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- margin-bottom: 0.25em; } - div.tnotes { padding-left:1em;padding-right:1em;background-color:#E3E4FA; - border:thin solid silver; margin:2em 10% 0 10%; font-family: Georgia, serif; - clear: both; } - .covernote { visibility: hidden; display: none; } - div.tnotes p { text-align: justify; } - .x-ebookmaker .covernote { visibility: visible; display: block; } - .figcenter {font-size: .9em; page-break-inside: avoid; max-width: 100%; } - .x-ebookmaker img {max-height: 30em; max-width: 100%; } - .chapter { clear: both; page-break-before: always; } - .section { page-break-before: always; clear: both; } - .ol_1 li {font-size: .9em; } - .x-ebookmaker .ol_1 li {padding-left: 1em; text-indent: 0em; } - body {font-family: Georgia, serif; text-align: justify; } - table {font-size: .9em; padding: 1.5em .5em 1em; page-break-inside: avoid; - clear: both; } - div.titlepage {text-align: center; page-break-before: always; - page-break-after: always; } - div.titlepage p {text-align: center; text-indent: 0em; font-weight: bold; - line-height: 1.5; margin-top: 3em; } - .ph2 { text-indent: 0em; font-weight: bold; font-size: x-large; margin: .75em auto; - page-break-before: always; } - .x-ebookmaker p.dropcap:first-letter { float: left; } -</style> - </head> - <body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Color mixing guide, by John L. King</p> -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. 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. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Color mixing guide</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>for artists, painters, decorators, printing pressmen, show card writers, sign painters, color mixers gives color mixtures by parts</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: John L. King</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: December 9, 2022 [eBook #69507]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>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)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK COLOR MIXING GUIDE ***</div> - -<div class='tnotes covernote'> - -<p class='c000'><strong>Transcriber’s Note:</strong></p> - -<p class='c000'>The cover image was created by the transcriber and is placed in the public domain.</p> - -</div> - -<div id='color_chart' class='figcenter id001'> -<img src='images/i_frontispiece1a.jpg' alt='' class='ig001'> -<div class='ic001'> -<p>PRIMARY AND SECONDARY COLORS</p> -</div> -</div> - -<p class='c001'>All colors in this “color chart” are made from the primary colors, yellow, red and blue.</p> - -<div class='figcenter id001'> -<img src='images/i_frontispiece1b.jpg' alt='' class='ig001'> -<div class='ic001'> -<p>SECONDARY AND TERTIARY COLORS</p> -</div> -</div> - -<p class='c002'>Overlapping plates on this sheet are printed in full color. Tints are avoided in order to show secondary and tertiary colors in full strength.</p> - -<p class='c002'>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.</p> - -<div class='figcenter id001'> -<img src='images/i_frontispiece2.jpg' alt='' class='ig001'> -<div class='ic002'> -<p>The above plates illustrate the primary and secondary colors broken up with light.</p> -</div> -</div> - -<div class='titlepage'> - -<div> - <h1 class='c003'>Color Mixing Guide<br> <span class='small'>FOR</span><br> <span class='large'>ARTISTS, PAINTERS, DECORATORS, PRINTING PRESSMEN, SHOW CARD WRITERS, SIGN PAINTERS, COLOR MIXERS</span><br> <span class='xlarge'>GIVES COLOR MIXTURES BY PARTS</span></h1> -</div> -<p class='c004'>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.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>Compiled by John L. King</div> - <div class='c005'>NEW YORK;</div> - <div>J. S. OGILVIE PUBLISHING COMPANY</div> - <div>57 ROSE STREET</div> - </div> -</div> - -</div> - -<p class='drop-capa0_0_6 c006'>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.</p> - -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>JOHN ALFRED LANGFORD.</div> - </div> - </div> -</div> - -<div class='figcenter id003'> -<img src='images/i_002.jpg' alt='' class='ig001'> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='small'>Copyright, 1923,</span></div> - <div><span class='small'><span class='sc'>J. S. Ogilvie Publishing Co.</span></span></div> - </div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_3'>3</span> - <h2 class='c007'>WHAT IS COLOR?</h2> -</div> - -<p class='c008'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<div class='chapter'> - <h2 class='c007'>WARM AND COLD COLORS</h2> -</div> - -<p class='c008'>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.</p> - -<div class='chapter'> - <h2 class='c007'>MEANING OF COLORS</h2> -</div> - -<p class='c008'>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.</p> - -<div class='chapter'> - <span class='pageno' id='Page_4'>4</span> - <h2 class='c007'>ART OF COLOR MIXING</h2> -</div> - -<p class='c008'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>The primary colors are yellow, red and blue.</p> - -<p class='c002'>The secondary colors are orange, violet and -green.</p> - -<p class='c002'>The tertiary colors are citron, russet and olive.</p> - -<p class='c002'>The secondary colors are made as follows: Yellow -and red make orange, red and blue make violet, -yellow and blue make green.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<div class='chapter'> - <h2 class='c007'>THE TWO EXTREMES OF WARM AND COLD</h2> -</div> - -<p class='c008'>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.</p> - -<div class='chapter'> - <span class='pageno' id='Page_5'>5</span> - <h2 class='c007'>COLOR BLINDNESS</h2> -</div> - -<p class='c008'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<div class='chapter'> - <h2 class='c007'>ALTERING COLOR</h2> -</div> - -<p class='c008'>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.</p> - -<p class='c002'>Ultramarine blue contains sulphur and will -tarnish with admixtures of pigment containing -lead. Substitute zinc white.</p> - -<div class='chapter'> - <span class='pageno' id='Page_6'>6</span> - <h2 class='c007'>PIGMENT</h2> -</div> - -<p class='c008'>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.</p> - -<p class='c002'>Pigments may be divided into two classes, the -organic and the inorganic. Organic pigments are -compounds of carbon and the inorganic all other -pigments.</p> - -<p class='c002'>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.</p> - -<p class='c002'>The selection of color material should be carefully -made. Purchase from reliable dealers an -assortment of reds, blues and yellows, some black -and white.</p> - -<div class='chapter'> - <h2 class='c007'>NATURE’S COLOR CHART OF HARMONIOUS COMBINATIONS</h2> -</div> - -<p class='c008'>Nature has given us a wonderful color chart, -of harmonious colors mingled together.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<div class='chapter'> - <span class='pageno' id='Page_7'>7</span> - <h2 class='c007'>COLOR HARMONY</h2> -</div> - -<p class='c008'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>Any subject that has been ill-treated with too -much red, or colors which do not harmonize, form -a combination that irritates.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<div class='chapter'> - <span class='pageno' id='Page_8'>8</span> - <h2 class='c007'>MIXING TINTS</h2> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c005'> - <div>Paints, Inks, Etc.</div> - </div> -</div> - -<p class='c008'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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 -<span class='pageno' id='Page_9'>9</span>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<div class='chapter'> - <h2 class='c007'>TO MATCH SPECIAL COLORS</h2> -</div> - -<p class='c008'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<div class='chapter'> - <span class='pageno' id='Page_10'>10</span> - <h2 class='c007'>ORIGIN AND DEFINITION OF COLORS.</h2> -</div> - -<p class='c008'>Alumina—One of the earths containing aluminum.</p> - -<p class='c008'>Aureolin Yellow—A transparent, delicate medium -yellow. Is a nitrate of cobalt.</p> - -<p class='c008'>Amber—A mineralized pale yellow, and sometimes -reddish or brownish resin of extinct pine -trees.</p> - -<p class='c008'>Ambergris—A morbid secretion of the spermaceti -whale of solid opaque ash color.</p> - -<p class='c008'>Aniline—A substance obtained from indigo and -benzol, a product of coal tar.</p> - -<p class='c008'>Amaranth—The unfading flower; a color inclined -to purple.</p> - -<p class='c008'>Antwerp Blue—A transparent color lighter -than prussian blue; splendid to mix with yellow -for greens and tints.</p> - -<p class='c008'>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.</p> - -<p class='c008'>Bronzes—Are pulverized gold, brass, copper -and aluminum. Can be dyed with aniline colors -such as violet, green, etc.</p> - -<p class='c008'>Bone Black—Made by charring bones which are -then finely ground. Semi-transparent.</p> - -<p class='c008'>Burnt Sienna—Raw sienna when burnt yields -a brownish orange, quite transparent.</p> - -<p class='c008'>Buttercup—Common species of ranunculus, -having bright yellow cup-shaped flowers.</p> - -<p class='c008'><span class='pageno' id='Page_11'>11</span>Bistre Brown—Obtained from soot of wood -fires. A deep citron brown.</p> - -<p class='c008'>Cerulean Blue—A compound of oxides of tin -and cobalt. Opaque, azure blue.</p> - -<p class='c008'>Claret—A red wine color.</p> - -<p class='c008'>Carmine—A very deep toned crimson red, of -the lake family.</p> - -<p class='c008'>Cobalt—A mineral of grayish color, and a metal -obtained from it, which in the state of oxide yields -a permanent blue pigment.</p> - -<p class='c002'>When cobalt blue is unobtainable substitute -ultramarine blue.</p> - -<p class='c008'>Cobalt Blue—A deep, rich, transparent blue of -violet hue. Is often substituted for ultramarine.</p> - -<p class='c008'>Cobalt Green—Semi-transparent bluish green. -This color and cobalt blue are of French origin, -and the process of manufacture is practically the -same.</p> - -<p class='c008'>Cadmium—A metal related to zinc; produces a -bright semi-transparent yellow or orange hue.</p> - -<p class='c008'>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.</p> - -<p class='c008'>Chinese White—A semi-transparent white of -zinc oxides, equally as white as flake white.</p> - -<p class='c008'>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.</p> - -<p class='c008'><span class='pageno' id='Page_12'>12</span>Chrome Greens—Are a mixture of chrome yellow -with blue.</p> - -<p class='c008'>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.</p> - -<p class='c008'>Crimson Lake—Transparent red, similar to -carmine, but less scarlet.</p> - -<p class='c008'>Cremnitz White Lead—An opaque white. Made -permanent by coating with varnish.</p> - -<p class='c008'>Coal Tar Dyes—Are derived from coal tar by -distillation and other chemical processes.</p> - -<h3 class='c009'>COCHINEAL</h3> - -<p class='c010'>Much credit is due the cochineal as most all of -our brightest reds can be attributed to them.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c008'>Dye is a colored substance which can be made -soluble in either water or oil.</p> - -<p class='c008'>Dragon’s Blood—A resinous substance from the -East Indies. A dull semi-transparent red.</p> - -<p class='c008'>Emerald—A stone or gem of bright green.</p> - -<p class='c008'>Fawn—Light brown.</p> - -<p class='c008'><span class='pageno' id='Page_13'>13</span>Flake White—A carbonate of lead. An opaque -fine white.</p> - -<p class='c008'>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.</p> - -<p class='c008'>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.</p> - -<p class='c008'>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.</p> - -<p class='c008'>Gamboge—A gum resin from trees, native of -Ceylon. Is a bright transparent yellow of little -depth.</p> - -<p class='c008'>Gallstone—Rich deep toned fugitive yellow -from the gall bladder of oxen. Yellow carmine -can be substituted.</p> - -<p class='c008'>Heliotrope—Flower of a grayish purple color.</p> - -<p class='c008'>Ivory Black—A rich transparent black, from -charred ivory.</p> - -<p class='c008'>Indigo Blue—Deep blue from the leaves of the -Indigofera plant of India.</p> - -<p class='c008'>Intense Blue—Purified Indigo blue.</p> - -<p class='c008'>Indian Yellow—Deposit obtained from the urine -of the camel. A beautiful yellow.</p> - -<p class='c008'><span class='pageno' id='Page_14'>14</span>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.</p> - -<p class='c002'>Indian red substitute may be mixed with indigo -substitute in safety; tints made are more -permanent than obtained from the originals.</p> - -<p class='c008'>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.</p> - -<p class='c002'>Avoid mixing lake colors with raw earthen -pigments if permanency is desired.</p> - -<p class='c008'>Lamp Black—Is made by burning creosote or -tar oil. Opaque.</p> - -<p class='c008'>Lacquer—A varnish which has the appearance -of enamel.</p> - -<p class='c008'>Maroon—A brownish crimson or claret color.</p> - -<p class='c008'>Mauve—A brilliant red violet, of the lake -group. Also of a bluish violet hue. The most -fugitive of all colors.</p> - -<p class='c008'>Marigold—Several composite plants bearing -golden-yellow flowers.</p> - -<p class='c008'>Magenta is a brilliant blue-red color derived from -coal tar.</p> - -<p class='c008'>Madder red is obtained from the madder plant -roots, a climbing perennial.</p> - -<p class='c008'><span class='pageno' id='Page_15'>15</span>Mastic—Resin from a tree of southern Europe, -yielding a varnish.</p> - -<p class='c008'>Mummy Yellow—The ancients obtained a dark -yellow pigment by grinding mummified human -bodies.</p> - -<p class='c008'>Naples Yellow—A pale semi-opaque, straw colored -yellow.</p> - -<p class='c008'>The greenish hue of prussian blue may be neutralized -with a touch of crimson lake.</p> - -<p class='c008'>New Blue—Pale ultramarine.</p> - -<p class='c008'>Prussian Blue—Of German origin. A deep -blue, possessing a greenish undertone. A transparent -and good covering pigment.</p> - -<p class='c008'>Pure Scarlet—An iodide of mercury. More -brilliant than vermilion and opaque.</p> - -<p class='c008'>Pipsissewa—An evergreen plant bearing waxen -flesh-colored flowers.</p> - -<p class='c008'>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.</p> - -<p class='c008'>Red Lead—Used on iron prevents rust. Is an -inexpensive product of lead, largely used as barn -paint. Possesses good covering qualities.</p> - -<p class='c008'>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.</p> - -<p class='c008'><span class='pageno' id='Page_16'>16</span>Raw Sienna—An ocherous transparent earth -pigment of orange yellow, from Toscany.</p> - -<p class='c008'>Saffron—A bulbous plant, the stigmas of which -are used as a coloring. Yields an orange red extract.</p> - -<p class='c008'>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.</p> - -<p class='c008'>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.</p> - -<p class='c008'>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.</p> - -<p class='c008'>Scarlet Lake—A transparent red of scarlet hue.</p> - -<p class='c008'>Snuff Brown—Pulverized tobacco.</p> - -<p class='c008'>Sienna—An ocherous earth. Sienna yields an -orange yellow tint; burnt sienna a reddish brown.</p> - -<p class='c008'>Turquoise—A stone or gem of greenish blue.</p> - -<p class='c008'>Tantalum—A rare metallic element obtained as -a black powder from several minerals.</p> - -<p class='c008'>Imitation Ultramarine Blue—Is made by heating -together, China-clay soda, sulphur and charcoal.</p> - -<p class='c008'>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.</p> - -<p class='c008'><span class='pageno' id='Page_17'>17</span>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.</p> - -<p class='c008'>Ultramarine Ash—Bluish gray of azure hue, -residue of ultramarine.</p> - -<p class='c008'>Venetian Red—A semi-transparent bright red -with little orange.</p> - -<p class='c008'>Vine Blue—Is made from charred vine twigs. -Is imitated with acetylene gas.</p> - -<p class='c008'>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.</p> - -<p class='c008'>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.</p> - -<p class='c008'>Vermilion Red—A sulphide of mercury. Varies -in hue from crimson and scarlet to deep orange. -Opaque.</p> - -<p class='c008'>White Lead—A hydrated carbonate of lead, obtained -as a dry powder. Opaque; covers well.</p> - -<p class='c008'>Whitewash—A composition of lime and water, -or of whiting.</p> - -<p class='c008'>Yellow Ochre—An earth pigment varying in -color from a light yellow to an orange brown; -possesses little transparency.</p> - -<div class='chapter'> - <span class='pageno' id='Page_18'>18</span> - <h2 class='c007'>COMPLEMENTARY AND HARMONIOUS COLOR COMBINATIONS</h2> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c005'> - <div>For Painters, Decorators, Show Card Writers, Sign Painters, Art Instructors, Students, Printers, Pressmen, Etc.</div> - </div> -</div> - -<p class='c008'>Complementary color combinations may be -used full strength or as soft delicate tints, the -hue and harmony will remain.</p> - -<div class='lg-container-b c011'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Azure Blue with very light gray.</div> - <div class='line'>Azure Blue with white.</div> - <div class='line'>Amber with straw.</div> - <div class='line'>Amber with cream.</div> - <div class='line'>Amber with old ivory.</div> - <div class='line'>Blue with red.</div> - <div class='line'>Brownish Buff with old ivory.</div> - <div class='line'>Deep Cream or Buff with ivory.</div> - <div class='line'>Deep Cream with light sage green.</div> - <div class='line'>Green with red.</div> - <div class='line'>Greenish Blue with light pinkish gray.</div> - <div class='line'>Gray with white.</div> - <div class='line'>India Tint with Persian orange.</div> - <div class='line'>Light Olive Green with ivory.</div> - <div class='line'>Light Brownish Buff with cream.</div> - <div class='line'>Light Tan with straw.</div> - <div class='line'>Light Tan with old ivory.</div> - <div class='line'>Lavender with white.</div> - <div class='line'>Lavender with gray.</div> - <div class='line'>Lavender with old gold.</div> - <div class='line'>Lavender with old ivory.</div> - <div class='line'>Lavender with ivory.</div> - <div class='line'>Lavender with cream.</div> - <div class='line'>Lavender with straw.</div> - <div class='line'>Lavender with pea green.</div> - <div class='line'>Lavender with regular pink.</div> - <div class='line'>Lavender with dull pink.</div> - <div class='line'>Lavender with purplish pink.</div> - <div class='line'>Lavender with orange.</div> - <div class='line'>Lavender with golden rod.</div> - <div class='line'>Medium Tan with light brownish buff.</div> - <div class='line'>Medium Blue with old ivory.</div> - <div class='line'><span class='pageno' id='Page_19'>19</span>Medium Blue with azure blue.</div> - <div class='line'>Old Rose with old ivory.</div> - <div class='line'>Old Rose with pearl gray.</div> - <div class='line'>Old Rose with azure blue.</div> - <div class='line'>Old Rose with light ivory.</div> - <div class='line'>Old Rose with cream.</div> - <div class='line'>Old Rose with straw.</div> - <div class='line'>Old Rose with light buff.</div> - <div class='line'>Purple with red.</div> - <div class='line'>Purple with green.</div> - <div class='line'>Pearl Gray with light ivory.</div> - <div class='line'>Red with blue.</div> - <div class='line'>Sage Green with light ivory.</div> - <div class='line'>Silk Green with pale lavender.</div> - <div class='line'>Sea Green with old ivory.</div> - <div class='line'>Tan with old rose.</div> - <div class='line'>Turquoise Blue with lavender.</div> - <div class='line'>Violet with orange.</div> - <div class='line'>Violet with red.</div> - <div class='line'>Violet with brown.</div> - <div class='line'>Violet with pink.</div> - <div class='line'>Violet with salmon.</div> - <div class='line'>Violet with buff.</div> - <div class='line'>Violet with white.</div> - <div class='line'>Violet with amber.</div> - <div class='line'>Violet with ivory.</div> - <div class='line'>Violet with old ivory.</div> - <div class='line'>Violet with cream.</div> - <div class='line'>Violet with straw.</div> - <div class='line'>Violet with raw sienna.</div> - <div class='line'>Violet with burnt sienna.</div> - <div class='line'>Violet with white.</div> - <div class='line'>Violet with gray.</div> - <div class='line'>Violet with drab-gray.</div> - <div class='line'>Violet with pink gray.</div> - <div class='line'>Violet with brown gray.</div> - <div class='line'>Violet with emerald green.</div> - <div class='line'>Violet with olive green.</div> - <div class='line'>Violet with sage green.</div> - <div class='line'>Violet with sea green.</div> - <div class='line'><span class='pageno' id='Page_20'>20</span>Violet with apricot.</div> - <div class='line'>Violet with cherry.</div> - <div class='line'>Violet with scarlet.</div> - <div class='line'>Violet with russet.</div> - <div class='line'>Violet with old gold.</div> - <div class='line'>Violet with brass.</div> - <div class='line'>Violet with silver.</div> - <div class='line'>Violet with copper.</div> - <div class='line'>Violet with bronze.</div> - <div class='line'>Vermilion with sage green.</div> - <div class='line'>Yellow with purple.</div> - <div class='line'>White with black.</div> - <div class='line'>Yellow with green.</div> - </div> - </div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_21'>21</span> - <h2 class='c007'>COLOR MIXTURES BY PARTS</h2> -</div> - -<p class='c012'>Color Desired            Parts</p> -<p class='c013'>Azure Blue—50 white; 1 ultramarine blue.</p> - -<p class='c013'>Brilliant—4 Indian red; 1 madder lake.</p> - -<p class='c013'>Blue-Gray—100 white; 3 Prussian blue; 1 black.</p> - -<p class='c013'>Bright Blue—20 zinc white; 1 cobalt blue.</p> - -<p class='c013'>Blue Grass—7 white; 2 Paris green; 1 Prussian -blue.</p> - -<p class='c013'>Blue—12 borate of lime; 6 oxide of zinc; 10 litharge; -9 feldspar; 4 oxide of cobalt.</p> - -<p class='c013'>Blue Black—9 black; 4 Prussian blue.</p> - -<p class='c013'>Bronze Green, Light—3 raw turkey umber; 1 -medium chrome yellow.</p> - -<p class='c013'>Bronze Green, Medium—5 medium chrome yellow; -3 burnt turkey umber; 1 black.</p> - -<p class='c013'>Bronze Green, Dark—20 black; 2 medium chrome -yellow; 1 dark orange chrome.</p> - -<p class='c013'>Bottle Green—5 medium chrome green; 1 black.</p> - -<p class='c013'>Brown Stone—18 burnt umber; 2 dark golden -ocher; 1 burnt sienna.</p> - -<p class='c013'>Cherry Red—50 vermilion; 50 No. 40 carmine.</p> - -<p class='c013'>Coffee Brown—6 burnt turkey umber; 2 French -ocher; 1 burnt sienna.</p> - -<p class='c013'>French Blue—5 cobalt blue; 2 zinc white.</p> - -<p class='c013'>Flesh Color—19 French ocher; 1 deep English -vermilion.</p> - -<p class='c013'>Fern Green—5 lemon chrome yellow and 1 each -of light chrome, green and black.</p> - -<p class='c013'>Foliage Green—3 medium chrome yellow; 1 -brownish black.</p> - -<p class='c013'>Foliage Brown—50 Vandyke brown; 50 orange -chrome yellow.</p> - -<p class='c013'>Green Blue—100 white; 5 lemon chrome yellow; -3 ultramarine blue.</p> - -<p class='c013'>Gold Russet—5 lemon chrome yellow; 1 light Venetian -red.</p> - -<p class='c013'><span class='pageno' id='Page_22'>22</span>Hazy Blue—60 white; 16 ultramarine blue; 1 -burnt sienna.</p> - -<p class='c013'>Indian Brown—50 light Indian red; 50 French -ocher; 50 black.</p> - -<p class='c013'>Mahogany—3 dark golden ocher; 1 dark Venetian -red.</p> - -<p class='c013'>Maroon, Light—5 dark Venetian red; 1 black.</p> - -<p class='c013'>Maroon, Dark—9 dark Indian red; 1 black.</p> - -<p class='c013'>Mineral Blue—5 white; 4 cobalt blue; 2 red madder -lake; 1 black.</p> - -<p class='c013'>Olive Green—7 light golden ocher; 1 black.</p> - -<p class='c013'>Orient Blue—25 white; 2 Prussian blue; 1 lemon -chrome yellow.</p> - -<p class='c013'>Ocherous Olive—9 French ocher; 1 raw umber.</p> - -<p class='c013'>Orange Brown—50 burnt sienna; 50 orange -chrome yellow.</p> - -<p class='c013'>Oriental Red—2 light Indian red; 1 red lead.</p> - -<p class='c013'>Purple—8 crocus martis; 2 red hematite; 1 oxide -of iron.</p> - -<p class='c013'>Purple—2 rose pink; 1 ultramarine blue.</p> - -<p class='c013'>Purple, Black—3 black; 2 rose pink.</p> - -<p class='c013'>Purple, Brown—5 dark Indian red; 1 each of ultramarine -blue and black.</p> - -<p class='c013'>Roman ocher—23 parts French ocher; 1 each of -burnt sienna and burnt umber.</p> - -<p class='c013'>Royal Blue, Dark—18 ultramarine blue; 2 Prussian -blue; to lighten use white.</p> - -<p class='c013'>Royal Purple—2 ultramarine blue; 1 carmine or -lake.</p> - -<p class='c013'>Russet—14 orange chrome yellow; 1 medium -chrome green.</p> - -<p class='c013'>Royal Blue—34 white; 19 ultramarine blue; 2 -Prussian blue; 1 rose madder or rose lake.</p> - -<p class='c013'>Seal Brown—10 burnt umber; 2 golden ocher; 1 -burnt sienna.</p> - -<p class='c013'><span class='pageno' id='Page_23'>23</span>Snuff Brown—50 burnt umber; 50 light golden -ocher.</p> - -<p class='c013'>Solid Blue—5 white; 1 ultramarine blue.</p> - -<p class='c013'>Sapphire Blue—2 zinc white; 1 chinese blue.</p> - -<p class='c013'>Terra Cotta—2 white; 1 burnt sienna; 2 French -ocher; 1 Venetian red.</p> - -<p class='c013'>Tuscan Red—9 Indian red; 1 rose pink.</p> - -<p class='c013'>Turquoise Blue—20 white; 3 ultramarine blue; 1 -lemon chrome yellow.</p> - -<p class='c013'>Violet—3 ultramarine blue; 2 rose lake; 1 black.</p> - -<p class='c013'>Yellow—4½ parts tin ashes; 1 crude antimony; 1 -litharge and 1 red ocher.</p> - -<p class='c013'>Yellow, Amber—10 medium chrome yellow; 7 -burnt umber; 3 burnt sienna.</p> - -<p class='c013'>Yellow, Canary—5 white; 2 permanent yellow; 1 -lemon chrome yellow.</p> - -<p class='c013'>Yellow, Golden—10 lemon chrome yellow; 3 deep -orange chrome; 5 white.</p> - -<p class='c013'>Yellow, Brownstone—3 white; 1 lemon chrome -yellow; 1 permanent yellow.</p> - -<div> - <span class='pageno' id='Page_24'>24</span> - <h3 class='c009'>TINT MIXTURES BY PARTS</h3> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c014'> - <div>Green Tints</div> - </div> -</div> - -<p class='c015'>Color Desired            Parts</p> - -<p class='c013'>Apple Green—50 white; 1 medium chrome green.</p> - -<p class='c013'>Citron Green—100 white; 3 medium chrome yellow; -1 black.</p> - -<p class='c013'>Emerald Green—10 white; 1 Paris (emerald) -green.</p> - -<p class='c013'>Grass Green—10 oxide of chrome; 2 tin ashes; 5 -whiting; 1 crocus martis; 1 bichromate -potash.</p> - -<p class='c013'>Gray Green—5 white; 1 Verona green.</p> - -<p class='c013'>Marine Green—10 white; 1 ultramarine green.</p> - -<p class='c013'>Nile Green—50 white; 6 medium chrome green; -1 Prussian blue.</p> - -<p class='c013'>Olive Green—50 white; 2 medium chrome yellow; -3 raw umber; 1 black.</p> - -<p class='c013'>Olive Drab—50 white; 8 raw umber; 5 medium -chrome green; 1 black.</p> - -<p class='c013'>Pea Green—50 white; 1 light chrome green.</p> - -<p class='c013'>Satin Green—3 white; 1 Milori green.</p> - -<p class='c013'>Sage Green—100 white; 3 medium chrome green; -1 raw umber.</p> - -<p class='c013'>Sea Green—50 white; 1 dark chrome green.</p> - -<p class='c013'>Stone Green—25 white; 2 dark chrome green; 3 -raw umber.</p> - -<p class='c013'>Velvet Green—20 white; 7 medium chrome green.</p> - -<p class='c013'>Violet—3 ultramarine blue; 2 rose lake; 1 black; -2 burnt sienna.</p> - -<p class='c013'>Water Green—15 white; 10 French ocher; 1 dark -chrome green.</p> - -<h3 class='c009'>Brown Tints</h3> - -<p class='c016'>Chocolate—25 white; 3 burnt umber.</p> - -<p class='c013'>Cinnamon—10 white; 2 burnt sienna; 1 French -ocher.</p> - -<p class='c013'>Cocoanut—50 white; 50 burnt umber.</p> - -<p class='c013'><span class='pageno' id='Page_25'>25</span>Dark Drab—40 white; 1 burnt umber.</p> - -<p class='c013'>Dark Stone—20 white; 1 raw umber.</p> - -<p class='c013'>Fawn—50 white; 3 burnt umber; 2 French ocher.</p> - -<p class='c013'>Golden Brown—25 white; 4 French ocher; 1 -burnt sienna.</p> - -<p class='c013'>Hazelnut Brown—20 white; 5 burnt umber; 1 -medium chrome yellow.</p> - -<p class='c013'>Mulberry—10 manganese; 2 cobalt blue; 2 saltpeter.</p> - -<p class='c013'>Purple-Brown—50 white; 6 Indian red; 2 ultramarine -blue; 1 black.</p> - -<p class='c013'>Red-Brown—12 hematite ore; 3 manganese; 7 -litharge; 2 yellow ocher.</p> - -<p class='c013'>Seal Brown—30 white; 5 burnt umber; 1 medium -chrome yellow.</p> - -<p class='c013'>Snuff Brown—25 white; 1 burnt umber; 1 Oxford -ocher.</p> - -<h3 class='c009'>Red Tints</h3> - -<p class='c016'>Cardinal Red—50 white; 50 scarlet lake.</p> - -<p class='c013'>Carnation Red—15 white; 1 scarlet lake.</p> - -<p class='c013'>Claret—21 oxide of zinc; 4 crocus martis; 4 -oxide of chrome; 3 red lead; 3 boracic acid.</p> - -<p class='c013'>Coral Pink—15 white; 2 bright vermilion; 1 deep -orange chrome.</p> - -<p class='c013'>Deep Rose—10 white; 1 red lake.</p> - -<p class='c013'>Deep Purple—5 white; 1 ultramarine blue; 1 rose -pink.</p> - -<p class='c013'>Deep Scarlet—15 bright vermilion; 2 red lake; 5 -white.</p> - -<p class='c013'>Flesh Pink—100 white; 1 orange chrome yellow; -1 red lake.</p> - -<p class='c013'>Indian Pink—100 white; 1 light Indian red.</p> - -<p class='c013'>Lavender—50 white; 2 ultramarine blue; 1 red -lake.</p> - -<p class='c013'>Light Pink—50 white; 1 bright vermillion.</p> - -<p class='c013'><span class='pageno' id='Page_26'>26</span>Lilac—50 white; 1 rose pink.</p> - -<p class='c013'>Mauve—15 white; 2 ultramarine blue; 1 carmine -lake.</p> - -<p class='c013'>Orange Pink—2 white; 1 dark orange chrome.</p> - -<p class='c013'>Purple—5 white; 2 ultramarine blue; 1 red madder -lake.</p> - -<p class='c013'>Royal Pink—5 white; 1 carmine lake.</p> - -<p class='c013'>Royal Rose—20 white; 1 rose lake.</p> - -<p class='c013'>Red Brick—10 white; 3 light Venetian red; 1 -yellow ocher.</p> - -<p class='c013'>Reddish Terra Cotta—2 white; 1 burnt sienna.</p> - -<p class='c013'>Salmon—50 white; 5 deep orange chrome.</p> - -<p class='c013'>Shell Pink—50 white; 2 bright vermilion; 1 -orange chrome; 1 burnt sienna.</p> - -<p class='c013'>Violet—15 white; 4 ultramarine blue; 3 rose lake; -1 black.</p> - -<h3 class='c009'>Gray Tints</h3> - -<p class='c016'>Ash Gray—30 white; 2 ultramarine blue; 1 burnt -sienna.</p> - -<p class='c013'>Cold Gray—500 white; 6 black; 1 Antwerp blue.</p> - -<p class='c013'>Dove Color—12 manganese; 5 steel filings; 3 -whiting; 1 oxide of cobalt.</p> - -<p class='c013'>Dove Gray—200 white; 5 ultramarine blue; 2 -black.</p> - -<p class='c013'>French Gray—150 white; 2 black; 1 orange -chrome yellow; 1 chrome red.</p> - -<p class='c013'>Lead Color—50 white; 1 black.</p> - -<p class='c013'>Lustrous Gray—10 white; 1 graphite (plumbago).</p> - -<p class='c013'>Olive Gray—200 white; 2 black; 1 medium chrome -green.</p> - -<p class='c013'>Pure Gray—100 white; 1 black.</p> - -<p class='c013'>Pearl Gray—100 white; 1 ultramarine blue; 1 -black.</p> - -<p class='c013'>Silver Gray—150 white; 2 black; 3 Oxford ocher.</p> - -<p class='c013'>Warm Gray—100 white; 3 black; 2 French ocher; -1 light Venetian red.</p> - -<div class='chapter'> - <span class='pageno' id='Page_27'>27</span> - <h2 class='c007'>COLOR MIXTURES</h2> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c005'> - <div>COLORS AS SEEN BY INDIVIDUALS</div> - </div> -</div> - -<p class='c008'>The same color scheme does not appeal to every -one. Persons of refined temperament are best -pleased with soft, delicate colors and shades.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'><span class='pageno' id='Page_28'>28</span>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.</p> - -<p class='c015'>Color Desired            Parts</p> - -<p class='c013'>Alderney Brown—Deep chrome yellow and white, -darkened with black.</p> - -<p class='c013'>Amber—Equal parts burnt sienna and burnt umber; -warm with orange and tone down with -black and white.</p> - -<p class='c013'>Apricot—Warm medium yellow with venetian red -or vermilion and deepen with crimson.</p> - -<p class='c013'>Ash Gray—White, tinged with black and softened -with ocher.</p> - -<p class='c013'>Asiatic Bronze—Is raw umber lightened with yellow -and white.</p> - -<p class='c013'>Autumn Green—Is two parts emerald green and -one of yellow toned down with a little black.</p> - -<p class='c013'>Azure Blue—Like sky blue. No definite proportion. -One part cobalt, prussian or ultra blue may -be added to about forty zinc white.</p> - -<p class='c013'>Acacia—Black, indian red, and a tinge of prussian -blue.</p> - -<p class='c013'>Acorn Brown—Same as chocolate, but lighten with -white.</p> - -<p class='c013'>Alderney Brown—Black, orange chrome yellow, -French ocher and white.</p> - -<p class='c013'>Amber Brown—Burnt sienna, orange chrome yellow, -burnt umber, a touch of black, and -white.</p> - -<p class='c013'>Ashes of roses—White with tints of black and -purple.</p> - -<p class='c013'>Amaranth—Tuscan red and vermilion in about -equal parts, and ultramarine blue.</p> - -<p class='c013'><span class='pageno' id='Page_29'>29</span>Anemone—Vermilion, prussian blue, a little white -and black.</p> - -<p class='c013'>Alabaster—White faintly tinged with medium -chrome yellow.</p> - -<p class='c013'>Apricot—Medium chrome yellow, venetian red and -carmine.</p> - -<p class='c013'>Armenian Red—Venetian red and French ocher.</p> - -<p class='c013'>Ash Gray—White, French ocher, orange chrome -yellow and a touch of venetian red.</p> - -<p class='c013'>Asiatic Bronze—Raw umber, medium chrome yellow -and white.</p> - -<p class='c013'>Autumn Leaf—White, French ocher, orange chrome -yellow and a touch of venetian red.</p> - -<p class='c013'>Azure Blue—White and prussian blue.</p> - -<p class='c013'>Azure Gray—White, ultramarine blue tinted with -black.</p> - -<p class='c013'>Bottle Green—Dark green and purple.</p> - -<p class='c013'>Bronze Green—Bronze blue and yellow.</p> - -<p class='c013'>Brown—Red and black.</p> - -<p class='c013'>Brown (red hue)—Red, blue and a small amount -of black.</p> - -<p class='c013'>Brown (regular)—Medium yellow, red, blue, -toned with black.</p> - -<p class='c013'>Buff—White, dark yellow and venetian red.</p> - -<p class='c013'>Buff—Medium yellow, white and a touch of red.</p> - -<p class='c013'>Buff—Orange and white.</p> - -<p class='c013'>Buff—Orange yellow and white. For deeper -shades add brown of orange hue.</p> - -<p class='c013'>Begonia—Black, scarlet vermilion, a touch of prussian -blue.</p> - -<p class='c013'>Bismark Brown—Burnt sienna, burnt umber, -orange chrome yellow and white.</p> - -<p class='c013'>Bordeaux Blue—Black warmed with orange and -toned down with prussian blue.</p> - -<p class='c013'><span class='pageno' id='Page_30'>30</span>Black Slate—Tone black with Prussian blue and -lighten with white.</p> - -<p class='c013'>Biscuit Color—Zinc white and a little Naples -yellow.</p> - -<p class='c013'>Buff—Yellow and white, tinted with red.</p> - -<p class='c013'>Black—Yellow, red and blue.</p> - -<p class='c013'>Black Slate—Black, prussian blue and white.</p> - -<p class='c013'>Bordeaux Blue—Black, orange chrome yellow, -prussian blue.</p> - -<p class='c013'>Bottle Green—Prussian blue, black and chrome -yellow.</p> - -<p class='c013'>Brass—White, medium chrome yellow and French -ocher.</p> - -<p class='c013'>Bronze-Red—Vermilion, orange chrome yellow, -and black.</p> - -<p class='c013'>Brick Color—Yellow ocher and venetian red.</p> - -<p class='c013'>Bronze Green—Deep chrome green and black. Or -medium chrome green, black and raw umber.</p> - -<p class='c013'>Bronze Yellow—Medium chrome yellow, raw umber -and touch of white.</p> - -<p class='c013'>Brown—Venetian red, yellow ochre, deepen with -black.</p> - -<p class='c013'>Browns—Use venetian red for base and add French -ocher and black in various proportions for -different shades of brown wanted.</p> - -<p class='c013'>Brown Drab—Same as above with a little white -added.</p> - -<p class='c013'>Buttercup—White and lemon chrome yellow.</p> - -<p class='c013'>Cambridge Red—Vermilion and prussian blue.</p> - -<p class='c013'>Cafe au Lait (Coffee with Milk Color)—Burnt -umber, white, French ocher and venetian red.</p> - -<p class='c013'>Carnation—English vermilion, madder lake (or -carmine), and for lighter shades add zinc -white.</p> - -<p class='c013'>Cerulean Blue—Zinc white and ultramarine blue. -Cobalt blue is better but not so common.</p> - -<p class='c013'><span class='pageno' id='Page_31'>31</span>Chamois—White, French ocher, and medium -chrome yellow.</p> - -<p class='c013'>Chamoline—White raw sienna, and lemon chrome -yellow.</p> - -<p class='c013'>Chartreuse—Venetian red, medium chrome yellow, -French ocher and black.</p> - -<p class='c013'>Chocolate—Burnt umber and crimson vermilion -(or madder lake). Or French ocher, black, -and a little venetian red.</p> - -<p class='c013'>Chocolate—Brown, red and black.</p> - -<p class='c013'>Chocolate—Raw umber, red, black.</p> - -<p class='c013'>Claybank—French ocher, orange chrome yellow and -white.</p> - -<p class='c013'>Clay Drab—White, medium chrome yellow, raw -and burnt sienna.</p> - -<p class='c013'>Cinnamon—White, burnt sienna, French ocher and -medium chrome yellow.</p> - -<p class='c013'>Cobalt Blue—When not obtainable as a color may -be mixed ultramarine blue and zinc white.</p> - -<p class='c013'>Coral Pink—Vermilion, white and medium chrome -yellow.</p> - -<p class='c013'>Colonial Yellow—White, medium chrome yellow, -and a touch of orange chrome yellow.</p> - -<p class='c013'>Chestnut—Red, black and yellow.</p> - -<p class='c013'>Chestnut—Yellow, red, toned with black.</p> - -<p class='c013'>Claret—Madder lake, ultramarine blue, English -vermilion and black.</p> - -<p class='c013'>Claret—Red and prussian blue.</p> - -<p class='c013'>Claret—Red, umber, black.</p> - -<p class='c013'>Copper—Red, yellow and black.</p> - -<p class='c013'>Copper—Red, yellow, black.</p> - -<p class='c013'>Cream—White and pale yellow.</p> - -<p class='c013'>Cobalt Green—Zinc yellow and ultramarine blue.</p> - -<p class='c013'>Cobalt Green—Cadmium yellow and cobalt blue.</p> - -<p class='c013'>Claret—Red, yellow, black.</p> - -<p class='c013'><span class='pageno' id='Page_32'>32</span>Dark Green—Blue, lemon and black.</p> - -<p class='c013'>Drab—White, medium yellow and black.</p> - -<p class='c013'>Drab—White, yellow ocher, red, black.</p> - -<p class='c013'>Drab—White, yellow, red.</p> - -<p class='c013'>Drab—White and umber.</p> - -<p class='c013'>Dark Brown—Red, black and blue.</p> - -<p class='c013'>Deep Blue—Black and blue.</p> - -<p class='c013'>Deep Lilac—Ultramarine and carmine.</p> - -<p class='c013'>Dove—White, ultramarine blue, indian red and -black.</p> - -<p class='c013'>Dove—White, vermilion, blue, yellow.</p> - -<p class='c013'>Dregs of Wine—Dark tuscan red, black, a touch of -zinc white.</p> - -<p class='c013'>Electric Blue—Ultramarine blue, white and raw -sienna.</p> - -<p class='c013'>Ecru—White, French ocher, burnt sienna and -black. Properly this color is that of raw, unbleached -flax.</p> - -<p class='c013'>Emerald—Pale chrome green, and a touch of prussian -blue. Paris green is a true emerald -green.</p> - -<p class='c013'>Egyptian Green—White, raw umber, lemon chrome -yellow, and prussian blue.</p> - -<p class='c013'>Fawn—White, medium yellow, bright red, toned -with black.</p> - -<p class='c013'>Fawn—White, medium chrome yellow, venetian red -and burnt umber.</p> - -<p class='c013'>Flesh Color—White, medium chrome yellow, French -ocher, and venetian red.</p> - -<p class='c013'>Flesh—White, yellow ocher, vermilion.</p> - -<p class='c013'>Flesh—White, lemon yellow, tone with lake red -or other bright red.</p> - -<p class='c013'>Flesh—Straw and carmine.</p> - -<p class='c013'>French Gray—White, black, a touch of ultramarine -blue, and madder lake.</p> - -<p class='c013'><span class='pageno' id='Page_33'>33</span>French Gray—Purple, tinted with black.</p> - -<p class='c013'>French Red—Indian red, English vermilion, with a -second impression of madder lake over the -other two mixed.</p> - -<p class='c013'>Fawn—White, red, yellow.</p> - -<p class='c013'>Flesh—White, lake and lemon yellow.</p> - -<p class='c013'>Gazelle—French ocher, dark tuscan red, venetian -red, black, and white.</p> - -<p class='c013'>Geranium—Vermilion, indian red, and black.</p> - -<p class='c013'>Gobelin Blue—Black, white, prussian blue, and -medium chrome green.</p> - -<p class='c013'>Gold—White, medium chrome yellow, French ocher, -a touch of English vermilion.</p> - -<p class='c013'>Golden Brown—French ocher, orange chrome yellow, -black, and a touch of white.</p> - -<p class='c013'>Gray Green—White, ultramarine blue, lemon -chrome yellow, and black.</p> - -<p class='c013'>Grass Green—Very light chrome green. It is improved -by a second impression of emerald -green.</p> - -<p class='c013'>Green Stone—White, medium chrome green, raw -umber and French ocher.</p> - -<p class='c013'>Green Bronze—Chrome green, yellow and a touch -of black.</p> - -<p class='c013'>Green (bright)—Lemon yellow and greenish blue.</p> - -<p class='c013'>Green (olive)—Medium yellow and purple.</p> - -<p class='c013'>Grass Green—Lemon yellow with chrome, Antwerp, -milori or bronze blue.</p> - -<p class='c013'>Sea Green (neutral)—Prussian blue toned with -light red.</p> - -<p class='c013'>Deep Green—Antwerp blue and emerald green.</p> - -<p class='c013'>Iris Leaf Green—Light chrome yellow and medium -chrome green.</p> - -<p class='c013'>Grays—White and black in various proportions.</p> - -<p class='c013'>Gray Stone—White, black, prussian blue and venetian -red.</p> - -<p class='c013'><span class='pageno' id='Page_34'>34</span>Gray Drabs—White, black and a little burnt umber -in various proportions, according to shade -wanted.</p> - -<p class='c013'>Gray (cold)—White and a little black tinted with -azure blue.</p> - -<p class='c013'>Gray (sky)—White, rose madder and cobalt or -ultramarine blue.</p> - -<p class='c013'>Gray (warm)—White and a little black tinted -with red of yellowish hue or orange.</p> - -<p class='c013'>Gray (neutral)—White and black. Black not to -contain any blue.</p> - -<p class='c013'>Cool Gray—Antwerp blue toned with black.</p> - -<p class='c013'>Warm Gray—Burnt sienna toned with black.</p> - -<p class='c013'>Warm Gray Tints—White and black in various -proportions warm with burnt sienna.</p> - -<p class='c013'>Gray (cool)—Antwerp blue toned with black.</p> - -<p class='c013'>Gray (warm)—Burnt sienna toned with black.</p> - -<p class='c013'>French Gray—White, prussian blue, lake.</p> - -<p class='c013'>Greens—Some very good greens are made from -mixtures of yellows and Antwerp blue.</p> - -<p class='c013'>Green Tints—White, yellow and Antwerp blue.</p> - -<p class='c013'>Green (dark)—Lemon yellow, Antwerp blue, tone -with black.</p> - -<p class='c013'>Gold—White, yellow and sienna.</p> - -<p class='c013'>Gold—Yellow ocher, white, tinted with red.</p> - -<p class='c013'>Green—Yellow and black.</p> - -<p class='c013'>Grass Green—Lemon yellow and bronze blue.</p> - -<p class='c013'>Hay Color—White, orange chrome yellow, light -chrome green and indian red.</p> - -<p class='c013'>Heliotrope—Zinc white, venetian red and ultra blue.</p> - -<p class='c013'>Indian Pink—White and indian red.</p> - -<p class='c013'>Indian Brown—Indian red, black and French ocher.</p> - -<p class='c013'>Iron Gray—Black, white, and a touch of orange -chrome.</p> - -<p class='c013'>Indigo—Antwerp blue toned with black.</p> - -<p class='c013'><span class='pageno' id='Page_35'>35</span>Icy Green—French ocher, black and prussian blue.</p> - -<p class='c013'>Jasper—Black, white, medium chrome yellow and -indian red.</p> - -<p class='c013'>Jonquil—White, medium chrome yellow and a touch -of English vermilion.</p> - -<p class='c013'>Lavender—White, black, ultramarine blue and a -touch of madder lake.</p> - -<p class='c013'>Lead Color—White, black and a touch of prussian -blue.</p> - -<p class='c013'>Leather—French ocher, burnt umber. For marn -tones add venetian red.</p> - -<p class='c013'>Lemon—Is afforded by lemon chrome yellow.</p> - -<p class='c013'>Leaf Buds—White, orange chrome yellow and light -green.</p> - -<p class='c013'>Lilac—White and dark indian red.</p> - -<p class='c013'>London Smoke—Yellow ocher, ultramarine blue, -black, white.</p> - -<p class='c013'>Lavender—White and purple.</p> - -<p class='c013'>Lavender—White, red and blue.</p> - -<p class='c013'>Limestone—White, yellow ocher, tinted with black -and red.</p> - -<p class='c013'>Lemon—Lemon green, toned with white.</p> - -<p class='c013'>Lemon—Lemon yellow, white and a very small -quantity of chrome green.</p> - -<p class='c013'>Lemon Tints—Add white to lemon.</p> - -<p class='c013'>Magenta—Lake and purple.</p> - -<p class='c013'>Maroon—Medium yellow and red darkened with -black.</p> - -<p class='c013'>Mauve—Yellow ocher, venetian red, black and -white.</p> - -<p class='c013'>Mastic—White, French ocher, venetian red, a touch -of black.</p> - -<p class='c013'>Maroon—Carmine (or madder lake), black, and a -little orange chrome yellow. Or tuscan red, -orange chrome yellow and a touch of black.</p> - -<p class='c013'><span class='pageno' id='Page_36'>36</span>Manila—White, medium chrome yellow and French -ocher.</p> - -<p class='c013'>Marigold—Medium chrome yellow, white and -orange yellow.</p> - -<p class='c013'>Mignonette—Medium chrome green, prussian blue, -medium chrome yellow and black.</p> - -<p class='c013'>Moorish Red—Vermilion and madder lake.</p> - -<p class='c013'>Mouse Color—White, black and a touch of venetian -red and burnt umber.</p> - -<p class='c013'>Moss Rose—Lemon chrome yellow, medium chrome -green and white.</p> - -<p class='c013'>Mulberry—Black, vermilion and a touch of prussian -blue.</p> - -<p class='c013'>Myrtle Green—Dark chrome green, ultramarine -blue and white.</p> - -<p class='c013'>Nile Blue—White, prussian blue and a touch of -medium chrome green.</p> - -<p class='c013'>Normandy Blue—Medium chrome green, ultramarine -blue and a touch of white.</p> - -<p class='c013'>Nut Brown—Black, venetian red, medium chrome -yellow and French ocher.</p> - -<p class='c013'>Neutral Tint—White, alizarin red and indigo -toned with black.</p> - -<p class='c013'>Orange (neutral)—Cadmium yellow and venetian -red.</p> - -<p class='c013'>Olive—Yellow and a small amount of black.</p> - -<p class='c013'>Olive—Yellow, white, blue and black.</p> - -<p class='c013'>Olive—Gray, yellow and blue.</p> - -<p class='c013'>Orange—Red and yellow.</p> - -<p class='c013'>Old Gold—White, medium chrome yellow, French -ocher and a little burnt umber.</p> - -<p class='c013'>Olive Brown—Raw umber and lemon chrome yellow.</p> - -<p class='c013'>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.</p> - -<p class='c013'><span class='pageno' id='Page_37'>37</span>Oak Color—White, French ocher and a little venetian -red.</p> - -<p class='c013'>Orange—Is orange chrome yellow.</p> - -<p class='c013'>Orange Brown—Orange chrome yellow, raw sienna -and a touch of burnt umber.</p> - -<p class='c013'>Oriental Green—Raw umber and lemon chrome -yellow.</p> - -<p class='c013'>Opal Gray—White, burnt sienna and ultramarine -blue.</p> - -<p class='c013'>Olive Green—Medium yellow and purple.</p> - -<p class='c013'>Pearl—White, ultramarine blue and black.</p> - -<p class='c013'>Pink—White and lake.</p> - -<p class='c013'>Purple—Blue and lake.</p> - -<p class='c013'>Peach Blossoms—White, pale indian red and a -touch of madder lake.</p> - -<p class='c013'>Pearl—White, black and a touch of ultramarine -and carmine.</p> - -<p class='c013'>Pea Green—White and medium chrome green.</p> - -<p class='c013'>Peacock Blue—Ultramarine blue, light chrome -green and zinc white.</p> - -<p class='c013'>Peach—White, vermilion.</p> - -<p class='c013'>Pink—White, vermilion and lake.</p> - -<p class='c013'>Pink—White and carmine.</p> - -<p class='c013'>Purple (pure)—Mix together red with bluish cast -and blue of reddish hue.</p> - -<p class='c013'>Purple (light)—Violet, red with a bluish cast and -white.</p> - -<p class='c013'>Purple (deep)—Violet, red with a bluish cast, -deepen with black.</p> - -<p class='c013'>Purple—Rose madder and ultramarine blue.</p> - -<p class='c013'>Purple—Rose madder and cobalt blue.</p> - -<p class='c013'>Purple—Lake red and ultramarine blue.</p> - -<p class='c013'>Persian Orange—Orange chrome yellow, French -ocher, white.</p> - -<p class='c013'>Pink—Zinc white and either madder lake, carmine -or crimson vermilion.</p> - -<p class='c013'><span class='pageno' id='Page_38'>38</span>Pompeian Red—Vermilion, orange chrome yellow -and black.</p> - -<p class='c013'>Pompeian Blue—White, ultramarine blue, vermilion -and French ocher.</p> - -<p class='c013'>Plum Color—White, indian red and ultramarine -blue.</p> - -<p class='c013'>Portland Stone—French ocher, raw umber and -white.</p> - -<p class='c013'>Pistache (Pistachio)—Black, French ocher and medium -chrome green.</p> - -<p class='c013'>Primrose—White and lemon or medium chrome -yellow.</p> - -<p class='c013'>Purple-Brown—Dark indian red, ultramarine blue -and a touch of black and white.</p> - -<p class='c013'>Pea Green—White and pale green.</p> - -<p class='c013'>Quaker Green—White, French ocher, black and -burnt sienna.</p> - -<p class='c013'>Russet—Orange, lake and purple.</p> - -<p class='c013'>Roan—Black, venetian red, prussian blue and -white.</p> - -<p class='c013'>Robin’s Egg Blue—White, ultra blue and pale -chrome green.</p> - -<p class='c013'>Russet—White, orange chrome yellow and a touch -of black.</p> - -<p class='c013'>Russian Gray—White, ultra blue, light indian red -and black.</p> - -<p class='c013'>Rose Tint—White and madder.</p> - -<p class='c013'>Rose—White tinted with lake red.</p> - -<p class='c013'>Rose Tint—White and madder, tinted with lake.</p> - -<p class='c013'>Royal Purple—Carmine, cobalt blue and white.</p> - -<p class='c013'>Scarlet Lake—Crimson lake and pale vermilion.</p> - -<p class='c013'>Sepia (warm)—Sepia and browns of reddish hue.</p> - -<p class='c013'>Sepia—Burnt umber and lamp black.</p> - -<p class='c013'>Sienna (burnt)—Same as raw sienna but add -more yellow and red.</p> - -<p class='c013'>Sienna (raw)—Medium yellow, white and a little -red.</p> - -<p class='c013'>Scarlet—Vermilion, yellow and a touch of white.</p> - -<p class='c013'>Sandstone—White, yellow ochre, black, red.</p> - -<p class='c013'>Snuff—Yellow and Vandyke brown.</p> - -<p class='c013'>Sky Blue—White and milori blue.</p> - -<p class='c013'><span class='pageno' id='Page_39'>39</span>Shell Pink—Chrome yellow and vermilion, tinted -with burnt sienna.</p> - -<p class='c013'>Straw—White and chrome yellow.</p> - -<p class='c013'>Spruce—Yellow, vermilion, green and white.</p> - -<p class='c013'>Silver Gray—Indigo and lamp black.</p> - -<p class='c013'>Slate—White, raw umber, ultra blue and black.</p> - -<p class='c013'>Sea Foam—White, green and yellow.</p> - -<p class='c013'>Shrimp Pink—White, vermilion, black and burnt -sienna.</p> - -<p class='c013'>Sage Green—White, medium chrome green and -black.</p> - -<p class='c013'>Salmon—White, French ocher, burnt sienna and a -touch of vermilion.</p> - -<p class='c013'>Sapphire Blue—Zinc white and ultramarine blue.</p> - -<p class='c013'>Sap Green—White, medium chrome yellow and -black.</p> - -<p class='c013'>Sea Green—White, prussian blue and raw sienna.</p> - -<p class='c013'>Seal Brown—Burnt umber, French ocher and a -touch of white.</p> - -<p class='c013'>Scarlet—Use pale English vermilion or scarlet vermilion.</p> - -<p class='c013'>Shrimp Pink—White, venetian red, burnt sienna -and a touch of vermilion.</p> - -<p class='c013'>Sky Blue—White and prussian blue.</p> - -<p class='c013'>Sky Blue—White and ultramarine blue.</p> - -<p class='c013'>Salmon—Red, yellow and sienna.</p> - -<p class='c013'>Sienna—Medium yellow, red and white.</p> - -<p class='c013'>Slate—Ultramarine blue, black and white.</p> - -<p class='c013'>Snuff—White and umber.</p> - -<p class='c013'>Straw—White and yellow.</p> - -<p class='c013'>Slate—White, raw umber, ultramarine blue, black.</p> - -<p class='c013'>Spruce Yellow—French ocher, venetian red and -white.</p> - -<p class='c013'>Snuff Color—French ocher, burnt umber and a -touch of venetian red.</p> - -<p class='c013'>Straw Color—Medium chrome yellow, French ocher, -a touch of venetian red and lighten with -white.</p> - -<p class='c013'>Stone Color—White, French ocher and of medium -chrome yellow and burnt umber.</p> - -<p class='c013'>Tan—White burnt sienna and a touch of black.</p> - -<p class='c013'><span class='pageno' id='Page_40'>40</span>Tan—Yellow, burnt umber and burnt sienna.</p> - -<p class='c013'>Tally-Ho—White, French ocher, venetian red, and -dark chrome green and touch of black.</p> - -<p class='c013'>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.</p> - -<p class='c013'>Turkey Red—Vermilion and black.</p> - -<p class='c013'>Turquoise—White, cobalt blue and green lake.</p> - -<p class='c013'>Turquoise Blue—Zinc white, cobalt blue and light -chrome green.</p> - -<p class='c013'>Umber—White, yellow, red and black.</p> - -<p class='c013'>Velvet Green—Burnt sienna, green lake and -white.</p> - -<p class='c013'>Vermilion—An orange red, to lighten add yellow, -to deepen add burnt sienna.</p> - -<p class='c013'>Vienna Brown—Burnt umber, venetian red, French -ocher, and a touch of white.</p> - -<p class='c013'>Violet—White, light indian red and a touch of -dark indian red.</p> - -<p class='c013'>Violet—White, blue and red.</p> - -<p class='c013'>Violet—Crimson lake and Antwerp blue.</p> - -<p class='c013'>Violet—Red, blue, white.</p> - -<p class='c013'>Violet—Lake and ultramarine blue.</p> - -<p class='c013'>Violet Tint—Lake, ultramarine blue, white in various -proportions.</p> - -<p class='c013'>Violet—Crimson lake and Antwerp blue in various -proportions.</p> - -<p class='c013'>Willow Green—White, medium chrome yellow and -a little raw umber and black.</p> - -<p class='c013'>Wine Color—English vermilion (or scarlet vermilion), -madder lake (or carmine), ultramarine -blue and black. Or tuscan red and a -little black.</p> - -<p class='c013'>Water Green—White, raw sienna, dark chrome -green.</p> - -<p class='c013'>Yellow Bronze—Lemon or medium chrome yellow, -French ocher and a touch of burnt umber.</p> - -<p class='c013'>Yellow Drabs—Same as the preceding, in various -proportions.</p> - -<div class='chapter'> - <span class='pageno' id='Page_41'>41</span> - <h2 class='c007'>COLOR MIXTURES BY PARTS</h2> -</div> - -<p class='c008'>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.</p> - -<h3 class='c009'>GREENS BY TWO-COLOR MIXTURE</h3> - -<table class='table0'> - <tr> - <td class='c017'>Color Desired</td> - <td class='c018'>Parts</td> - </tr> - <tr> - <td class='c019'>Bronze green</td> - <td class='c020'>2 bronze blue, 3 yellow.</td> - </tr> - <tr> - <td class='c019'>Bright green</td> - <td class='c020'>1 deep blue, 5 yellow.</td> - </tr> - <tr> - <td class='c019'>Brilliant green</td> - <td class='c020'>1 green, 4 yellow.</td> - </tr> - <tr> - <td class='c019'>Blue green</td> - <td class='c020'>2 blue, 4 green.</td> - </tr> - <tr> - <td class='c019'>Dark green</td> - <td class='c020'>2 blue, 1 yellow.</td> - </tr> - <tr> - <td class='c019'>Dark green medium</td> - <td class='c020'>1 blue, 1 yellow.</td> - </tr> - <tr> - <td class='c019'>Emerald green</td> - <td class='c020'>1 green, 3 white.</td> - </tr> - <tr> - <td class='c019'>Green-black, dark</td> - <td class='c020'>1 blue green, 3 black.</td> - </tr> - <tr> - <td class='c019'>Green-black, light</td> - <td class='c020'>5 blue green, 1 black.</td> - </tr> - <tr> - <td class='c019'>Green tint</td> - <td class='c020'>2 bright green, 30 white.</td> - </tr> - <tr> - <td class='c019'>Grass green</td> - <td class='c020'>1 bronze green, 1 bright green.</td> - </tr> - <tr> - <td class='c019'>Japanese green</td> - <td class='c020'>20 emerald green, 1 black.</td> - </tr> - <tr> - <td class='c019'>Light green</td> - <td class='c020'>1 green, 1 yellow.</td> - </tr> - <tr> - <td class='c019'>Olive green</td> - <td class='c020'>1 blue, 4 orange.</td> - </tr> - <tr> - <td class='c019'>Olive green, light</td> - <td class='c020'>4 yellow, 1 black.</td> - </tr> - <tr> - <td class='c019'>Olive green, dark</td> - <td class='c020'>4 yellow, 2 black.</td> - </tr> - <tr> - <td class='c019'>Orange-green</td> - <td class='c020'>1 deep blue, 60 yellow.</td> - </tr> - <tr> - <td class='c019'>Sea green</td> - <td class='c020'>1 blue, 3 green.</td> - </tr> - <tr> - <td class='c019'>Sage green</td> - <td class='c020'>4 green-black, 6 white.</td> - </tr> - <tr> - <td class='c019'>Universal green</td> - <td class='c020'>1 blue, 4 yellow.</td> - </tr> - <tr> - <td class='c019'>Yellow-green</td> - <td class='c020'>1 deep blue, 100 yellow.</td> - </tr> -</table> - -<h3 class='c009'>GOOD GREENS</h3> - -<p class='c010'>Some very fine greens can be made with lemon -yellow and Antwerp blue in various proportions. -Can be toned or deepened with black.</p> - -<div> - <span class='pageno' id='Page_42'>42</span> - <h3 class='c009'>BROWNS BY TWO-COLOR MIXTURE</h3> -</div> - -<p class='c010'>With the browns, lemon yellow is best. The -red can be a color like brilliant scarlet, flag-red -or scarlet lake.</p> - -<table class='table1'> - <tr> - <td class='c017'>Color Desired</td> - <td class='c018'>Parts</td> - </tr> - <tr> - <td class='c019'>Brown-tint</td> - <td class='c020'>1 red-brown, 40 white.</td> - </tr> - <tr> - <td class='c019'>Brown-black</td> - <td class='c020'>1 red, 1 black.</td> - </tr> - <tr> - <td class='c019'>Bronze-brown</td> - <td class='c020'>2 bronze-red, 1 bronze blue.</td> - </tr> - <tr> - <td class='c019'>Chocolate brown</td> - <td class='c020'>12 red, 2 deep blue.</td> - </tr> - <tr> - <td class='c019'>Copper-brown</td> - <td class='c020'>15 vermillion, 1 black.</td> - </tr> - <tr> - <td class='c019'>Green-brown</td> - <td class='c020'>2 red, 4 green.</td> - </tr> - <tr> - <td class='c019'>Maroon-brown</td> - <td class='c020'>15 red, 2 black.</td> - </tr> - <tr> - <td class='c019'>Photo-brown</td> - <td class='c020'>1 vermillion, 1 black.</td> - </tr> - <tr> - <td class='c019'>Purple-brown</td> - <td class='c020'>6 red, 1 deep blue.</td> - </tr> - <tr> - <td class='c019'>Red-brown</td> - <td class='c020'>12 red, 1 black.</td> - </tr> - <tr> - <td class='c019'>Sepia-brown</td> - <td class='c020'>20 orange, 1 black.</td> - </tr> - <tr> - <td class='c019'>Snuff brown</td> - <td class='c020'>8 vermillion, 1 deep blue.</td> - </tr> - <tr> - <td class='c019'>Tan-brown</td> - <td class='c020'>2 yellow, 1 purple.</td> - </tr> - <tr> - <td class='c019'>Yellow-brown</td> - <td class='c020'>4 yellow, 3 red-brown.</td> - </tr> - <tr> - <td class='c019'>Yellow-brown tint</td> - <td class='c020'>1 yellow-brown, 30 white.</td> - </tr> -</table> - -<h3 class='c009'>GRAYS BY TWO-COLOR MIXTURE</h3> - -<table class='table0'> - <tr> - <td class='c017'>Color Desired</td> - <td class='c018'>Parts</td> - </tr> - <tr> - <td class='c019'> </td> - <td class='c020'> </td> - </tr> - <tr> - <td class='c019'>Blue-gray</td> - <td class='c020'>2 regular gray, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Dark gray</td> - <td class='c020'>12 white, 2 black.</td> - </tr> - <tr> - <td class='c019'>Drab-gray</td> - <td class='c020'>15 regular gray, 1 orange.</td> - </tr> - <tr> - <td class='c019'>Green-gray</td> - <td class='c020'>6 regular gray, 1 green.</td> - </tr> - <tr> - <td class='c019'>Lead-gray</td> - <td class='c020'>15 regular gray, 1 deep blue.</td> - </tr> - <tr> - <td class='c019'>Light gray</td> - <td class='c020'>20 white, 1 black.</td> - </tr> - <tr> - <td class='c019'>Purple-gray</td> - <td class='c020'>8 regular gray, 1 purple.</td> - </tr> - <tr> - <td class='c019'>Pink gray</td> - <td class='c020'>12 light gray, 1 red.</td> - </tr> - <tr> - <td class='c019'>Regular gray</td> - <td class='c020'>12 white, 1 black.</td> - </tr> - <tr> - <td class='c019'>Red-gray, light</td> - <td class='c020'>6 regular gray, 1 red.</td> - </tr> - <tr> - <td class='c019'>Red-gray, dark</td> - <td class='c020'>15 regular gray, 2 red.</td> - </tr> - <tr> - <td class='c019'>Warm gray</td> - <td class='c020'>10 regular gray, 1 vermillion.</td> - </tr> - <tr> - <td class='c019'>Yellow-gray</td> - <td class='c020'>8 regular gray, 1 yellow.</td> - </tr> -</table> - -<div> - <span class='pageno' id='Page_43'>43</span> - <h3 class='c009'>PURPLE BY TWO MIXTURES</h3> -</div> - -<table class='table0'> - <tr> - <td class='c017'>Color Desired</td> - <td class='c018'>Parts</td> - </tr> - <tr> - <td class='c019'> </td> - <td class='c020'> </td> - </tr> - <tr> - <td class='c019'>Bright violet</td> - <td class='c020'>1 purple, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Light purple</td> - <td class='c020'>1 purple, 1 white.</td> - </tr> - <tr> - <td class='c019'>Regular purple</td> - <td class='c020'>10 rose lake, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Scarlet purple</td> - <td class='c020'>15 rose lake, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Typewriter purple</td> - <td class='c020'>1 purple, 4 white.</td> - </tr> - <tr> - <td class='c019'>Violet</td> - <td class='c020'>4 rose lake, 1 ultramarine</td> - </tr> -</table> - -<h3 class='c009'>MISCELLANEOUS</h3> - -<p class='c010'>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.</p> - -<table class='table1'> - <tr> - <td class='c017'>Base</td> - <td class='c017'>Result of Adding White</td> - <td class='c018'>Result of Adding Black</td> - </tr> - <tr> - <td class='c019'> </td> - <td class='c019'> </td> - <td class='c020'> </td> - </tr> - <tr> - <td class='c019'>Any lake red</td> - <td class='c019'>Pink</td> - <td class='c020'>Maroon</td> - </tr> - <tr> - <td class='c019'>Vermilion</td> - <td class='c019'>Yellowish Pink</td> - <td class='c020'>Russet</td> - </tr> - <tr> - <td class='c019'>Scarlet</td> - <td class='c019'>Salmon Buff</td> - <td class='c020'>Brown</td> - </tr> - <tr> - <td class='c019'>Orange red</td> - <td class='c019'>Yel. sal. buff</td> - <td class='c020'>Yellow-brown</td> - </tr> - <tr> - <td class='c019'>Orange</td> - <td class='c019'>Salmon</td> - <td class='c020'>Terra Cotta</td> - </tr> - <tr> - <td class='c019'>Yellow-orange</td> - <td class='c019'>Amber</td> - <td class='c020'>Yel. terra cotta</td> - </tr> - <tr> - <td class='c019'>Orange yellow</td> - <td class='c019'>Cream</td> - <td class='c020'>Old Gold</td> - </tr> - <tr> - <td class='c019'>Yellow</td> - <td class='c019'>Lemon or Sulphur</td> - <td class='c020'>Citrine</td> - </tr> - <tr> - <td class='c019'>Yellow-green</td> - <td class='c019'>Straw</td> - <td class='c020'>Olive</td> - </tr> - <tr> - <td class='c019'>Emerald green</td> - <td class='c019'>Pea green</td> - <td class='c020'>Sage</td> - </tr> - <tr> - <td class='c019'>Bluish green</td> - <td class='c019'>Sea green</td> - <td class='c020'>Myrtle</td> - </tr> - <tr> - <td class='c019'>Turquoise</td> - <td class='c019'>Pale turquoise</td> - <td class='c020'>Dull Indigo</td> - </tr> - <tr> - <td class='c019'>Ultramarine</td> - <td class='c019'>Azure</td> - <td class='c020'>Blue Slate</td> - </tr> -</table> - -<div> - <span class='pageno' id='Page_44'>44</span> - <h3 class='c009'>MISCELLANEOUS</h3> -</div> - -<table class='table0'> - <tr> - <td class='c017'>Color Desired</td> - <td class='c018'>Parts</td> - </tr> - <tr> - <td class='c019'> </td> - <td class='c020'> </td> - </tr> - <tr> - <td class='c019'>Azure Blue</td> - <td class='c020'>1 ultramarine, 40 white.</td> - </tr> - <tr> - <td class='c019'>Antwerp Blue</td> - <td class='c020'>4 emerald green, 8 ultramarine, 1 white.</td> - </tr> - <tr> - <td class='c019'>Autumn Leaf</td> - <td class='c020'>20 straw, 2 orange, 1 Venetian red.</td> - </tr> - <tr> - <td class='c019'>Autumn Gray</td> - <td class='c020'>20 emerald green, 10 yellow, 1 black.</td> - </tr> - <tr> - <td class='c019'>Apple Green</td> - <td class='c020'>4 orange, 9 chrome green, 1 white.</td> - </tr> - <tr> - <td class='c019'>Ash Gray</td> - <td class='c020'>2 burnt sienna, 3 ultramarine blue, 70 white.</td> - </tr> - <tr> - <td class='c019'>Amber</td> - <td class='c020'>4 burnt sienna, 4 burnt umber, 2 orange, tinged with black and white.</td> - </tr> - <tr> - <td class='c019'>Apricot</td> - <td class='c020'>30 chrome yellow, 2 vermilion, 1 crimson.</td> - </tr> - <tr> - <td class='c019'>Alabastar</td> - <td class='c020'>1 chrome yellow, 4 white.</td> - </tr> - <tr> - <td class='c019'>Amaranth</td> - <td class='c020'>4 Tuscan red, 4 vermillion, 1 ultramarine.</td> - </tr> - <tr> - <td class='c019'>Anemone</td> - <td class='c020'>6 English vermilion, 6 deep bronze blue, 2 black, 1 white.</td> - </tr> - <tr> - <td class='c019'>Amaranth</td> - <td class='c020'>3 English vermilion, 1 deep bronze blue.</td> - </tr> - <tr> - <td class='c019'>Armenian Red</td> - <td class='c020'>2 venetian red, 1 ocher.</td> - </tr> - <tr> - <td class='c019'>Ash Gray</td> - <td class='c020'>60 zinc white, 3 ultra blue, 2 burnt sienna.</td> - </tr> - <tr> - <td class='c019'>Antique Bronze</td> - <td class='c020'>3 black, 1 orange.</td> - </tr> - <tr> - <td class='c019'>Apple Green</td> - <td class='c020'>30 white, 1 chrome green.</td> - </tr> - <tr> - <td class='c019'><span class='pageno' id='Page_45'>45</span>Blue Grass</td> - <td class='c020'>1 Prussian blue, 3 emerald green, 7 white.</td> - </tr> - <tr> - <td class='c019'>Bordeaux Blue</td> - <td class='c020'>3 orange, 1 black, 6 Prussian blue.</td> - </tr> - <tr> - <td class='c019'>Begonia</td> - <td class='c020'>5 English vermilion, 4 black, 4 Prussian blue.</td> - </tr> - <tr> - <td class='c019'>Biscuit color</td> - <td class='c020'>20 white, 1 Naples yellow.</td> - </tr> - <tr> - <td class='c019'>Bismark Brown</td> - <td class='c020'>20 burnt sienna, 20 umber, 2 orange, 1 white.</td> - </tr> - <tr> - <td class='c019'>Blood Red</td> - <td class='c020'>English vermilion, tinged with blue and yellow.</td> - </tr> - <tr> - <td class='c019'>Blue Green</td> - <td class='c020'>3 chrome green, 1 prussian blue.</td> - </tr> - <tr> - <td class='c019'>Blue Grass</td> - <td class='c020'>1 prussian blue, 3 emerald green.</td> - </tr> - <tr> - <td class='c019'>Bluish Gray</td> - <td class='c020'>6 regular gray, 1 dark blue.</td> - </tr> - <tr> - <td class='c019'>Purple-Brown</td> - <td class='c020'>6 deep red, 1 purple.</td> - </tr> - <tr> - <td class='c019'>Brown-Black</td> - <td class='c020'>2 bluish red, 5 black.</td> - </tr> - <tr> - <td class='c019'>Photo-Brown</td> - <td class='c020'>4 bluish red, 1 brown-black.</td> - </tr> - <tr> - <td class='c019'>Maroon-Brown</td> - <td class='c020'>8 bluish red, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Bay</td> - <td class='c020'>3 venetian red, 3 black, 1 orange.</td> - </tr> - <tr> - <td class='c019'>Chocolate Brown</td> - <td class='c020'>12 deep red, 2 deep blue tinted with black.</td> - </tr> - <tr> - <td class='c019'>Milk Chocolate</td> - <td class='c020'>12 deep red, 2 deep blue, 1 white tinted with black.</td> - </tr> - <tr> - <td class='c019'>Chestnut Brown</td> - <td class='c020'>3 Venetian red, 3 black, toned down with orange.</td> - </tr> - <tr> - <td class='c019'>Maroon, deep</td> - <td class='c020'>5 black, 3 red, 1 Prussian blue.</td> - </tr> - <tr> - <td class='c019'><span class='pageno' id='Page_46'>46</span>Cologne</td> - <td class='c020'>2 parts of yellow chromate of lead, 1 of sulphate of lead, and 7 of Sulphate of lime or gypsum.</td> - </tr> - <tr> - <td class='c019'>Citron</td> - <td class='c020'>2 yellow, 1 red, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Crimson Red</td> - <td class='c020'>30 bright red, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Campanula</td> - <td class='c020'>3 blue, 1 red.</td> - </tr> - <tr> - <td class='c019'>Citron</td> - <td class='c020'>2 yellow, 1 red, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Garnet</td> - <td class='c020'>3 red, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Greenish Gray</td> - <td class='c020'>8 regular gray, 1 medium green.</td> - </tr> - <tr> - <td class='c019'>Green Tint</td> - <td class='c020'>1 light green, 15 white.</td> - </tr> - <tr> - <td class='c019'>Nasturtium</td> - <td class='c020'>3 red, 1 chrome yellow.</td> - </tr> - <tr> - <td class='c019'>Olive</td> - <td class='c020'>2 blue, 1 red, 1 yellow.</td> - </tr> - <tr> - <td class='c019'>Purple tint</td> - <td class='c020'>1 purple, 50 white.</td> - </tr> - <tr> - <td class='c019'>Russet</td> - <td class='c020'>2 red, 1 blue, 1 yellow.</td> - </tr> - <tr> - <td class='c019'>Sulphur</td> - <td class='c020'>30 yellow, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Sea Green</td> - <td class='c020'>1 medium green, 3 white.</td> - </tr> - <tr> - <td class='c019'>Saffron</td> - <td class='c020'>3 chrome yellow, 1 red.</td> - </tr> - <tr> - <td class='c019'>Sky Blue</td> - <td class='c020'>99 white, 1 prussian blue.</td> - </tr> - <tr> - <td class='c019'>Sky Blue</td> - <td class='c020'>99 white, 1 ultramarine blue.</td> - </tr> - <tr> - <td class='c019'>Turquoise</td> - <td class='c020'>3 blue green, 1 white.</td> - </tr> - <tr> - <td class='c019'>Violet-blue</td> - <td class='c020'>10 violet, 1 blue.</td> - </tr> - <tr> - <td class='c019'>Violet tint</td> - <td class='c020'>1 violet, 30 white.</td> - </tr> -</table> - -<div class='chapter'> - <span class='pageno' id='Page_47'>47</span> - <h2 class='c007'>HINTS FOR PAINTERS AND DECORATORS</h2> -</div> - -<p class='c008'>A house painted white not only looks cool, but is -cool, as white reflects the sun’s rays. The effect -at night is reversed.</p> - -<p class='c008'>The amount of trimming color necessary is -usually about one-fifth of that required for the -entire surface.</p> - -<p class='c008'>Do not paint damp or unseasoned, sappy or -pitchy wood.</p> - -<p class='c008'>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.</p> - -<h3 class='c009'>COVERING CAPACITY OF VARNISH</h3> - -<p class='c010'>One gallon of varnish will cover approximately -300 square feet, two coats when properly -flowed on.</p> - -<p class='c002'>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.</p> - -<p class='c008'>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.</p> - -<p class='c008'>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.</p> - -<p class='c002'>Lead, when used alone does not make as serviceable -a paint as lead and zinc ground together -<span class='pageno' id='Page_48'>48</span>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.</p> - -<p class='c002'>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.</p> - -<h3 class='c009'>NEW WORK</h3> - -<p class='c010'>To secure best results, new work should have -three coats, that is two besides the priming coat.</p> - -<p class='c002'>Do not prime or apply paint to a new building -until plastering is thoroughly dried out.</p> - -<h3 class='c009'>ADULTERATING COLORS</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>AGGREGATED FORM OF CHECKING</h3> - -<p class='c010'>Avoid “alligatoring,” which is a form of checking -and frequently caused by applying finished -coats over priming or second coats before drying.</p> - -<h3 class='c009'>SEEDY, SPECKY, SANDY VARNISH</h3> - -<p class='c010'>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.</p> - -<div> - <span class='pageno' id='Page_49'>49</span> - <h3 class='c009'>PAINT FOR STIPPLING</h3> -</div> - -<p class='c010'>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.</p> - -<h3 class='c009'>GOOD BRUSHES GET GOOD RESULTS</h3> - -<p class='c010'>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.</p> - -<div> - <span class='pageno' id='Page_50'>50</span> - <h3 class='c009'>Quantity Needed.</h3> -</div> - -<p class='c010'>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.</p> - -<p class='c002'>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.</p> - -<h3 class='c009'>EXAMPLE</h3> - -<table class='table0'> - <tr> - <td class='c019'>Front</td> - <td class='c021'>25 feet</td> - <td class='c022'> </td> - </tr> - <tr> - <td class='c019'>Rear</td> - <td class='c021'>25 feet</td> - <td class='c022'> </td> - </tr> - <tr> - <td class='c019'>Side</td> - <td class='c021'>45 feet</td> - <td class='c022'> </td> - </tr> - <tr> - <td class='c019'>Side</td> - <td class='c021'>45 feet</td> - <td class='c022'> </td> - </tr> - <tr> - <td class='c019'> </td> - <td class='c021'><hr></td> - <td class='c022'> </td> - </tr> - <tr> - <td class='c019'> </td> - <td class='c021'>140 feet</td> - <td class='c022'> </td> - </tr> - <tr> - <td class='c019'>Multiply by average Height,</td> - <td class='c021'>25 feet</td> - <td class='c022'> </td> - </tr> - <tr> - <td class='c019'>Divide by 350</td> - <td class='c021'>3500 feet</td> - <td class='c022'>—10 gallons</td> - </tr> -</table> - -<h3 class='c009'>TO REMOVE RUST STAINS FROM CONCRETE OR STUCCO</h3> - -<p class='c010'>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.</p> - -<div> - <span class='pageno' id='Page_51'>51</span> - <h3 class='c009'>ALUMINUM PAINT MAKES RADIATORS LESS EFFICIENT</h3> -</div> - -<p class='c010'>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.</p> - -<p class='c002'>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.</p> - -<h3 class='c009'>PAINT AND VARNISH REMOVER</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>HOW ENAMEL IS APPLIED TO METAL</h3> - -<p class='c010'>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.</p> - -<div> - <span class='pageno' id='Page_52'>52</span> - <h3 class='c009'>TO RETARD THE DRYING OF PLASTER OF PARIS FOR FIVE HOURS</h3> -</div> - -<p class='c010'>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.</p> - -<h3 class='c009'>CEMENT PANEL PAINT FOR BLACKBOARDS</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>PAINTING STUCCO</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>A REMEDY FOR LOW CEILINGS</h3> - -<p class='c010'>Rooms with low ceilings can be made to appear -much higher by using a striped paper, preferably -in a pale tint.</p> - -<div> - <span class='pageno' id='Page_53'>53</span> - <h3 class='c009'>TO REMOVE PAINT FROM GLASS</h3> -</div> - -<p class='c010'>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.</p> - -<h3 class='c009'>CLEANING PAINTED WALLS</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>A GOOD WALLPAPER VARNISH</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>LUMINOUS PAINT FORMULA</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>FIREPROOF PAINT</h3> - -<p class='c010'>Incorporate powdered asbestos into paint to be -used on sheds, garages, etc.</p> - -<h3 class='c009'>TO COLOR CONCRETE</h3> - -<p class='c010'>Cinnabar is mixed with cement to produce a -bright red concrete and carmine to produce a violet -red.</p> - -<h3 class='c009'>GREASE SPOTS ON WALL PAPER</h3> - -<p class='c010'>Grease spots can be removed from wall paper -by rubbing with camphorated chalk.</p> - -<div> - <span class='pageno' id='Page_54'>54</span> - <h3 class='c009'>FURNITURE POLISH</h3> -</div> - -<p class='c010'>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.</p> - -<h3 class='c009'>FURNITURE AND AUTOMOBILE POLISH</h3> - -<div class='nf-center-c0'> -<div class='nf-center c014'> - <div>(One quart.)</div> - </div> -</div> - -<p class='c002'>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.</p> - -<h3 class='c009'>WHITE SPOTS ON A SHELLAC SURFACE</h3> - -<p class='c010'>Restore the color of a shellac surface which -has become white in spots by holding a hot iron -over the spot.</p> - -<h3 class='c009'>DUSTLESS CONCRETE FLOORS</h3> - -<p class='c010'>Paint concrete floors several coats with a mixture -of boiled linseed oil mixed with gasoline, -half and half.</p> - -<h3 class='c009'>OLD WIDE SOFT FLOORING MADE TO APPEAR AS HARDWOOD</h3> - -<p class='c010'>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.</p> - -<div> - <span class='pageno' id='Page_55'>55</span> - <h3 class='c009'>AUTOMOBILE POLISH</h3> -</div> - -<p class='c010'>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.</p> - -<h3 class='c009'>LIME WHEN NOT IN USE IN WHITEWASH</h3> - -<p class='c010'>Lime will lose its value as a whitewash after -long exposure to the air, but is ideal when used -as fertilizer.</p> - -<h3 class='c009'>TO FROST A PANE OF GLASS</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>YELLOW PIANO KEYS</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>PAINTING ON GLASS</h3> - -<p class='c010'>Paints will adhere to glass better if colors are -ground in oil. Thin with pale japan and turpentine.</p> - -<h3 class='c009'>REMOVE INK STAINS FROM WOOD</h3> - -<p class='c010'>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.</p> - -<div> - <span class='pageno' id='Page_56'>56</span> - <h3 class='c009'>TO CLEAN SMOKED OR BLACKENED WALLS AND CEILINGS</h3> -</div> - -<p class='c010'>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.</p> - -<h3 class='c009'>COMMON WHITEWASH</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>WEATHERPROOF WHITEWASH</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>LINOLEUM CEMENT</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>WEIGHT OF PAINT</h3> - -<p class='c010'>Good paint weighs 18 pounds and upwards to -the gallon. Ordinary paint weighs 15–16 pounds.</p> - -<div class='chapter'> - <span class='pageno' id='Page_57'>57</span> - <h2 class='c007'>HINTS FOR PRESSMEN</h2> -</div> - -<h3 class='c009'>COVER WHITE</h3> - -<p class='c010'>When cover white is too short or stiff to be -workable, add a small amount of mixing white.</p> - -<h3 class='c009'>PROCESS COLOR PRINTING</h3> - -<p class='c010'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>Use opaque yellow for the first color when -printing on tinted stock; follow with transparent -colors.</p> - -<h3 class='c009'>GOLD SIZE FOR BRONZE POWDER</h3> - -<p class='c010'>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.</p> - -<p class='c002'>Gold size for pale gold bronze should be pale -yellow; for deep rich gold bronze use medium -light orange brown size.</p> - -<p class='c002'>Deep rich gold when applied over pale yellow -size produces a medium gold cast.</p> - -<h3 class='c009'>STREAKING AND SHADOWS</h3> - -<p class='c010'>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.</p> - -<p class='c008'>Coach varnish adds lustre to printers’ ink.</p> - -<div> - <span class='pageno' id='Page_58'>58</span> - <h3 class='c009'>MOTTLING AND PICKING</h3> -</div> - -<p class='c010'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<h3 class='c009'>WASH FOR DIRTY TYPE OR CUTS</h3> - -<p class='c010'>Crude carbolic acid and turpentine, equal parts. -Let stand over night. Rinse off with gasoline.</p> - -<p class='c002'><span class='pageno' id='Page_59'>59</span>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.</p> - -<h3 class='c009'>GENERAL PURPOSE GLUE</h3> - -<div class='nf-center-c0'> -<div class='nf-center c014'> - <div>Always Ready for Use.</div> - </div> -</div> - -<p class='c002'>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.</p> - -<h3 class='c009'>PADDING GLUE (any color) FOR PRINTERS</h3> - -<div class='nf-center-c0'> -<div class='nf-center c014'> - <div>Requires no heating.</div> - </div> -</div> - -<p class='c002'>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.</p> - -<h3 class='c009'>MIXING GLASS</h3> - -<p class='c010'>Before mixing colors on glass, glue or lay a -sheet of white paper to the back. Or paint it -white.</p> - -<h3 class='c009'>WHEN TO USE OPAQUE PROCESS INK</h3> - -<p class='c010'>When printing process colors on tinted stock, -use an opaque yellow, follow with transparent -colors.</p> - -<h3 class='c009'>PROTECTIVE VARNISH FOR PRINTERS’ PLATES</h3> - -<p class='c010'>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.</p> - -<div class='chapter'> - <span class='pageno' id='Page_60'>60</span> - <h2 class='c007'>MISCELLANEOUS</h2> -</div> -<h3 class='c009'>BLACK AND WHITE AS COLORS</h3> - -<p class='c010'>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.</p> - -<p class='c008'>White being a neutral color, will harmonize -with most any color combination.</p> - -<h3 class='c009'>NEUTRAL HUES AND TINTS</h3> - -<p class='c010'>Neutral hues are made by a 50–50 mixture of -warm and cold colors. White added to neutral -hues produce neutral tints.</p> - -<p class='c008'>Whiting—Chalk pulverized and freed from impurities.</p> - -<h3 class='c009'>VARNISH FOR THE BACK OF SILVERED MIRRORS</h3> - -<p class='c010'>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.</p> - -<p class='c008'>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.</p> - -<h3 class='c009'>COLOR IN SOAP BUBBLES</h3> - -<p class='c010'>The beautiful colors of an ordinary soap bubble -are caused by light shining through the thin filament -and being reflected from its inner surface.</p> - -<div> - <span class='pageno' id='Page_61'>61</span> - <h3 class='c009'>INVISIBLE WRITING INK</h3> -</div> - -<p class='c010'>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.</p> - -<h3 class='c009'>INK FOR RUBBER STAMP PADS</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>FRESHEN RUBBER STAMP PADS</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>BLACK TRACING PAPER</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>COMMON BLACK WRITING INK</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>EVERLASTING BLACK WRITING INK</h3> - -<p class='c010'>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.</p> - -<div> - <span class='pageno' id='Page_62'>62</span> - <h3 class='c009'>PAINTING WATER-COLORS ON PARCHMENT SHADES</h3> -</div> - -<p class='c010'>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.</p> - -<h3 class='c009'>TO COLOR FLOWERS</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>TO TURN A HYDRANGEA BLUE</h3> - -<p class='c010'>It is claimed that putting a couple of lumps of -alum at the roots of the hydrangea will cause it -to turn blue.</p> - -<h3 class='c009'>DRAWING PAPER MADE TRANSPARENT</h3> - -<p class='c010'>To render ordinary drawing paper transparent -for tracing purposes, sponge paper with a solution -of 2 parts absolute alcohol to 1 of castor oil.</p> - -<p class='c002'>The alcohol soon evaporates and tracing paper -is ready for use. Drawing or tracing may be -made with india ink or lead pencil.</p> - -<p class='c002'>Restore paper to its original state by immersing -in absolute alcohol.</p> - -<h3 class='c009'>DRIER FOR PAINTS ON PARCHMENT LAMP SHADES</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>TO CLEAN SOILED PHOTOGRAPHS</h3> - -<p class='c010'>Lightly sponge with cotton dipped in alcohol.</p> - -<div> - <span class='pageno' id='Page_63'>63</span> - <h3 class='c009'>TO OXIDIZE COPPER AND BRASS</h3> -</div> - -<p class='c010'>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.</p> - -<h3 class='c009'>GREASE AND PAINT REMOVER</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>TO REMOVE OIL STAINS FROM LEATHER</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>BLEACHING TALLOW</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>WHEN LEATHER BECOMES STICKY</h3> - -<p class='c010'>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.</p> - -<div> - <span class='pageno' id='Page_64'>64</span> - <h3 class='c009'>COMMON BLUE WRITING INK</h3> -</div> - -<p class='c010'>Sulphate of indigo and soft water. Color to -suit.</p> - -<h3 class='c009'>WATER PROOFING PAPER</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>TO MAKE ORNAMENTAL GRASSES GLISTEN</h3> - -<p class='c010'>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.</p> - -<h3 class='c009'>INDELIBLE MARKING INK</h3> - -<p class='c010'>100 grains nitrate of silver, 1 ounce distilled water, -2 drachms gum arabic, 1 scruple of indigo. -Thoroughly mix.</p> - -<h3 class='c009'>EYE STRAIN</h3> - -<p class='c010'>Eye strain can be eliminated while printing -yellow forms under artificial light by using blue -eye glasses. This causes the yellow to appear -green.</p> - -<div> - <span class='pageno' id='Page_65'>65</span> - <h3 class='c009'>MARBLIZING</h3> -</div> - -<p class='c010'>Marbling Show Cards, Backgrounds For Photo -Engravers, Lampshades, Box Tops, -Paper, Etc.</p> - -<div class='figcenter id001'> -<img src='images/i_064a.jpg' alt='' class='ig001'> -</div> - -<p class='c002'>Halftone illustrates three different cards -marbled and cut to form a diamond shape. Process -is fully described in the following pages.</p> - -<div class='figcenter id004'> -<img src='images/i_064b.jpg' alt='' class='ig001'> -</div> - -<h3 class='c009'>FRENCH OCHRE</h3> - -<p class='c010'>16 parts deep chrome yellow, 4 parts medium -purple and 4 parts bright red.</p> - -<div class='chapter'> - <span class='pageno' id='Page_67'>67</span> - <h2 class='c007'>HINTS FOR ARTISTS</h2> -</div> -<h3 class='c009'>MARBLIZING</h3> - -<p class='c010'>Marbling Show Cards, Backgrounds For Photo -Engravers, Lampshades, Box Tops -Paper, Etc.</p> - -<div class='figcenter id004'> -<img src='images/i_065.jpg' alt='' class='ig001'> -<div class='ic001'> -<p>Figure 1.</p> -</div> -</div> - -<p class='c002'>Very little practice is required in this most -fascinating art.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>4. With your hand or paddle agitate the mixture -of water and color and before the turbulent -<span class='pageno' id='Page_68'>68</span>waves subside, immerse card face down (See -Fig. 2) being careful to wet entire surface.</p> - -<p class='c002'>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.</p> - -<div class='figcenter id004'> -<img src='images/i_066.jpg' alt='' class='ig001'> -<div class='ic001'> -<p>Figure 2.</p> -</div> -</div> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>Over painting on these backgrounds should be -<span class='pageno' id='Page_69'>69</span>executed with color ground in Japan to better -adhere to the slightly greasy surface.</p> - -<p class='c002'>Show card writers may obtain rather unique -effects with the following:</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<div> - <span class='pageno' id='Page_70'>70</span> - <h3 class='c009'>DRAWINGS RESEMBLE PRINTING</h3> -</div> - -<p class='c010'>To Make Drawings Resemble Printing—Black -and White or a Variety of Colors</p> - -<div class='figcenter id001'> -<img src='images/i_068.jpg' alt='' class='ig001'> -</div> - -<p class='c002'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>Third—Partly fill any shallow tray or dish -with (water proof) ink, black or colored, if desired. -Now dip drawing and let dry.</p> - -<p class='c002'><span class='pageno' id='Page_71'>71</span>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>Show card writer’s white and (water proof) -black or colors may be obtained at any art shop.</p> - -<div class='figcenter id003'> -<img src='images/i_069.jpg' alt='' class='ig001'> -</div> - -<div> - <span class='pageno' id='Page_72'>72</span> - <h3 class='c009'>SPATTER</h3> -</div> - -<div class='figcenter id004'> -<img src='images/i_070.jpg' alt='' class='ig001'> -</div> - -<p class='c010'>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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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 -<span class='pageno' id='Page_73'>73</span>method is to spatter through a sieve, with a -round medium stiff brush as shown in the accompanying -illustration.</p> - -<p class='c002'>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.</p> - -<p class='c002'>High lights may be added to spatter drawings -with touches of Chinese or show card writers -white with a pencil brush.</p> - -<p class='c002'>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.</p> - -<div class='chapter'> - <span class='pageno' id='Page_75'>75</span> - <h2 class='c007'>INDEX</h2> -</div> - -<ul class='index c005'> - <li class='c023'>Art of Color Mixing, <a href='#Page_4'>4</a></li> - <li class='c023'>Altering Color, <a href='#Page_5'>5</a></li> - <li class='c005'><a href='#color_chart'>Color Chart</a>, _</li> - <li class='c023'>Color-Blindness, <a href='#Page_5'>5</a></li> - <li class='c023'>Color Harmony, <a href='#Page_7'>7</a></li> - <li class='c023'>Color Mixtures, <a href='#Page_28'>28</a></li> - <li class='c023'>Color Mixtures by Parts, <a href='#Page_21'>21</a></li> - <li class='c023'>Complimentary and Harmonious Color Combinations, <a href='#Page_18'>18</a></li> - <li class='c023'>Colors as Seen by Individuals, <a href='#Page_27'>27</a></li> - <li class='c005'>Extremes of Warm and Cold, <a href='#Page_4'>4</a></li> - <li class='c005'>Good Greens, <a href='#Page_41'>41</a></li> - <li class='c005'>Hints for Artists, <a href='#Page_65'>65</a></li> - <li class='c023'>Hints for Painters and Decorators, <a href='#Page_47'>47</a></li> - <li class='c023'>Hints for Pressmen, <a href='#Page_57'>57</a></li> - <li class='c005'>Meaning of Colors, <a href='#Page_3'>3</a></li> - <li class='c023'>Matching Special Colors, <a href='#Page_9'>9</a></li> - <li class='c023'>Miscellaneous Colors by Parts, <a href='#Page_44'>44</a></li> - <li class='c023'>Miscellaneous, <a href='#Page_60'>60</a></li> - <li class='c005'>Nature’s Color Chart, <a href='#Page_6'>6</a></li> - <li class='c005'>Origin and Definition of Colors, <a href='#Page_10'>10</a></li> - <li class='c005'>Pigment, <a href='#Page_6'>6</a></li> - <li class='c005'>Tint Mixing, <a href='#Page_8'>8</a></li> - <li class='c023'>Tint Mixtures by Parts, <a href='#Page_24'>24</a></li> - <li class='c023'>Two Color Mixtures by Parts, <a href='#Page_41'>41</a></li> - <li class='c005'>What Is Color, <a href='#Page_3'>3</a></li> - <li class='c023'>Warm and Cold Colors, <a href='#Page_3'>3</a></li> -</ul> -<div class='pbb'> - <hr class='pb c014'> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c024'> - <div><span class='xlarge'>BUSTANOBY’S HOW TO MIX COLORS</span></div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>By JACQUES H. BUSTANOBY</div> - </div> -</div> - -<div class='figleft id005'> -<img src='images/i_075.jpg' alt='' class='ig001'> -</div> - -<p class='c008'>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 <strong>oil colors</strong> 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.</p> - -<p class='c002'>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.</p> - -<p class='c002'>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 <strong>Price, $1.00</strong>.</p> - -<div class='section'> - -<div class='nf-center-c0'> -<div class='nf-center c024'> - <div><span class='xlarge'>THE MIXING OF COLORS AND PAINTS</span></div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>By F. N. VANDERWALKER</div> - </div> -</div> - -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>Editor of “The American Painter and Decorator,” Author of “Automobile Painting,” “Estimates and Profits,” “New Stencils and Their Use,” etc.</div> - </div> -</div> - -<div class='figleft id005'> -<img src='images/i_076.jpg' alt='' class='ig001'> -</div> - -<p class='c008'>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.</p> - -<p class='c002'>The book contains 292 pages, illustrated with -line drawings and color chart. Bound in cloth, -size 5 x 7½ in. <strong>Price, $2.25 postpaid.</strong></p> - -<div class='section'> - -<div class='nf-center-c0'> -<div class='nf-center c024'> - <div><span class='xlarge'>PRACTICAL COLOR SIMPLIFIED</span></div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>By WILLIAM J. MISKELLA, M.E.</div> - </div> -</div> - -</div> -<div class='figcenter id004'> -<img src='images/i_077.jpg' alt='' class='ig001'> -<div class='ic001'> -<p>The Color Chart</p> -</div> -</div> - -<p class='c008'>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.</p> - -<p class='c002'>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.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><strong>Four-page Descriptive Circular Sent on Request</strong></div> - <div class='c014'>This book contains 113 pages, illustrated in colors, bound in cloth, and will be sent postpaid upon receipt of <strong>PRICE $3.75</strong></div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c024'> - <div><span class='xlarge'>THE THEORY AND PRACTICE OF COLOR</span></div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>By Bonnie E. Snow and Hugo B. Froehlich</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>“<i>A Key to the World of Color</i>”</div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c005'> - <div><span class='sc'>Table of Contents</span></div> - </div> -</div> - -<table class='table1'> - <tr> - <td class='c019'>Chapter I</td> - <td class='c020'>A World of Color.</td> - </tr> - <tr> - <td class='c019'>Chapter II</td> - <td class='c020'>The Source of Color.</td> - </tr> - <tr> - <td class='c019'>Chapter III</td> - <td class='c020'>The Primary Colors and Their Uses in Design.</td> - </tr> - <tr> - <td class='c019'>Chapter IV</td> - <td class='c020'>The Binary Colors and How to Use Them.</td> - </tr> - <tr> - <td class='c019'>Chapter V</td> - <td class='c020'>Color Values: Tints and Shades.</td> - </tr> - <tr> - <td class='c019'>Chapter VI</td> - <td class='c020'>Complementary Colors and How to Use Them.</td> - </tr> - <tr> - <td class='c019'>Chapter VII</td> - <td class='c020'>Neighboring or Analogous Colors.</td> - </tr> - <tr> - <td class='c019'>Chapter VIII</td> - <td class='c020'>The Color Triad and the Split Complement.</td> - </tr> - <tr> - <td class='c019'>Chapter IX</td> - <td class='c020'>Colors in Various Degrees of Intensity—or Grayed Colors.</td> - </tr> - <tr> - <td class='c019'>Chapter X</td> - <td class='c020'>Psychology of Color.</td> - </tr> - <tr> - <td class='c019'>Chapter XI</td> - <td class='c020'>Color Harmonies in Costume.</td> - </tr> - <tr> - <td class='c019'>Chapter XII</td> - <td class='c020'>Color Harmonies in Interior Decorations.</td> - </tr> - <tr> - <td class='c019'>Chapter XIII</td> - <td class='c020'>Color in Commercial Design.</td> - </tr> -</table> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>Learn the Correct Use of Color—Simply, Clearly, Scientifically.</div> - <div><i>Enjoy Color Most by Using It Best</i></div> - <div class='c014'><span class='sc'>The Theory and Practice of Color</span> 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.</div> - <div class='c014'><strong>Price, Postpaid, $4.50</strong></div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c024'> - <div><span class='xlarge'>HOW TO PAINT SIGNS</span></div> - <div>AND</div> - <div><span class='xlarge'>SHO’ CARDS</span></div> - <div class='c014'>By E. C. MATTHEWS</div> - </div> -</div> - -<div class='figleft id005'> -<img src='images/i_079.jpg' alt='' class='ig001'> -</div> - -<p class='c025'>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.</p> - -<p class='c002'><span class='sc'>Table of Contents</span>: 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.</p> - -<p class='c002'>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.</p> - -<div class='section'> - -<div class='nf-center-c0'> -<div class='nf-center c024'> - <div><span class='xlarge'>Learn How to MAKE MONEY as a COMMERCIAL ARTIST or CARTOONIST</span></div> - </div> -</div> - -</div> -<div class='figleft id005'> -<img src='images/i_080.jpg' alt='' class='ig001'> -</div> - -<p class='c008'>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?</p> - -<p class='c002'>Or have you wanted -to draw illustrations for -books, magazines, cover -designs, posters, car cards, advertisements, etc.?</p> - -<p class='c002'>If you have, and still want to do so, don’t -fail to get the book.</p> - -<div class='nf-center-c0'> -<div class='nf-center c005'> - <div><span class='large'>COMMERCIAL ART and CARTOONING</span></div> - <div class='c014'>By E. C. MATTHEWS</div> - <div class='c014'>Author of the book “How to Paint Signs and Sho’ Cards”</div> - </div> -</div> - -<p class='c026'>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.</p> - -<p class='c026'>It contains 122 pages, 12 chapters with over 125 -illustrations, size 5½ x 7⅛ inches, printed on -coated paper and bound in cloth. <strong>Price $1.25. -Postage 10 cents additional.</strong></p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>J. S. OGILVIE PUBLISHING COMPANY</div> - <div>57 ROSE STREET NEW YORK</div> - </div> -</div> - -<div class='figcenter id006'> -<img src='images/i_081.jpg' alt='COLOR MIXING GUIDE J. S. 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