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