raw earthen pigments if permanency is -desired. - - -Lamp Black—Is made by burning creosote or tar oil. Opaque. - - -Lacquer—A varnish which has the appearance of enamel. - - -Maroon—A brownish crimson or claret color. - - -Mauve—A brilliant red violet, of the lake group. Also of a bluish violet -hue. The most fugitive of all colors. - - -Marigold—Several composite plants bearing golden-yellow flowers. - - -Magenta is a brilliant blue-red color derived from coal tar. - - -Madder red is obtained from the madder plant roots, a climbing -perennial. - - -Mastic—Resin from a tree of southern Europe, yielding a varnish. - - -Mummy Yellow—The ancients obtained a dark yellow pigment by grinding -mummified human bodies. - - -Naples Yellow—A pale semi-opaque, straw colored yellow. - - -The greenish hue of prussian blue may be neutralized with a touch of -crimson lake. - - -New Blue—Pale ultramarine. - - -Prussian Blue—Of German origin. A deep blue, possessing a greenish -undertone. A transparent and good covering pigment. - - -Pure Scarlet—An iodide of mercury. More brilliant than vermilion and -opaque. - - -Pipsissewa—An evergreen plant bearing waxen flesh-colored flowers. - - -Permalba White—A fine opaque white for artists, etc. Contains neither -lead or zinc. Can safely be mixed with ultramarine and all other -pigments. A product of an American manufacturer. - - -Red Lead—Used on iron prevents rust. Is an inexpensive product of lead, -largely used as barn paint. Possesses good covering qualities. - - -Rose Madder or Madder Lake—A beautiful transparent rose color of a clove -or flesh pink hue. Alizarin, a coal tar product, now affords a better -substitute than the original pigment obtained from the madder plant. - - -Raw Sienna—An ocherous transparent earth pigment of orange yellow, from -Toscany. - - -Saffron—A bulbous plant, the stigmas of which are used as a coloring. -Yields an orange red extract. - - -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 -cast. - - -Spruce—A name given to several species of pine trees. Shades vary, but -the general hue is between a light yellowish brown and yellowish orange. - - -Sepia—A brown substance taken from the sepia cuttle fish. This dark inky -substance which he emits into the water thoroughly screens him from -enemies. - - -Scarlet Lake—A transparent red of scarlet hue. - - -Snuff Brown—Pulverized tobacco. - - -Sienna—An ocherous earth. Sienna yields an orange yellow tint; burnt -sienna a reddish brown. - - -Turquoise—A stone or gem of greenish blue. - - -Tantalum—A rare metallic element obtained as a black powder from several -minerals. - - -Imitation Ultramarine Blue—Is made by heating together, China-clay soda, -sulphur and charcoal. - - -Umber—a soft earthy pigment of an olive brown color in the raw state; -burnt umber has a reddish hue and oftimes called turkey umber. - - -Ultramarine Blue—A rare and durable sky blue obtained from the mineral -lapis-lazuli, a stone found in Asia. The tedious mechanical process of -extracting the color, makes it the most costly of all pigments. - - -Ultramarine Ash—Bluish gray of azure hue, residue of ultramarine. - - -Venetian Red—A semi-transparent bright red with little orange. - - -Vine Blue—Is made from charred vine twigs. Is imitated with acetylene -gas. - - -Vernis Martin—French name for imitation of Chinese and Japanese Lacquer, -which resembles enamel. Brought to perfection by the Martin brothers in -the reign of Louis XV of France. - - -Vandyke Brown—Prepared from a bituminous ochre. A slow drying, rich, -semi-transparent brown, so named in honor of the eminent artist, -Vandyke. Very sensitive to sunlight; requires a liberal amount of japan -dryer. - - -Vermilion Red—A sulphide of mercury. Varies in hue from crimson and -scarlet to deep orange. Opaque. - - -White Lead—A hydrated carbonate of lead, obtained as a dry powder. -Opaque; covers well. - - -Whitewash—A composition of lime and water, or of whiting. - - -Yellow Ochre—An earth pigment varying in color from a light yellow to an -orange brown; possesses little transparency. - - - - - COMPLEMENTARY AND HARMONIOUS COLOR COMBINATIONS - - For Painters, Decorators, Show Card Writers, Sign Painters, Art - Instructors, Students, Printers, Pressmen, Etc. - - -Complementary color combinations may be used full strength or as soft -delicate tints, the hue and harmony will remain. - - Azure Blue with very light gray. - Azure Blue with white. - Amber with straw. - Amber with cream. - Amber with old ivory. - Blue with red. - Brownish Buff with old ivory. - Deep Cream or Buff with ivory. - Deep Cream with light sage green. - Green with red. - Greenish Blue with light pinkish gray. - Gray with white. - India Tint with Persian orange. - Light Olive Green with ivory. - Light Brownish Buff with cream. - Light Tan with straw. - Light Tan with old ivory. - Lavender with white. - Lavender with gray. - Lavender with old gold. - Lavender with old ivory. - Lavender with ivory. - Lavender with cream. - Lavender with straw. - Lavender with pea green. - Lavender with regular pink. - Lavender with dull pink. - Lavender with purplish pink. - Lavender with orange. - Lavender with golden rod. - Medium Tan with light brownish buff. - Medium Blue with old ivory. - Medium Blue with azure blue. - Old Rose with old ivory. - Old Rose with pearl gray. - Old Rose with azure blue. - Old Rose with light ivory. - Old Rose with cream. - Old Rose with straw. - Old Rose with light buff. - Purple with red. - Purple with green. - Pearl Gray with light ivory. - Red with blue. - Sage Green with light ivory. - Silk Green with pale lavender. - Sea Green with old ivory. - Tan with old rose. - Turquoise Blue with lavender. - Violet with orange. - Violet with red. - Violet with brown. - Violet with pink. - Violet with salmon. - Violet with buff. - Violet with white. - Violet with amber. - Violet with ivory. - Violet with old ivory. - Violet with cream. - Violet with straw. - Violet with raw sienna. - Violet with burnt sienna. - Violet with white. - Violet with gray. - Violet with drab-gray. - Violet with pink gray. - Violet with brown gray. - Violet with emerald green. - Violet with olive green. - Violet with sage green. - Violet with sea green. - Violet with apricot. - Violet with cherry. - Violet with scarlet. - Violet with russet. - Violet with old gold. - Violet with brass. - Violet with silver. - Violet with copper. - Violet with bronze. - Vermilion with sage green. - Yellow with purple. - White with black. - Yellow with green. - - - - - COLOR MIXTURES BY PARTS - - - Color Desired Parts - - Azure Blue—50 white; 1 ultramarine blue. - - Brilliant—4 Indian red; 1 madder lake. - - Blue-Gray—100 white; 3 Prussian blue; 1 black. - - Bright Blue—20 zinc white; 1 cobalt blue. - - Blue Grass—7 white; 2 Paris green; 1 Prussian blue. - - Blue—12 borate of lime; 6 oxide of zinc; 10 litharge; 9 feldspar; 4 - oxide of cobalt. - - Blue Black—9 black; 4 Prussian blue. - - Bronze Green, Light—3 raw turkey umber; 1 medium chrome yellow. - - Bronze Green, Medium—5 medium chrome yellow; 3 burnt turkey umber; 1 - black. - - Bronze Green, Dark—20 black; 2 medium chrome yellow; 1 dark orange - chrome. - - Bottle Green—5 medium chrome green; 1 black. - - Brown Stone—18 burnt umber; 2 dark golden ocher; 1 burnt sienna. - - Cherry Red—50 vermilion; 50 No. 40 carmine. - - Coffee Brown—6 burnt turkey umber; 2 French ocher; 1 burnt sienna. - - French Blue—5 cobalt blue; 2 zinc white. - - Flesh Color—19 French ocher; 1 deep English vermilion. - - Fern Green—5 lemon chrome yellow and 1 each of light chrome, green and - black. - - Foliage Green—3 medium chrome yellow; 1 brownish black. - - Foliage Brown—50 Vandyke brown; 50 orange chrome yellow. - - Green Blue—100 white; 5 lemon chrome yellow; 3 ultramarine blue. - - Gold Russet—5 lemon chrome yellow; 1 light Venetian red. - - Hazy Blue—60 white; 16 ultramarine blue; 1 burnt sienna. - - Indian Brown—50 light Indian red; 50 French ocher; 50 black. - - Mahogany—3 dark golden ocher; 1 dark Venetian red. - - Maroon, Light—5 dark Venetian red; 1 black. - - Maroon, Dark—9 dark Indian red; 1 black. - - Mineral Blue—5 white; 4 cobalt blue; 2 red madder lake; 1 black. - - Olive Green—7 light golden ocher; 1 black. - - Orient Blue—25 white; 2 Prussian blue; 1 lemon chrome yellow. - - Ocherous Olive—9 French ocher; 1 raw umber. - - Orange Brown—50 burnt sienna; 50 orange chrome yellow. - - Oriental Red—2 light Indian red; 1 red lead. - - Purple—8 crocus martis; 2 red hematite; 1 oxide of iron. - - Purple—2 rose pink; 1 ultramarine blue. - - Purple, Black—3 black; 2 rose pink. - - Purple, Brown—5 dark Indian red; 1 each of ultramarine blue and black. - - Roman ocher—23 parts French ocher; 1 each of burnt sienna and burnt - umber. - - Royal Blue, Dark—18 ultramarine blue; 2 Prussian blue; to lighten use - white. - - Royal Purple—2 ultramarine blue; 1 carmine or lake. - - Russet—14 orange chrome yellow; 1 medium chrome green. - - Royal Blue—34 white; 19 ultramarine blue; 2 Prussian blue; 1 rose - madder or rose lake. - - Seal Brown—10 burnt umber; 2 golden ocher; 1 burnt sienna. - - Snuff Brown—50 burnt umber; 50 light golden ocher. - - Solid Blue—5 white; 1 ultramarine blue. - - Sapphire Blue—2 zinc white; 1 chinese blue. - - Terra Cotta—2 white; 1 burnt sienna; 2 French ocher; 1 Venetian red. - - Tuscan Red—9 Indian red; 1 rose pink. - - Turquoise Blue—20 white; 3 ultramarine blue; 1 lemon chrome yellow. - - Violet—3 ultramarine blue; 2 rose lake; 1 black. - - Yellow—4½ parts tin ashes; 1 crude antimony; 1 litharge and 1 red - ocher. - - Yellow, Amber—10 medium chrome yellow; 7 burnt umber; 3 burnt sienna. - - Yellow, Canary—5 white; 2 permanent yellow; 1 lemon chrome yellow. - - Yellow, Golden—10 lemon chrome yellow; 3 deep orange chrome; 5 white. - - Yellow, Brownstone—3 white; 1 lemon chrome yellow; 1 permanent yellow. - - - TINT MIXTURES BY PARTS - - Green Tints - - Color Desired Parts - - Apple Green—50 white; 1 medium chrome green. - - Citron Green—100 white; 3 medium chrome yellow; 1 black. - - Emerald Green—10 white; 1 Paris (emerald) green. - - Grass Green—10 oxide of chrome; 2 tin ashes; 5 whiting; 1 crocus - martis; 1 bichromate potash. - - Gray Green—5 white; 1 Verona green. - - Marine Green—10 white; 1 ultramarine green. - - Nile Green—50 white; 6 medium chrome green; 1 Prussian blue. - - Olive Green—50 white; 2 medium chrome yellow; 3 raw umber; 1 black. - - Olive Drab—50 white; 8 raw umber; 5 medium chrome green; 1 black. - - Pea Green—50 white; 1 light chrome green. - - Satin Green—3 white; 1 Milori green. - - Sage Green—100 white; 3 medium chrome green; 1 raw umber. - - Sea Green—50 white; 1 dark chrome green. - - Stone Green—25 white; 2 dark chrome green; 3 raw umber. - - Velvet Green—20 white; 7 medium chrome green. - - Violet—3 ultramarine blue; 2 rose lake; 1 black; 2 burnt sienna. - - Water Green—15 white; 10 French ocher; 1 dark chrome green. - - - Brown Tints - - Chocolate—25 white; 3 burnt umber. - - Cinnamon—10 white; 2 burnt sienna; 1 French ocher. - - Cocoanut—50 white; 50 burnt umber. - - Dark Drab—40 white; 1 burnt umber. - - Dark Stone—20 white; 1 raw umber. - - Fawn—50 white; 3 burnt umber; 2 French ocher. - - Golden Brown—25 white; 4 French ocher; 1 burnt sienna. - - Hazelnut Brown—20 white; 5 burnt umber; 1 medium chrome yellow. - - Mulberry—10 manganese; 2 cobalt blue; 2 saltpeter. - - Purple-Brown—50 white; 6 Indian red; 2 ultramarine blue; 1 black. - - Red-Brown—12 hematite ore; 3 manganese; 7 litharge; 2 yellow ocher. - - Seal Brown—30 white; 5 burnt umber; 1 medium chrome yellow. - - Snuff Brown—25 white; 1 burnt umber; 1 Oxford ocher. - - - Red Tints - - Cardinal Red—50 white; 50 scarlet lake. - - Carnation Red—15 white; 1 scarlet lake. - - Claret—21 oxide of zinc; 4 crocus martis; 4 oxide of chrome; 3 red - lead; 3 boracic acid. - - Coral Pink—15 white; 2 bright vermilion; 1 deep orange chrome. - - Deep Rose—10 white; 1 red lake. - - Deep Purple—5 white; 1 ultramarine blue; 1 rose pink. - - Deep Scarlet—15 bright vermilion; 2 red lake; 5 white. - - Flesh Pink—100 white; 1 orange chrome yellow; 1 red lake. - - Indian Pink—100 white; 1 light Indian red. - - Lavender—50 white; 2 ultramarine blue; 1 red lake. - - Light Pink—50 white; 1 bright vermillion. - - Lilac—50 white; 1 rose pink. - - Mauve—15 white; 2 ultramarine blue; 1 carmine lake. - - Orange Pink—2 white; 1 dark orange chrome. - - Purple—5 white; 2 ultramarine blue; 1 red madder lake. - - Royal Pink—5 white; 1 carmine lake. - - Royal Rose—20 white; 1 rose lake. - - Red Brick—10 white; 3 light Venetian red; 1 yellow ocher. - - Reddish Terra Cotta—2 white; 1 burnt sienna. - - Salmon—50 white; 5 deep orange chrome. - - Shell Pink—50 white; 2 bright vermilion; 1 orange chrome; 1 burnt - sienna. - - Violet—15 white; 4 ultramarine blue; 3 rose lake; 1 black. - - - Gray Tints - - Ash Gray—30 white; 2 ultramarine blue; 1 burnt sienna. - - Cold Gray—500 white; 6 black; 1 Antwerp blue. - - Dove Color—12 manganese; 5 steel filings; 3 whiting; 1 oxide of - cobalt. - - Dove Gray—200 white; 5 ultramarine blue; 2 black. - - French Gray—150 white; 2 black; 1 orange chrome yellow; 1 chrome red. - - Lead Color—50 white; 1 black. - - Lustrous Gray—10 white; 1 graphite (plumbago). - - Olive Gray—200 white; 2 black; 1 medium chrome green. - - Pure Gray—100 white; 1 black. - - Pearl Gray—100 white; 1 ultramarine blue; 1 black. - - Silver Gray—150 white; 2 black; 3 Oxford ocher. - - Warm Gray—100 white; 3 black; 2 French ocher; 1 light Venetian red. - - - - - COLOR MIXTURES - - COLORS AS SEEN BY INDIVIDUALS - - -The same color scheme does not appeal to every one. Persons of refined -temperament are best pleased with soft, delicate colors and shades. - -People who are less refined admire deeper tones; yet want absolute -harmony, while coarse individuals are satisfied with bright gaudy -colors. Color is a sensation produced on the retina of the eye, by the -action of one or more of the elements of light. Exact proportion by -parts are not given in the following in order to let you be the judge of -the exact shade. 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 one. - -You will note in the entire list of color mixtures different -combinations to get practically the same color, scarcely no two persons -view the same shade alike. - -In listing different mixtures for the same color you have a better -chance of using up some of the many colors that would otherwise -accumulate, also giving you your choice of the color that is best -adapted to your needs. More than 10,000 colors, hues and tints can be -obtained from this Guide. Example or rule for obtaining special shades -such as are not listed. Look through the list, carefully select the -combination that comes nearest to your requirements. If the listed color -is too light add more of the darker colors or if too dark add the -lighter colors. - -In mixing colors, always commence with the lighter and add the darker, -otherwise you will mix a greater quantity than desired. In this list of -color combinations the first named color always predominates; the others -are named in the order of amount needed. Follow this rule unless -otherwise instructed. - - Color Desired Parts - - Alderney Brown—Deep chrome yellow and white, darkened with black. - - Amber—Equal parts burnt sienna and burnt umber; warm with orange and - tone down with black and white. - - Apricot—Warm medium yellow with venetian red or vermilion and deepen - with crimson. - - Ash Gray—White, tinged with black and softened with ocher. - - Asiatic Bronze—Is raw umber lightened with yellow and white. - - Autumn Green—Is two parts emerald green and one of yellow toned down - with a little black. - - Azure Blue—Like sky blue. No definite proportion. One part cobalt, - prussian or ultra blue may be added to about forty zinc white. - - Acacia—Black, indian red, and a tinge of prussian blue. - - Acorn Brown—Same as chocolate, but lighten with white. - - Alderney Brown—Black, orange chrome yellow, French ocher and white. - - Amber Brown—Burnt sienna, orange chrome yellow, burnt umber, a touch - of black, and white. - - Ashes of roses—White with tints of black and purple. - - Amaranth—Tuscan red and vermilion in about equal parts, and - ultramarine blue. - - Anemone—Vermilion, prussian blue, a little white and black. - - Alabaster—White faintly tinged with medium chrome yellow. - - Apricot—Medium chrome yellow, venetian red and carmine. - - Armenian Red—Venetian red and French ocher. - - Ash Gray—White, French ocher, orange chrome yellow and a touch of - venetian red. - - Asiatic Bronze—Raw umber, medium chrome yellow and white. - - Autumn Leaf—White, French ocher, orange chrome yellow and a touch of - venetian red. - - Azure Blue—White and prussian blue. - - Azure Gray—White, ultramarine blue tinted with black. - - Bottle Green—Dark green and purple. - - Bronze Green—Bronze blue and yellow. - - Brown—Red and black. - - Brown (red hue)—Red, blue and a small amount of black. - - Brown (regular)—Medium yellow, red, blue, toned with black. - - Buff—White, dark yellow and venetian red. - - Buff—Medium yellow, white and a touch of red. - - Buff—Orange and white. - - Buff—Orange yellow and white. For deeper shades add brown of orange - hue. - - Begonia—Black, scarlet vermilion, a touch of prussian blue. - - Bismark Brown—Burnt sienna, burnt umber, orange chrome yellow and - white. - - Bordeaux Blue—Black warmed with orange and toned down with prussian - blue. - - Black Slate—Tone black with Prussian blue and lighten with white. - - Biscuit Color—Zinc white and a little Naples yellow. - - Buff—Yellow and white, tinted with red. - - Black—Yellow, red and blue. - - Black Slate—Black, prussian blue and white. - - Bordeaux Blue—Black, orange chrome yellow, prussian blue. - - Bottle Green—Prussian blue, black and chrome yellow. - - Brass—White, medium chrome yellow and French ocher. - - Bronze-Red—Vermilion, orange chrome yellow, and black. - - Brick Color—Yellow ocher and venetian red. - - Bronze Green—Deep chrome green and black. Or medium chrome green, - black and raw umber. - - Bronze Yellow—Medium chrome yellow, raw umber and touch of white. - - Brown—Venetian red, yellow ochre, deepen with black. - - Browns—Use venetian red for base and add French ocher and black in - various proportions for different shades of brown wanted. - - Brown Drab—Same as above with a little white added. - - Buttercup—White and lemon chrome yellow. - - Cambridge Red—Vermilion and prussian blue. - - Cafe au Lait (Coffee with Milk Color)—Burnt umber, white, French ocher - and venetian red. - - Carnation—English vermilion, madder lake (or carmine), and for lighter - shades add zinc white. - - Cerulean Blue—Zinc white and ultramarine blue. Cobalt blue is better - but not so common. - - Chamois—White, French ocher, and medium chrome yellow. - - Chamoline—White raw sienna, and lemon chrome yellow. - - Chartreuse—Venetian red, medium chrome yellow, French ocher and black. - - Chocolate—Burnt umber and crimson vermilion (or madder lake). Or - French ocher, black, and a little venetian red. - - Chocolate—Brown, red and black. - - Chocolate—Raw umber, red, black. - - Claybank—French ocher, orange chrome yellow and white. - - Clay Drab—White, medium chrome yellow, raw and burnt sienna. - - Cinnamon—White, burnt sienna, French ocher and medium chrome yellow. - - Cobalt Blue—When not obtainable as a color may be mixed ultramarine - blue and zinc white. - - Coral Pink—Vermilion, white and medium chrome yellow. - - Colonial Yellow—White, medium chrome yellow, and a touch of orange - chrome yellow. - - Chestnut—Red, black and yellow. - - Chestnut—Yellow, red, toned with black. - - Claret—Madder lake, ultramarine blue, English vermilion and black. - - Claret—Red and prussian blue. - - Claret—Red, umber, black. - - Copper—Red, yellow and black. - - Copper—Red, yellow, black. - - Cream—White and pale yellow. - - Cobalt Green—Zinc yellow and ultramarine blue. - - Cobalt Green—Cadmium yellow and cobalt blue. - - Claret—Red, yellow, black. - - Dark Green—Blue, lemon and black. - - Drab—White, medium yellow and black. - - Drab—White, yellow ocher, red, black. - - Drab—White, yellow, red. - - Drab—White and umber. - - Dark Brown—Red, black and blue. - - Deep Blue—Black and blue. - - Deep Lilac—Ultramarine and carmine. - - Dove—White, ultramarine blue, indian red and black. - - Dove—White, vermilion, blue, yellow. - - Dregs of Wine—Dark tuscan red, black, a touch of zinc white. - - Electric Blue—Ultramarine blue, white and raw sienna. - - Ecru—White, French ocher, burnt sienna and black. Properly this color - is that of raw, unbleached flax. - - Emerald—Pale chrome green, and a touch of prussian blue. Paris green - is a true emerald green. - - Egyptian Green—White, raw umber, lemon chrome yellow, and prussian - blue. - - Fawn—White, medium yellow, bright red, toned with black. - - Fawn—White, medium chrome yellow, venetian red and burnt umber. - - Flesh Color—White, medium chrome yellow, French ocher, and venetian - red. - - Flesh—White, yellow ocher, vermilion. - - Flesh—White, lemon yellow, tone with lake red or other bright red. - - Flesh—Straw and carmine. - - French Gray—White, black, a touch of ultramarine blue, and madder - lake. - - French Gray—Purple, tinted with black. - - French Red—Indian red, English vermilion, with a second impression of - madder lake over the other two mixed. - - Fawn—White, red, yellow. - - Flesh—White, lake and lemon yellow. - - Gazelle—French ocher, dark tuscan red, venetian red, black, and white. - - Geranium—Vermilion, indian red, and black. - - Gobelin Blue—Black, white, prussian blue, and medium chrome green. - - Gold—White, medium chrome yellow, French ocher, a touch of English - vermilion. - - Golden Brown—French ocher, orange chrome yellow, black, and a touch of - white. - - Gray Green—White, ultramarine blue, lemon chrome yellow, and black. - - Grass Green—Very light chrome green. It is improved by a second - impression of emerald green. - - Green Stone—White, medium chrome green, raw umber and French ocher. - - Green Bronze—Chrome green, yellow and a touch of black. - - Green (bright)—Lemon yellow and greenish blue. - - Green (olive)—Medium yellow and purple. - - Grass Green—Lemon yellow with chrome, Antwerp, milori or bronze blue. - - Sea Green (neutral)—Prussian blue toned with light red. - - Deep Green—Antwerp blue and emerald green. - - Iris Leaf Green—Light chrome yellow and medium chrome green. - - Grays—White and black in various proportions. - - Gray Stone—White, black, prussian blue and venetian red. - - Gray Drabs—White, black and a little burnt umber in various - proportions, according to shade wanted. - - Gray (cold)—White and a little black tinted with azure blue. - - Gray (sky)—White, rose madder and cobalt or ultramarine blue. - - Gray (warm)—White and a little black tinted with red of yellowish hue - or orange. - - Gray (neutral)—White and black. Black not to contain any blue. - - Cool Gray—Antwerp blue toned with black. - - Warm Gray—Burnt sienna toned with black. - - Warm Gray Tints—White and black in various proportions warm with burnt - sienna. - - Gray (cool)—Antwerp blue toned with black. - - Gray (warm)—Burnt sienna toned with black. - - French Gray—White, prussian blue, lake. - - Greens—Some very good greens are made from mixtures of yellows and - Antwerp blue. - - Green Tints—White, yellow and Antwerp blue. - - Green (dark)—Lemon yellow, Antwerp blue, tone with black. - - Gold—White, yellow and sienna. - - Gold—Yellow ocher, white, tinted with red. - - Green—Yellow and black. - - Grass Green—Lemon yellow and bronze blue. - - Hay Color—White, orange chrome yellow, light chrome green and indian - red. - - Heliotrope—Zinc white, venetian red and ultra blue. - - Indian Pink—White and indian red. - - Indian Brown—Indian red, black and French ocher. - - Iron Gray—Black, white, and a touch of orange chrome. - - Indigo—Antwerp blue toned with black. - - Icy Green—French ocher, black and prussian blue. - - Jasper—Black, white, medium chrome yellow and indian red. - - Jonquil—White, medium chrome yellow and a touch of English vermilion. - - Lavender—White, black, ultramarine blue and a touch of madder lake. - - Lead Color—White, black and a touch of prussian blue. - - Leather—French ocher, burnt umber. For marn tones add venetian red. - - Lemon—Is afforded by lemon chrome yellow. - - Leaf Buds—White, orange chrome yellow and light green. - - Lilac—White and dark indian red. - - London Smoke—Yellow ocher, ultramarine blue, black, white. - - Lavender—White and purple. - - Lavender—White, red and blue. - - Limestone—White, yellow ocher, tinted with black and red. - - Lemon—Lemon green, toned with white. - - Lemon—Lemon yellow, white and a very small quantity of chrome green. - - Lemon Tints—Add white to lemon. - - Magenta—Lake and purple. - - Maroon—Medium yellow and red darkened with black. - - Mauve—Yellow ocher, venetian red, black and white. - - Mastic—White, French ocher, venetian red, a touch of black. - - Maroon—Carmine (or madder lake), black, and a little orange chrome - yellow. Or tuscan red, orange chrome yellow and a touch of - black. - - Manila—White, medium chrome yellow and French ocher. - - Marigold—Medium chrome yellow, white and orange yellow. - - Mignonette—Medium chrome green, prussian blue, medium chrome yellow - and black. - - Moorish Red—Vermilion and madder lake. - - Mouse Color—White, black and a touch of venetian red and burnt umber. - - Moss Rose—Lemon chrome yellow, medium chrome green and white. - - Mulberry—Black, vermilion and a touch of prussian blue. - - Myrtle Green—Dark chrome green, ultramarine blue and white. - - Nile Blue—White, prussian blue and a touch of medium chrome green. - - Normandy Blue—Medium chrome green, ultramarine blue and a touch of - white. - - Nut Brown—Black, venetian red, medium chrome yellow and French ocher. - - Neutral Tint—White, alizarin red and indigo toned with black. - - Orange (neutral)—Cadmium yellow and venetian red. - - Olive—Yellow and a small amount of black. - - Olive—Yellow, white, blue and black. - - Olive—Gray, yellow and blue. - - Orange—Red and yellow. - - Old Gold—White, medium chrome yellow, French ocher and a little burnt - umber. - - Olive Brown—Raw umber and lemon chrome yellow. - - Olive—Lemon chrome yellow, prussian blue and black; about equal parts - of the latter. Another olive, less bright, is made with French - ocher, prussian blue and black. - - Oak Color—White, French ocher and a little venetian red. - - Orange—Is orange chrome yellow. - - Orange Brown—Orange chrome yellow, raw sienna and a touch of burnt - umber. - - Oriental Green—Raw umber and lemon chrome yellow. - - Opal Gray—White, burnt sienna and ultramarine blue. - - Olive Green—Medium yellow and purple. - - Pearl—White, ultramarine blue and black. - - Pink—White and lake. - - Purple—Blue and lake. - - Peach Blossoms—White, pale indian red and a touch of madder lake. - - Pearl—White, black and a touch of ultramarine and carmine. - - Pea Green—White and medium chrome green. - - Peacock Blue—Ultramarine blue, light chrome green and zinc white. - - Peach—White, vermilion. - - Pink—White, vermilion and lake. - - Pink—White and carmine. - - Purple (pure)—Mix together red with bluish cast and blue of reddish - hue. - - Purple (light)—Violet, red with a bluish cast and white. - - Purple (deep)—Violet, red with a bluish cast, deepen with black. - - Purple—Rose madder and ultramarine blue. - - Purple—Rose madder and cobalt blue. - - Purple—Lake red and ultramarine blue. - - Persian Orange—Orange chrome yellow, French ocher, white. - - Pink—Zinc white and either madder lake, carmine or crimson vermilion. - - Pompeian Red—Vermilion, orange chrome yellow and black. - - Pompeian Blue—White, ultramarine blue, vermilion and French ocher. - - Plum Color—White, indian red and ultramarine blue. - - Portland Stone—French ocher, raw umber and white. - - Pistache (Pistachio)—Black, French ocher and medium chrome green. - - Primrose—White and lemon or medium chrome yellow. - - Purple-Brown—Dark indian red, ultramarine blue and a touch of black - and white. - - Pea Green—White and pale green. - - Quaker Green—White, French ocher, black and burnt sienna. - - Russet—Orange, lake and purple. - - Roan—Black, venetian red, prussian blue and white. - - Robin’s Egg Blue—White, ultra blue and pale chrome green. - - Russet—White, orange chrome yellow and a touch of black. - - Russian Gray—White, ultra blue, light indian red and black. - - Rose Tint—White and madder. - - Rose—White tinted with lake red. - - Rose Tint—White and madder, tinted with lake. - - Royal Purple—Carmine, cobalt blue and white. - - Scarlet Lake—Crimson lake and pale vermilion. - - Sepia (warm)—Sepia and browns of reddish hue. - - Sepia—Burnt umber and lamp black. - - Sienna (burnt)—Same as raw sienna but add more yellow and red. - - Sienna (raw)—Medium yellow, white and a little red. - - Scarlet—Vermilion, yellow and a touch of white. - - Sandstone—White, yellow ochre, black, red. - - Snuff—Yellow and Vandyke brown. - - Sky Blue—White and milori blue. - - Shell Pink—Chrome yellow and vermilion, tinted with burnt sienna. - - Straw—White and chrome yellow. - - Spruce—Yellow, vermilion, green and white. - - Silver Gray—Indigo and lamp black. - - Slate—White, raw umber, ultra blue and black. - - Sea Foam—White, green and yellow. - - Shrimp Pink—White, vermilion, black and burnt sienna. - - Sage Green—White, medium chrome green and black. - - Salmon—White, French ocher, burnt sienna and a touch of vermilion. - - Sapphire Blue—Zinc white and ultramarine blue. - - Sap Green—White, medium chrome yellow and black. - - Sea Green—White, prussian blue and raw sienna. - - Seal Brown—Burnt umber, French ocher and a touch of white. - - Scarlet—Use pale English vermilion or scarlet vermilion. - - Shrimp Pink—White, venetian red, burnt sienna and a touch of - vermilion. - - Sky Blue—White and prussian blue. - - Sky Blue—White and ultramarine blue. - - Salmon—Red, yellow and sienna. - - Sienna—Medium yellow, red and white. - - Slate—Ultramarine blue, black and white. - - Snuff—White and umber. - - Straw—White and yellow. - - Slate—White, raw umber, ultramarine blue, black. - - Spruce Yellow—French ocher, venetian red and white. - - Snuff Color—French ocher, burnt umber and a touch of venetian red. - - Straw Color—Medium chrome yellow, French ocher, a touch of venetian - red and lighten with white. - - Stone Color—White, French ocher and of medium chrome yellow and burnt - umber. - - Tan—White burnt sienna and a touch of black. - - Tan—Yellow, burnt umber and burnt sienna. - - Tally-Ho—White, French ocher, venetian red, and dark chrome green and - touch of black. - - Terra Cotta—French ocher, venetian red, and white, indian red is added - for some shades. Still other shades are made with orange yellow, - venetian red and a touch of burnt umber. - - Turkey Red—Vermilion and black. - - Turquoise—White, cobalt blue and green lake. - - Turquoise Blue—Zinc white, cobalt blue and light chrome green. - - Umber—White, yellow, red and black. - - Velvet Green—Burnt sienna, green lake and white. - - Vermilion—An orange red, to lighten add yellow, to deepen add burnt - sienna. - - Vienna Brown—Burnt umber, venetian red, French ocher, and a touch of - white. - - Violet—White, light indian red and a touch of dark indian red. - - Violet—White, blue and red. - - Violet—Crimson lake and Antwerp blue. - - Violet—Red, blue, white. - - Violet—Lake and ultramarine blue. - - Violet Tint—Lake, ultramarine blue, white in various proportions. - - Violet—Crimson lake and Antwerp blue in various proportions. - - Willow Green—White, medium chrome yellow and a little raw umber and - black. - - Wine Color—English vermilion (or scarlet vermilion), madder lake (or - carmine), ultramarine blue and black. Or tuscan red and a little - black. - - Water Green—White, raw sienna, dark chrome green. - - Yellow Bronze—Lemon or medium chrome yellow, French ocher and a touch - of burnt umber. - - Yellow Drabs—Same as the preceding, in various proportions. - - - - - COLOR MIXTURES BY PARTS - - -In this list where green is mentioned, “Universal” regular green is -referred to. The yellow to be used can be chrome yellow for a darker -shade, or lemon yellow for a lighter shade, although lemon yellow is to -be preferred. - - - GREENS BY TWO-COLOR MIXTURE - - Color Desired Parts - Bronze green 2 bronze blue, 3 yellow. - Bright green 1 deep blue, 5 yellow. - Brilliant green 1 green, 4 yellow. - Blue green 2 blue, 4 green. - Dark green 2 blue, 1 yellow. - Dark green medium 1 blue, 1 yellow. - Emerald green 1 green, 3 white. - Green-black, dark 1 blue green, 3 black. - Green-black, light 5 blue green, 1 black. - Green tint 2 bright green, 30 white. - Grass green 1 bronze green, 1 bright green. - Japanese green 20 emerald green, 1 black. - Light green 1 green, 1 yellow. - Olive green 1 blue, 4 orange. - Olive green, light 4 yellow, 1 black. - Olive green, dark 4 yellow, 2 black. - Orange-green 1 deep blue, 60 yellow. - Sea green 1 blue, 3 green. - Sage green 4 green-black, 6 white. - Universal green 1 blue, 4 yellow. - Yellow-green 1 deep blue, 100 yellow. - - - GOOD GREENS - -Some very fine greens can be made with lemon yellow and Antwerp blue in -various proportions. Can be toned or deepened with black. - - - BROWNS BY TWO-COLOR MIXTURE - -With the browns, lemon yellow is best. The red can be a color like -brilliant scarlet, flag-red or scarlet lake. - - Color Desired Parts - Brown-tint 1 red-brown, 40 white. - Brown-black 1 red, 1 black. - Bronze-brown 2 bronze-red, 1 bronze blue. - Chocolate brown 12 red, 2 deep blue. - Copper-brown 15 vermillion, 1 black. - Green-brown 2 red, 4 green. - Maroon-brown 15 red, 2 black. - Photo-brown 1 vermillion, 1 black. - Purple-brown 6 red, 1 deep blue. - Red-brown 12 red, 1 black. - Sepia-brown 20 orange, 1 black. - Snuff brown 8 vermillion, 1 deep blue. - Tan-brown 2 yellow, 1 purple. - Yellow-brown 4 yellow, 3 red-brown. - Yellow-brown tint 1 yellow-brown, 30 white. - - - GRAYS BY TWO-COLOR MIXTURE - - Color Desired Parts - - Blue-gray 2 regular gray, 1 blue. - Dark gray 12 white, 2 black. - Drab-gray 15 regular gray, 1 orange. - Green-gray 6 regular gray, 1 green. - Lead-gray 15 regular gray, 1 deep blue. - Light gray 20 white, 1 black. - Purple-gray 8 regular gray, 1 purple. - Pink gray 12 light gray, 1 red. - Regular gray 12 white, 1 black. - Red-gray, light 6 regular gray, 1 red. - Red-gray, dark 15 regular gray, 2 red. - Warm gray 10 regular gray, 1 vermillion. - Yellow-gray 8 regular gray, 1 yellow. - - - PURPLE BY TWO MIXTURES - - Color Desired Parts - - Bright violet 1 purple, 1 blue. - Light purple 1 purple, 1 white. - Regular purple 10 rose lake, 1 blue. - Scarlet purple 15 rose lake, 1 blue. - Typewriter purple 1 purple, 4 white. - Violet 4 rose lake, 1 ultramarine - - - MISCELLANEOUS - -All colors in the left-hand column of the following are the base upon -which to work. By adding white to them you form the colors given in -middle column, but when black is substituted for white you obtain the -colors given in the right-hand column. Example: Add white to “any lake -red” for pink; add black to “any lake red” for maroon. - - Base Result of Adding White Result of Adding Black - - Any lake red Pink Maroon - Vermilion Yellowish Pink Russet - Scarlet Salmon Buff Brown - Orange red Yel. sal. buff Yellow-brown - Orange Salmon Terra Cotta - Yellow-orange Amber Yel. 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 1 ultramarine, 40 white. - - Antwerp Blue 4 emerald green, 8 ultramarine, 1 white. - - Autumn Leaf 20 straw, 2 orange, 1 Venetian red. - - Autumn Gray 20 emerald green, 10 yellow, 1 black. - - Apple Green 4 orange, 9 chrome green, 1 white. - - Ash Gray 2 burnt sienna, 3 ultramarine blue, 70 white. - - Amber 4 burnt sienna, 4 burnt umber, 2 orange, tinged - with black and white. - - Apricot 30 chrome yellow, 2 vermilion, 1 crimson. - - Alabastar 1 chrome yellow, 4 white. - - Amaranth 4 Tuscan red, 4 vermillion, 1 ultramarine. - - Anemone 6 English vermilion, 6 deep bronze blue, 2 - black, 1 white. - - Amaranth 3 English vermilion, 1 deep bronze blue. - - Armenian Red 2 venetian red, 1 ocher. - - Ash Gray 60 zinc white, 3 ultra blue, 2 burnt sienna. - - Antique Bronze 3 black, 1 orange. - - Apple Green 30 white, 1 chrome green. - - Blue Grass 1 Prussian blue, 3 emerald green, 7 white. - - Bordeaux Blue 3 orange, 1 black, 6 Prussian blue. - - Begonia 5 English vermilion, 4 black, 4 Prussian blue. - - Biscuit color 20 white, 1 Naples yellow. - - Bismark Brown 20 burnt sienna, 20 umber, 2 orange, 1 white. - - Blood Red English vermilion, tinged with blue and yellow. - - Blue Green 3 chrome green, 1 prussian blue. - - Blue Grass 1 prussian blue, 3 emerald green. - - Bluish Gray 6 regular gray, 1 dark blue. - - Purple-Brown 6 deep red, 1 purple. - - Brown-Black 2 bluish red, 5 black. - - Photo-Brown 4 bluish red, 1 brown-black. - - Maroon-Brown 8 bluish red, 1 blue. - - Bay 3 venetian red, 3 black, 1 orange. - - Chocolate Brown 12 deep red, 2 deep blue tinted with black. - - Milk Chocolate 12 deep red, 2 deep blue, 1 white tinted with - black. - - Chestnut Brown 3 Venetian red, 3 black, toned down with - orange. - - Maroon, deep 5 black, 3 red, 1 Prussian blue. - - Cologne 2 parts of yellow chromate of lead, 1 of - sulphate of lead, and 7 of Sulphate of lime - or gypsum. - - Citron 2 yellow, 1 red, 1 blue. - - Crimson Red 30 bright red, 1 blue. - - Campanula 3 blue, 1 red. - - Citron 2 yellow, 1 red, 1 blue. - - Garnet 3 red, 1 blue. - - Greenish Gray 8 regular gray, 1 medium green. - - Green Tint 1 light green, 15 white. - - Nasturtium 3 red, 1 chrome yellow. - - Olive 2 blue, 1 red, 1 yellow. - - Purple tint 1 purple, 50 white. - - Russet 2 red, 1 blue, 1 yellow. - - Sulphur 30 yellow, 1 blue. - - Sea Green 1 medium green, 3 white. - - Saffron 3 chrome yellow, 1 red. - - Sky Blue 99 white, 1 prussian blue. - - Sky Blue 99 white, 1 ultramarine blue. - - Turquoise 3 blue green, 1 white. - - Violet-blue 10 violet, 1 blue. - - Violet tint 1 violet, 30 white. - - - - - HINTS FOR PAINTERS AND DECORATORS - - -A house painted white not only looks cool, but is cool, as white -reflects the sun’s rays. The effect at night is reversed. - - -The amount of trimming color necessary is usually about one-fifth of -that required for the entire surface. - - -Do not paint damp or unseasoned, sappy or pitchy wood. - - -Do not paint or paper walls having a northern exposure with cold color -such as blue, gray or white. Use warm tones like rose, tan, etc. And in -like manner better results are obtained by using the cold shades or -colors in rooms with a southern exposure. - - - COVERING CAPACITY OF VARNISH - -One gallon of varnish will cover approximately 300 square feet, two -coats when properly flowed on. - -Varnish is transparent and therefore cannot hide any defects in a -surface. If the surface is badly marred, use graining materials. Or -cover up the old surface with a suitable paint or enamel. - - -NEW WOOD.—Before varnishing new open grained wood such as oak, ash and -mahogany, it is necessary to fill the pores with a good filler. Some -prefer it in paste form. This is not absolutely necessary for -close-grained woods such as maple, pine and birch. - - -Paint for general purpose is composed of lead, zinc, linseed oil and -turpentine dryer, which are the best known ingredients, excepting such -colors that cannot be made from lead and zinc. - -Lead, when used alone does not make as serviceable a paint as lead and -zinc ground together in pure linseed oil and colors. Zinc is recognized -as an indispensable ingredient in paint. Lead, while quite necessary, is -likely to change when used alone, by that is meant, it discolors easily, -and when exposed to the air chalks off and leaves the wood exposed. - -Zinc, which is a more durable metal, retains its whiteness also gives to -colors and permits incorporating the largest possible quantity of -linseed oil, thus giving life and durability to the paint. A mixture of -both lead and zinc, is, therefore, necessary to obtain best results to -resist light, heat and cold. - - - NEW WORK - -To secure best results, new work should have three coats, that is two -besides the priming coat. - -Do not prime or apply paint to a new building until plastering is -thoroughly dried out. - - - ADULTERATING COLORS - -Do not imagine that the durability of paint is increased by the use of -whiting, clay, silica and other cheap materials. They only make bulk and -trouble. - - - AGGREGATED FORM OF CHECKING - -Avoid “alligatoring,” which is a form of checking and frequently caused -by applying finished coats over priming or second coats before drying. - - - SEEDY, SPECKY, SANDY VARNISH - -You may find varnish to be full of small grains. This may be due to -chill in transit or in storage, or a decided difference in temperature -between the varnish and the work. Allow the varnish to reach the -temperature of the work before applying. The same appearance may be -caused by what painters term a “lousy” brush. USE ONLY AN ABSOLUTELY -CLEAN BRUSH. - - - PAINT FOR STIPPLING - -For rough stipple, mix your paint from equal parts of white lead in oil, -zinc white in oil and dry plaster of paris (the latter of the finest -grade). Thin down with raw linseed oil and turpentine in equal parts, -adding two teaspoonfuls of pale japan to each pint of liquid. Make the -paint just stout enough to apply with a wall brush and put it on in that -consistency. When the surface has been so coated, and before the paint -begins to set, use a good size stippler, and see that you do the work -uniformly and evenly. You can color the white to any desired tint with -finely powdered dry color or you may use color ground in oil, but if -much of the latter is required, use one-third raw oil and two-thirds -turpentine for thinning. When solid color is desired for wall stippling, -use colors ground in oil and the finest bolted whiting, dry to make -stout paste. Mix in this paste with one part oil and three parts -turpentine and add one part japan. When the paint is applied in stout -consistency, it may be stippled or combed and very pretty effects are -obtained. Before applying the stipple to unpainted walls, two coats of -pure lead in oil should be given. - - - GOOD BRUSHES GET GOOD RESULTS - -Keep brushes out of water. When paint and varnish brushes are not in -use, 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 strap. Water is not a paint solvent. When brushes are -suspended in linseed oil, the oil will dissolve the pigment which, being -heavier, will sink to the bottom of the container, in this way cleaning -the brush. - - - Quantity Needed. - -To ascertain the number of gallons of paint required for a building:—add -the width of front and rear with the length of both sides, and multiply -by the height. A gallon of paint, properly brushed out, will cover 350 -square feet, two coats. Do not flow the paint on, but thoroughly brush -it on. - -By dividing the total feet of surface by 350, you will obtain the number -of gallons necessary to paint the house, two coats. The above estimate, -owing to the fact that surfaces vary in their natures, is based on a -surface of good condition to receive the paint. - - - EXAMPLE - - Front 25 feet - Rear 25 feet - Side 45 feet - Side 45 feet - ———— - 140 feet - Multiply by average Height, 25 feet - Divide by 350 3500 feet —10 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 1 part muriatic acid and 5 parts water. When -using this, the hands should be well protected from the acid as it is -very strong, and will cause severe burns. After scrubbing the concrete, -the acid must be well rinsed off with clean water. - - - 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 effect, according to experiments performed -by Dr. W. W. Coblentz, of the Bureau of Standards. Dr. 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 paint, enameled, or simply allowed to rust. - -On the other hand, he finds that aluminum paint is a very effective -means of reducing the amount of heat transmitted through a thin -material. Applied to the under side of a tent or awning, it reduces by -three-fourths the amount of heat from the sun which gets through the -cloth, 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 shade, thereby making it much -more comfortable. - - - PAINT AND VARNISH REMOVER - -Benzol and denatured alcohol, equal parts applied to a painted or -varnished surface, will eat through to the bare wood in less than ten -minutes’ time. - - - HOW ENAMEL IS APPLIED TO METAL - -The basis of all enamels is an easily fusible, colorless glass, to which -the desired color and opacity are imparted by mixtures of metallic -oxides. The mass, after being fused together and cooled, is reduced to a -fine powder, washed and applied to the surfaces to be covered. The whole -is then exposed in a furnace till the enamel is melted when it adheres -firmly to the metal. - - - 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 water. To retard it so that it will not set -within five hours will require about 2 per cent. of glue, the percentage -being based on the weight of the plaster. - - - CEMENT PANEL PAINT FOR BLACKBOARDS - -If you prefer to mix your own paint for cement panel blackboards, use -drop black in turpentine, add an equal weight of finest powdered -pumicestone mixed in turps and hard oak finish, and thin with enough -varnish and turpentine to bind it hard. - - - PAINTING STUCCO - -In painting stucco, the following instructions should be observed. After -brushing thoroughly, prepare for the priming coat by mixing one part, by -weight, of white lead, red lead, and boiled oil. White lead, stainers, -driers, to the extent of one-fourteenth of the mixture, two parts boiled -oil, and one part turpentine, form the basis for the second and third -coatings. Additional coating should contain less turpentine in -proportion to the oil. - - - A REMEDY FOR LOW CEILINGS - -Rooms with low ceilings can be made to appear much higher by using a -striped paper, preferably in a pale tint. - - - TO REMOVE PAINT FROM GLASS - -Common washing soda dissolved in water; let it soak a while—if put on -thick, say thirty minutes—then wash off. If it does not completely -remove, give it another application. - - - CLEANING PAINTED WALLS - -Dissolve two ounces of borax in two quarts of water. Add one teaspoonful -of ammonia, put half this mixture into a pail of water. Use no soap. - - - A GOOD WALLPAPER VARNISH - -Dissolve equal parts of borax and shellac in ten times their weight of -alcohol; strain. Give two coats. For a very light-colored paper use -sandarac instead of shellac. Paper treated with this lacquer can be -washed with water, and even with soap, if necessary. - - - LUMINOUS PAINT FORMULA - -Linseed Oil cold compressed and thickened by heat 3 oz., barium sulphate -3 oz., prepared calcium carbonate 3 oz., white zinc sulphide 6 oz., -luminous calcium sulphide 18 oz. Mix well and grind in a paint mill, -very fine. - - - FIREPROOF PAINT - -Incorporate powdered asbestos into paint to be used on sheds, garages, -etc. - - - TO COLOR CONCRETE - -Cinnabar is mixed with cement to produce a bright red concrete and -carmine to produce a violet red. - - - GREASE SPOTS ON WALL PAPER - -Grease spots can be removed from wall paper by rubbing with camphorated -chalk. - - - FURNITURE POLISH - -Oil of cedarwood 3 ounces, turpentine 2 ounces, hydrochloric acid -(commercial) 1¼ ounces, lubricating oil (light) 1½ ounces, gasoline 1½ -pint. Mix the turpentine, lubricating oil, and gasoline thoroughly and -add oil of cedarwood, mixing thoroughly. Now add the hydrochloric acid, -stirring briskly. Allow to set for three days, stirring occasionally -until hydrochloric acid is thoroughly mixed. INFLAMMABLE, KEEP FROM FIRE -OR OPEN FLAME. Can be colored if desired (any color) by adding a small -amount of soluble color. - - - FURNITURE AND AUTOMOBILE POLISH - - (One quart.) - -To ⅔ of paraffin oil add two tablespoonfuls of turpentine oil, one -tablespoon of ammonia, one tablespoonful of alcohol. Add enough gasoline -to make the quart. Keep away from open flame. - - - 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 spot. - - - DUSTLESS CONCRETE FLOORS - -Paint concrete floors several coats with a mixture of boiled linseed oil -mixed with gasoline, half and half. - - - 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 differently. Thus the wide boards appear -narrow by graining every other half. It resembles two kinds of wood -dovetailed together. - - - AUTOMOBILE POLISH - -This produces a fine luster that does not collect dust or show rain -streaks. Although not a cheap polish, it is less costly than some now on -the market. It consists of ½ gal. turpentine, ½ pt. paraffin oil, 2 oz. -oil of citronella, and 1 oz. cedar oil. These are thoroughly mixed, -applied with a soft cloth, and rubbed lightly and briskly until dry. - - - LIME WHEN NOT IN USE IN WHITEWASH - -Lime will lose its value as a whitewash after long exposure to the air, -but is ideal when used as fertilizer. - - - TO FROST A PANE OF GLASS - -After the glass has been painted white, and still is wet, gently tap it -all over with a soft cloth which has been wadded into a ball or puff. - - - YELLOW PIANO KEYS - -To clean, a paste made from whiting and a solution of potash is laid on, -and allowed to remain for twenty-four hours. The ivories will be -restored very nearly, if not quite, to their original color without -removing them from the keys. - - - PAINTING ON GLASS - -Paints will adhere to glass better if colors are ground in oil. Thin -with pale japan and turpentine. - - - REMOVE INK STAINS FROM WOOD - -Prepare a mixture of 8 ounces of concentrated sulphuric acid and 1¾ -pints of water. Scour the stain thoroughly with water and sand and then -pour some of the mixture upon it and rub until the stain disappears. - - - 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 water. If the stain is not all removed, -dissolve gum shellac in alcohol to the consistency of milk or cream, and -with it cover the sooty parts. Paint or whitewash over the shellac. The -black will not show through. - - - COMMON WHITEWASH - -Ordinary whitewash is made by slaking 10 lbs. of quicklime in 2 gals. of -water. The lime is placed in a pail, the water added, and the bucket -covered with a piece of old carpet, or an old bag, and allowed to stand -for about an hour; the whitewash is then ready for application. - - - WEATHERPROOF WHITEWASH - -For exterior use, a weatherproof limewash is made by slaking 1 bu. (62 -lbs.) of quicklime in 15 gal. of water. A solution consisting of 2 lbs. -of ordinary salt and 1 lb. of zinc sulphate, dissolved in 2 gals. of -boiling water, is prepared, and 2 gals. of skim milk is provided. The -salt and zinc-sulphate solution is added to the lime and water, the skim -milk being put in last. - - - LINOLEUM CEMENT - -A mixture of glue, isinglass and dextrin, which dissolved in water and -heated, is given an admixture of turpentine. The strips pasted down must -be weighted with boards and brick on top until the adhesive agent has -hardened. - - - WEIGHT OF PAINT - -Good paint weighs 18 pounds and upwards to the gallon. Ordinary paint -weighs 15–16 pounds. - - - - - HINTS FOR PRESSMEN - - - COVER WHITE - -When cover white is too short or stiff to be workable, add a small -amount of mixing white. - - - PROCESS COLOR PRINTING - -For the very best results in this fascinating art, print the lighter -colors first, as follows: Yellow, red, blue and black unless otherwise -instructed by the engraver. - -When dark colors are run first contrary to progressive proof, the full -richness and detail are lost and hues altered. Light colors printed over -the dark detail, modify and subdue the sharpness which is not always -desirable. - -Use opaque yellow for the first color when printing on tinted stock; -follow with transparent colors. - - - GOLD SIZE FOR BRONZE POWDER - -All pigment that enters into the manufacture of gold size must be -earthen. Yellow ocher is admirably adapted for this purpose, as in hue -it ranges from a pale yellow to light brown. It is insoluble in oil and -will not dull the luster of bronze powder or bleed through. - -Gold size for pale gold bronze should be pale yellow; for deep rich gold -bronze use medium light orange brown size. - -Deep rich gold when applied over pale yellow size produces a medium gold -cast. - - - STREAKING AND SHADOWS - -Streaking or shadows which occur when running heavy solids, can oftimes -be overcome on three roller platen presses by using a steel vibrator, -also expansion trucks which trip third roller. If expansion trucks are -not available use vibrator and remove third roller, as in most cases -this roller is causing the trouble. - - -Coach varnish adds lustre to printers’ ink. - - - MOTTLING AND PICKING - -Mottling of printers’ ink is largely due to an over-abundance of -reducer, which separates the pigment from the mordant. This difficulty -is sometimes overcome by adding silicate of soda (water glass), -magnesia, etc. These absorb some of the superfluous oil and force the -pigment into a solid mass. - -Reducing to eliminate picking is the principal cause of mottle. Before -mixing reducer with ink, add a little soft ink, such as halftone; if -straight halftone picks, add 00 varnish. - -Inks are made for all purposes. Best results are obtained by using them -without adulteration. Oftentimes a drop or two of linseed oil -distributed on press will do the trick. If ink mottles from the start -with no other inks at hand, use less ink and double roll. - -Picking and mottling on platen presses is more prevalent than on -cylinders. The reasons are obvious. The cylinder requires less ink, has -ample distribution and the printed sheet is peeled from the form. - -Every printing press has its capacity. You can not successfully print a -solid oversize form just because it can be locked in a platen chase. -Even with a good vibrator, this kind of form requires double or triple -rolling. Taking into consideration the fact that friskets jerk printed -sheet from the form, you need not look farther for the cause of picking. - -By cutting stock two or more up, and inking form the narrow way with -enough of the sheet to be printed protruding for a good hand hold, you -can peel it from the form. Do not allow friskets to touch the sheet. - - - WASH FOR DIRTY TYPE OR CUTS - -Crude carbolic acid and turpentine, equal parts. Let stand over night. -Rinse off with gasoline. - -Color Printing—Some very pretty effects are obtained by printing -transparent yellow and crimson or scarlet over black. The black being so -modified as to yield greenish hues under yellow and purple hues under -red. - - - GENERAL PURPOSE GLUE - - Always Ready for Use. - -Fill a quart glass jar with good broken glue; then fill up with acetic -acid (which is vinegar in a strong form); set jar in hot water for a few -hours to dissolve. - - - PADDING GLUE (any color) FOR PRINTERS - - Requires no heating. - -In addition to the above formula purchase ten cents’ worth of analine -(any color desired) from your druggist, dissolve this in two ounces of -glycerine. Then stir all together. The glycerine keeps the glue flexible -and prevents cracking. This formula, in print for the first time, means -the saving of a great many dollars. - - - MIXING GLASS - -Before mixing colors on glass, glue or lay a sheet of white paper to the -back. Or paint it white. - - - WHEN TO USE OPAQUE PROCESS INK - -When printing process colors on tinted stock, use an opaque yellow, -follow with transparent colors. - - - PROTECTIVE VARNISH FOR PRINTERS’ PLATES - -Printing plates, especially etchings which are chiefly composed of zinc, -may be kept free from corrosion by dipping or painting with a liquid -solution of gum arabic, which is soluble in water. - - - - - MISCELLANEOUS - - - BLACK AND WHITE AS COLORS - -Figuratively speaking black and white are colors but technically they -are not. Pigments that are jet black and pure white either vegetable or -mineral are unknown. It takes the addition of blue to alter the -yellowish cast of white, and blue to deepen the brownish cast of any so -called black pigment. - - -White being a neutral color, will harmonize with most any color -combination. - - - NEUTRAL HUES AND TINTS - -Neutral hues are made by a 50–50 mixture of warm and cold colors. White -added to neutral hues produce neutral tints. - - -Whiting—Chalk pulverized and freed from impurities. - - - VARNISH FOR THE BACK OF SILVERED MIRRORS - -Dammar gum, 20 parts; asphalt, 3 parts; gutta-percha, 5 parts; benzol, -75 parts; mix and dissolve. To use this varnish, pour it over the -silvered surface and move the plate back and forth until it is -distributed evenly over the surface. - - -Soft toned (flat finish) colors and tints are very desirable in the -modern home. The flat or dull finish prevents the reflection of light, -and makes a desirable back ground for pictures and draperies. - - - 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 -surface. - - - INVISIBLE WRITING INK - -Dissolve two teaspoonfuls of white sugar in half cup full of boiling -water. Write in the ordinary manner. Holding to the fire will cause the -saccharine to turn brown. - - - INK FOR RUBBER STAMP PADS - -Dissolve ten cents’ worth of red analine (or any other color) in two -ounces of glycerine and apply to stamp pad with stiff brush; smooth it -on as evenly as possible. - - - FRESHEN RUBBER STAMP PADS - -To freshen up old rubber stamp pads, scrape surface of pad with a dull -knife or edge of stiff cardboard to remove dust. Then apply clear -glycerine. Pad is now almost as good as new. - - - BLACK TRACING PAPER - -Lamp black mixed with cold lard to the consistency of thick paste. Apply -to thin paper with a piece of cloth. Then take a flannel cloth and rub -until the color ceases to come off. If red is desired use Venetian red. -For blue use Prussian blue, and for green use chrome green. - - - COMMON BLACK WRITING INK - -One ounce extract of logwood; pour over it two quarts of boiling soft -water. When dissolved add one drachm of yellow chromate of potassa. Put -in clean bottles. This formula will cost about 15 cents. - - - EVERLASTING BLACK WRITING INK - -Two gallons of rain water, ¼ pound gum arabic, ½ pound copperas, ¾ pound -powdered nut-galls, ¼ pound of brown sugar. Bruise all and mix. This is -valuable for copying deeds, etc., as it will last for hundreds of years. -Shake the mixture occasionally for the first ten days, then it is ready -for use. - - - PAINTING WATER-COLORS ON PARCHMENT SHADES - -To prevent water-color paints and india inks from crawling on the greasy -surface of parchment, rub gently with finely powdered pumice, using a -soft cloth or cotton. Pulverized emery is equally efficient. - - - 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 color. -There are some species of dry, strawlike flowers, which are merely -dipped in dye. - - - 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 blue. - - - DRAWING PAPER MADE TRANSPARENT - -To render ordinary drawing paper transparent for tracing purposes, -sponge paper with a solution of 2 parts absolute alcohol to 1 of castor -oil. - -The alcohol soon evaporates and tracing paper is ready for use. Drawing -or tracing may be made with india ink or lead pencil. - -Restore paper to its original state by immersing in absolute alcohol. - - - DRIER FOR PAINTS ON PARCHMENT LAMP SHADES - -Japan drier is used almost exclusively as a paint medium for coloring -parchment lamp shades. Pale Japan is almost colorless and will not alter -hues. - - - TO CLEAN SOILED PHOTOGRAPHS - -Lightly sponge with cotton dipped in alcohol. - - - TO OXIDIZE COPPER AND BRASS - -A solution for oxidizing copper or brass is composed of 2 ounces of -nitrate of iron and 2 ounces of hyposulphite of soda to 1 pint of water. -Immerse the article until the desired shade is acquired: then wash, dry -and brush. - - - GREASE AND PAINT REMOVER - -Oil of turpentine, fluid oz. 5; water of ammonia, fluid oz. 4; wood -alcohol, fluid oz. 5; ether drops 25, acetic acid, fluid dr. 4; water, -fluid oz. 5. Apply a little to stained parts with a brush, rubbing -briskly for a moment or two. Rinse out with clear water. - - - TO REMOVE OIL STAINS FROM LEATHER - -Dab the spot carefully with spirits of sal ammoniac, and after allowing -it to act for awhile, wash with clean water. This treatment may have to -be repeated a few times, taking care, however, not to injure the color -of the leather. - - - BLEACHING TALLOW - -Dissolve alum, five pounds, in water, ten gallons, by boiling; and when -it is all dissolved, add tallow, twenty pounds. Continue the boiling for -one hour, constantly stirring and skimming. When sufficiently cool to -allow it, strain through thick muslin; then set aside to harden. When -taken from the water, lay it by for a short time to drip. - - - WHEN LEATHER BECOMES STICKY - -Either sponge the leather thoroughly with a mild suds of borax soap, and -when perfectly dry, apply thin coat of white shellac, or else clean the -leather with some solvent such as gasoline. - - - COMMON BLUE WRITING INK - -Sulphate of indigo and soft water. Color to suit. - - - WATER PROOFING PAPER - -Dissolve 2 parts of borax and 2 parts of shellac in 2 parts of water, -and strain through a fine cloth. With a brush or sponge apply this to -the surface of the paper, and when it is dry, polish it to a high gloss -with a soft brush. - - - TO MAKE ORNAMENTAL GRASSES GLISTEN - -Make a brine by boiling one quart of common salt in 1½ quarts of water -for fifteen minutes. Tie bunches of ornamental grasses together and pour -the solution over them while it is hot. Place in a dark room or cellar, -where it will not be disturbed and allow the grasses to stand for 24 -hours, then lift them out and hang them up to dry. In a few hours they -will be white and glistening. - - - INDELIBLE MARKING INK - -100 grains nitrate of silver, 1 ounce distilled water, 2 drachms gum -arabic, 1 scruple of indigo. Thoroughly mix. - - - EYE STRAIN - -Eye strain can be eliminated while printing yellow forms under -artificial light by using blue eye glasses. This causes the yellow to -appear green. - - - MARBLIZING - -Marbling Show Cards, Backgrounds For Photo Engravers, Lampshades, Box -Tops, Paper, Etc. - -[Illustration] - -Halftone illustrates three different cards marbled and cut to form a -diamond shape. Process is fully described in the following pages. - -[Illustration] - - - FRENCH OCHRE - -16 parts deep chrome yellow, 4 parts medium purple and 4 parts bright -red. - - - - - HINTS FOR ARTISTS - - - MARBLIZING - -Marbling Show Cards, Backgrounds For Photo Engravers, Lampshades, Box -Tops Paper, Etc. - -[Illustration: - - Figure 1. -] - -Very little practice is required in this most fascinating art. - -1. Thin any oil paint or printer’s ink to the consistency of water with -turpentine, gasoline or kerosene, any number of colors. Mix each -separately. - -2. Fill a pan, wash basin, or bath tub two-thirds full with water. Size -of vessel to be determined by size of card to be marbled. - -3. A teaspoonful or more of each color which will readily float on the -water is the next step. (See Fig. 1.) A little black used along with -certain colors produce very satisfactory results. - -4. With your hand or paddle agitate the mixture of water and color and -before the turbulent waves subside, immerse card face down (See Fig. 2) -being careful to wet entire surface. - -To avoid air pockets (wide open colorless spaces) bend card or paper -slightly as shown in figure 2. Mottled marble effects are obtained when -waves are nearly settled or quite still. - -[Illustration: - - Figure 2. -] - -The coloring adheres to the sheet instantly and it is needless to hold -it under water. Colors will run if used in excessive quantity or failure -to thin enough. If air pockets form, wait until thoroughly dry before -redipping in solution. - -White oil paint or printer’s ink may be mixed with colors to form tints -before same is thinned. More thinning of colors also make lighter -shades. - -Over painting on these backgrounds should be executed with color ground -in Japan to better adhere to the slightly greasy surface. - -Show card writers may obtain rather unique effects with the following: - -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 water. - -When thoroughly dry dip into marbling solution as has been previously -described, when dry, place in running water until all show card writer’s -white is washed free. A clean soft brush will help loosen it. - -The marbling colors should be a trifle darker with less agitation. The -darker background will help show to better advantage the pure white -border and lettering. - -White material is best for marbling. White, a neutral color will not -alter the various colors and tints applied in this process. However, -colored board may be used to good advantage for certain purposes. - - - 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 employed. Outline all high lights -and other portions which are to remain white. - -Second—With brush or pen fill in all high lights and other portions -which are to remain white with show card writer’s white, which is -soluble in water, and let dry. - -Third—Partly fill any shallow tray or dish with (water proof) ink, black -or colored, if desired. Now dip drawing and let dry. - -Fourth—When black or colored water proof inks are thoroughly dry place -into running water until the white is washed free from drawing, exposing -the clean surface of material. Place between blotters which have been -weighted and let dry. - -With this process your drawings can show no brush marks. The solids will -remain smooth and dense as though printed. If plates for printing -purposes are to be made from drawings, you will obtain splendid clean -cut results by using this dipping process. - -Show card writer’s white and (water proof) black or colors may be -obtained at any art shop. - -[Illustration] - - - SPATTER - -[Illustration] - -Most everyone is familiar with spatter work. Shading and background -effects for drawings, show cards, art candles, etc., may be treated with -spatter in one or more colors. - -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 blade. - -Necessary materials: India or common writing ink, a tooth brush, pocket -knife, rubber cement, cardboard and some thin transparent tracing paper. -The latest and most effective method is to spatter through a sieve, with -a round medium stiff brush as shown in the accompanying illustration. - -With point of knife cut out letters which are traced from painted show -card and paste with rubber cement, or weight with small objects to -prevent color from running under the edges, directly on the face of each -corresponding letter and apply spatter. Remove these masks when the work -has dried. - -High lights may be added to spatter drawings with touches of Chinese or -show card writers white with a pencil brush. - -Gold ink spatter shows well on dark materials; white is effective on -black material. Pleasing backgrounds are produced by thinly covering -material with rice, flax seed, leaves, sawdust, etc. Apply spatter and -let thoroughly dry before disturbing to prevent smearing. - - - - - INDEX - - - Art of Color Mixing, 4 - - Altering Color, 5 - - - Color-Blindness, 5 - - Color Harmony, 7 - - Color Mixtures, 28 - - Color Mixtures by Parts, 21 - - Complimentary and Harmonious Color Combinations, 18 - - Colors as Seen by Individuals, 27 - - - Extremes of Warm and Cold, 4 - - - Good Greens, 41 - - - Hints for Artists, 65 - - Hints for Painters and Decorators, 47 - - Hints for Pressmen, 57 - - - Meaning of Colors, 3 - - Matching Special Colors, 9 - - Miscellaneous Colors by Parts, 44 - - Miscellaneous, 60 - - - Nature’s Color Chart, 6 - - - Origin and Definition of Colors, 10 - - - Pigment, 6 - - - Tint Mixing, 8 - - Tint Mixtures by Parts, 24 - - Two Color Mixtures by Parts, 41 - - - What Is Color, 3 - - Warm and Cold Colors, 3 - ------------------------------------------------------------------------- - - - - - BUSTANOBY’S HOW TO MIX COLORS - - By JACQUES H. BUSTANOBY - - -[Illustration] - -A new practical book by a color expert, for students, artists, dyers, -decorators, show card writers, painters, printers, pressmen, etc., to -assist them in mixing =oil colors= to obtain standard and popular hues -in as permanent and practical manner as possible. Great thought has been -given to the permanency of the resultant colors. It takes the guess work -out of color mixing. - -The book gives also the results of tests for the most legible contrasts -of color for show cards, posters, billboards and large outdoor -advertising display signs—60 of them. - -This book is 4¾ x 7 inches in size, contains 112 pages with colored -frontispiece and 406 formulas for 268 colors and shades, is built to fit -the pocket readily, and is bound in heavy paper covers. Sent postpaid -upon receipt of =Price, $1.00=. - - - - - THE MIXING OF COLORS AND PAINTS - - By F. N. VANDERWALKER - - Editor of “The American Painter and Decorator,” Author of “Automobile - Painting,” “Estimates and Profits,” “New Stencils and Their Use,” etc. - - -[Illustration] - -This book will be found useful to all who mix colors or paints as it is -very complete. Some of the chapter headings follow: Color and Light; -Description of Color Pigments; Properties of Color Pigments; How Colors -Are Prepared for the Trade; Basic Paint Pigments; Painting Oils; -Volatile Thinners and Driers; General Paint Mixing Methods; Color -Theory, Principles and Use; Colored Paint Mixing Methods; Mixing Special -Purpose Materials; Color Harmony and Management; Selecting Color -Schemes; Printing Inks. - -The book contains 292 pages, illustrated with line drawings and color -chart. Bound in cloth, size 5 x 7½ in. =Price, $2.25 postpaid.= - - - - - PRACTICAL COLOR SIMPLIFIED - - By WILLIAM J. MISKELLA, M.E. - -[Illustration: - - The Color Chart -] - - -This book answers many vexing questions that come up unexpectedly every -day—the little technical puzzlers that harass and hinder you most. It -contains a wealth of information written in understandable form for the -novice as well as the experienced user of colors. - -The Color Chart alone is well worth the price of this entire book. It -consists of three sections which tell how to select warm and cool -colors, mix colors to get any tint or shade, harmonize colors and avoid -color discord. Twenty-five individual colors appear in the chart, all -applied by hand with lacquer to a cloth backed sheet that cannot be -easily damaged. Mounted on it are the pivoted triangle and the arrow, -both white celluloid, by the use of which color mixing, matching and -harmonizing are simplified. - - =Four-page Descriptive Circular Sent on Request= - - This book contains 113 pages, illustrated in colors, bound in cloth, and - will be sent postpaid upon receipt of =PRICE $3.75= - - - - - THE THEORY AND PRACTICE OF COLOR - - By Bonnie E. Snow and Hugo B. Froehlich - - “_A Key to the World of Color_” - - - TABLE OF CONTENTS - - Chapter I A World of Color. - Chapter II The Source of Color. - Chapter III The Primary Colors and Their Uses in Design. - Chapter IV The Binary Colors and How to Use Them. - Chapter V Color Values: Tints and Shades. - Chapter VI Complementary Colors and How to Use Them. - Chapter VII Neighboring or Analogous Colors. - Chapter VIII The Color Triad and the Split Complement. - Chapter IX Colors in Various Degrees of Intensity—or Grayed Colors. - Chapter X Psychology of Color. - Chapter XI Color Harmonies in Costume. - Chapter XII Color Harmonies in Interior Decorations. - Chapter XIII Color in Commercial Design. - - Learn the Correct Use of Color—Simply, Clearly, Scientifically. - _Enjoy Color Most by Using It Best_ - - THE THEORY AND PRACTICE OF COLOR is a book size 8 x 10 inches and - contains 60 pages with nine full-page hand-painted color charts which - clearly illustrate the Color Theory. - - =Price, Postpaid, $4.50= - - - - - HOW TO PAINT SIGNS - AND - SHO’ CARDS - - By E. C. MATTHEWS - - -[Illustration] - - An up-to-date book containing a complete course of instruction. - Illustrated with over 100 alphabets and designs, and written in plain - English that everyone can understand and thus learn to paint good - signs. Also suitable for commercial artists or anyone who has occasion - to do hand lettering. - -TABLE OF CONTENTS: Introduction. Alphabets. Composition. Color -Combinations. How to Mix Paints. Show Cards. Window Signs. Banners. -Board and Wall Signs. Ready Made Letters. Gilding. The Silk Screen -Process. Commercial Art. Tricks of the Trade. - -This book contains 128 pages with 100 illustrations, including 25 full -page illustrations, is bound in cloth, with jacket printed in colors. -Price, $1.25 Net. Postage 10 cents additional. - - - - - 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 Newspapers, and received the enormous salary that -some of those artists make? - -Or have you wanted to draw illustrations for books, magazines, cover -designs, posters, car cards, advertisements, etc.? - -If you have, and still want to do so, don’t fail to get the book. - - - COMMERCIAL ART and CARTOONING - - By E. C. MATTHEWS - - Author of the book “How to Paint Signs and Sho’ Cards” - - 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 “courses” selling at many - times the price of this book. - - It contains 122 pages, 12 chapters with over 125 illustrations, size - 5½ x 7⅛ inches, printed on coated paper and bound in cloth. =Price - $1.25. Postage 10 cents additional.= - - J. S. OGILVIE PUBLISHING COMPANY - 57 ROSE STREET NEW YORK - -[Illustration: COLOR MIXING GUIDE J. S. Ogilvie Publishing Company 57 -Rose St., New York] - ------------------------------------------------------------------------- - - - - - TRANSCRIBER’S NOTES - - - 1. Silently corrected obvious typographical errors and variations in - spelling. - 2. Retained archaic, non-standard, and uncertain spellings as printed. - 3. Enclosed italics font in _underscores_. - -*** END OF THE PROJECT GUTENBERG EBOOK COLOR MIXING GUIDE *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that: - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg-tm trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |