# Cyclopedia of Painting/Color Mixing

COLOR MIXING.
The following compound colors or tints can be made by mixing the colors as given herewith. The exact shades required can be made to suit by the exercise of a little judgment in proportioning the colors.
BLUES.
When it is desired to tone a blue down, a little burnt sienna and white should be added.
Fig. 22. Angular Bristle Fresco Blushes.
Antwerp Blue. This color should always be bought ready made. If necessary to imitate it, mix one part of bright green with two parts of ultramarine, add a very little zinc or other white, but not lead. Brunswick blue is frequently used in the place of Antwerp blue.
Azure Blue. One part of ultramarine blue and forty ​parts of zinc white. Another shade may be obtained by mixing forty-four parts of white, twenty-nine of green and twenty-seven of blue. Or celestial blue and a little red on a base of white will give an azure shade.
Berlin Blue. This is another name for Prussian blue.
Blue Grass Tint. One part of Prussian blue, three parts of emerald green, seven parts of white lead.
Bremen Blue. This is a color to be bought only ready made. It is not much used, and is not suitable for an oil color.
Bronze Blue. A dark blue color, which may be made by mixing three parts of black with one of Prussian blue.
Brunswick Blue. This is sold ready made, but can be imitated by adding white lead to Prussian blue in sufficient quantity to obtain the desired tint.
Coeruleum. This is an artist's color of a light and somewhat greenish blue tone. An imitation may be made from ultramarine and white, with a little yellow, although the color is a difficult one to imitate successfully.
Celestial Blue. About equal parts of Prussian blue, chrome green and white lead will give this color, but there should be most white, and the tint should be more blue than green.
Chinese Blue. Another name for Prussian blue.
Cobalt. This color is one of the best artist's colors, and cannot be successfully imitated. It is a beautiful and most useful color, but unfortunately it is expensive, and it is therefore used only in the finest work.
Dark Blue. Obviously this is no definite color. Manufacturers often use one part of white, two of chrome green, and seven of Prussian blue. But ultramarine, or indeed any blue, may be used, and this may be first lightened with white, and black added as may be desired.
Fog Blue. Equal parts of burnt sienna and Prussian blue, lightened up with about twenty parts of white lead.
French Blue. Mix four parts of white, one of green, and ​four of ultramarine blue. The name is also applied to the best quality of artificial ultramarine.
Gobelin Blue. Mix together four parts of ivory black, two of white, one of chrome green, and three of Prussian blue.
Granite Blue. To produce this shade mix two parts of black with six of white and one of ultramarine blue.
Heliotrope. This color is obtained by using two parts of zinc white, three of bright red, and four of ultramarine blue.
Implement Blue. This is made simply by mixing ultramarine with white. Barytes and zinc mixed are frequently used for the white, as lead cannot be employed in the presence of ultramarine.
Indigo. This dark blue is a natural vegetable pigment. An imitation may be produced by using nine parts of black and four of Prussian blue, but this will not look like the real thing. Indigo should not be mixed with lead or lead chromates. It is a very useful color and deserves to be used to a much greater extent than it is at present.
Lavender. Three parts of ultramarine blue and one part of carmine, added to zinc as a base, give a very good lavender tint for inside work. Ivory black mixed with a little carmine and ultramarine and added to white lead may be employed for outside work.
Light Blue. This is simply an ultramarine blue tint produced by the addition of zinc white, or the color may be obtained by tinting white lead with Prussian blue.
Lime Blue. This is a color much used formerly for mixing distemper, but artificial ultramarine has to a great extent supplanted it. It must not be used in oil. The color usually sold for lime blue is a variety of ultramarine.
Marine Blue. A very dark blue, which is obtained by mixing one part of ultramarine blue with nine of ivory black.
Mascot. This is a very dark blue shade, which is got ​by mixing black and blue in the proportion of seven parts of the former to one of the latter with a very little green.
Mauve. Four parts of cobalt, twelve parts of oxide of zinc, and one part of carmine lake give an excellent mauve, or the color may be obtained by mixing yellow ochre, blue black, and Venetian red with a little white lead. Another shade is obtained with blue, red and white mixed in the following proportions: blue three parts; white, two parts; red, one part. Or white may be tinted with ivory black, carmine and ultramarine.
Fig. 23. Hair Striping Pencils.
Methyl Blue. Mix green with twelve times its quantity of blue and a touch of red.
Mountain Blue. One part of ivory black, two parts of rose madder, three parts of cobalt blue, and four parts of white lead. This color is only intended for artists' use.
Navy Blue. Ivory or drop black mixed with one-fourth the quantity of blue will give this shade.
Neutral Blue. A series of neutral blues may be made by tinting white lead with Prussian blue and adding burnt umber, the quantity of blue and umber being varied according to the tint required. Good neutral blues may also be made by tinting white with raw umber and a Little Prussian ​blue. Add either a little burnt sienna if a warm neutral is required, or a little black if one cool in appearance is desired.
Nile Blue. Mix a little white with Prussian blue and chrome green, using rather less of the latter than the former. The result is a pale greenish blue.
Normandy Blue. To get this greenish blue shade mix green and blue in about equal proportions with white.
Oriental Blue. One part of lemon chrome yellow, two parts of Prussian blue and twenty parts of white lead.
Peacock Blue. This color is one upon which opinion varies considerably. A splendid color is made by taking cobalt as a base and adding a little white and a little Chinese blue.
Perfect Blue. Some manufacturers produce this beautifully rich color. It is very like cobalt, but slightly darker.
Pompeian Blue. This is made by tinting white with ultramarine and adding a little vermilion and Italian ochre.
Porcelain Blue. To get this shade mix one part of zinc white and chrome green with four parts of ultramarine blue and a touch of black.
Prussian Blue. This color is certainly the most important blue the painter has. It cannot be imitated. It works well in both water and oil, and is transparent. It is very strong and care must be exercised in using it lest too great a quantity is added to a batch of paint, which might be spoilt in consequence.
Quaker Blue. Add a little black to Prussian blue, and lighten up with white.
Robin's Egg Blue. Use white for base, tint with ultramarine until a fairly strong blue is obtained, and then tinge with a little lemon chrome green.
Royal Blue. This is made by adding a little white to Prussian blue with a touch of crimson lake. Some manufacturers make a very rich blue, which they sell under the name of Royal blue.
​Sapphire Blue. One part of Chinese blue mixed with double the quantity of oxide of zinc. This should not be used for outside work.
Sea Blue. Two parts of Prussian blue, three parts of raw sienna, thirty parts white.
Sky Blue. One part of Prussian blue added to one hundred and twenty parts of white lead give a sky blue, but some prefer cobalt, and this is for many purposes doubtless the best. Still another method of obtaining sky blue is to tint white lead with a little lime blue, adding a very little middle chrome, but the latter is more suitable for a distemper color than it is for an oil paint, as lime blue is not very lasting in oil.
Steel Blue. Zinc white tinted with lime blue gives this color for distemper.
Stone Blue. One part of raw umber, twice the quantity of Prussian blue on a base of white lead will give this color.
Transparent Violet. Mix together four parts of ultramarine blue and one part of crimson lake. This is suitable only for artists' use.
Turquoise Blue. Two parts of cobalt blue, one part of emerald green, twelve parts of white lead.
Ultramarine. This is one of the chief blues used by painters, and must be bought ready made. It cannot be imitated, but it can be bought in many different qualities. It must not be mixed with chromes or white lead, as it contains sulphur.
BROWNS.
The painter will probably be surprised at finding the number of browns obtainable.
Acorn Brown. This is very similar to a rich chocolate, and may be made in the same way.
Alderney. This is an orange brown in hue, and may be made by mixing fourteen parts of black, one of white, two of orange and three of yellow.
​Arabian Brown. This is a dark terra-cotta, and may be made by adding white and black to Indian red.
Argus Brown. This is a very dark brown, and may be made by mixing twelve parts of black with two parts of orange and one part of yellow.
Auburn Tan. Mix together one part of burnt umber, three parts of golden ochre and twenty parts of white lead.
Fig. 24. Camel Hair Pencils.
Autumn Leaf. This is also called leather lake. It may be made by mixing on a base of white lead, French ochre, orange chrome yellow and Venetian red.
Bismark. A shade of this name may be produced by using two parts of black, one of red and one of orange, which mixed together form an orange brown.
Bismark Brown. This color is obtained by mixing with six parts of black, one part of orange and one of yellow.
​Bistre. This color is principally used by artists. It must not be mixed with oil, and it is not always reliable for its permanency. It may be imitated by mixing together ten parts of black with two of red and a little green.
Bronze Brown. Black colored with a little orange chrome and bright green.
Brown. The methods of obtaining different browns will be found under the headings of the respective names, such as Chestnut, etc. A good average brown may be obtained by mixing together three of Indian red, two parts of lamp black and one part of yellow ochre. A lighter color is obtained by using more ochre and less black, in fact, a large variety of brown tints may be produced by varying the proportions of ochre and black.
Burnt Rose. This is a dark red brown shade. To produce it use eight parts of black, one and half parts of red, two parts of orange, and one of blue.
Burnt Sienna. This is a sienna calcined, the effect being to produce a darker shade.
Burnt Umber. This is a rich dark greenish brown, but the shade varies considerably in different qualities. Turkey umber is the richest. Umbers should always be purchased ground ready for use.
Cafe au Lait. To produce this shade mix five parts of black, three of white, one of yellow and a little orange. A little red may also be added if desired.
Cappagh Brown. This is an artist's color of a reddish brown color, being very like umber.
Chestnut. This rich brown may be obtained by mixing four parts of medium chrome yellow and two parts of Venetian red. One part of yellow ochre may be added if desired.
Chocolate. Five parts of burnt sienna and one part of carmine or lake give a rich chocolate. A less expensive color is obtained by mixing Indian red and lamp black with a little yellow ochre. A touch of vermilion will clear and brighten this mixture. Another way to produce chocolate ​is to mix twenty, parts of black with three parts of red, but this gives a more or less muddy shade.
Cinnamon. Six parts white lead, two parts burnt sienna, and one part of golden ochre make a good cinnamon, or French ochre, English Indian red and a little lamp black will produce the same color. Another way is to mix Italian sienna and burnt umber.
Clay Drab. Mix equal parts of white lead, raw umber and raw sienna, and add a little chrome if desired. Some painters prefer to add a little medium chrome yellow.
Cocoanut Brown. This shade may be obtained by mixing one part of white lead with double the quantity of burnt umber.
Coffee. To produce this color mix together five parts of burnt umber, two parts of yellow ochre and one part of burnt sienna.
Copper. Tint zinc white with French ochre, Italian sienna and lamp black. A very good copper shade is obtained by mixing two parts of medium chrome yellow, one part of Venetian red, and one part of drop black or two parts of lamp black, three parts of medium chrome yellow and six parts of Venetian red.
Cork Color. Tint white lead with French ochre, Indian red and a little lamp black, or with raw Italian sienna and burnt umber.
Dark Drab. French gray, Indian red and lamp black added to white lead give this color.
Dark Lava. Mix French ochre, Indian red and lamp black, and lighten with white lead.
Dark Oak. Add French ochre and Venetian red to white lead as a base.
Doe Color. This may be produced by mixing raw Italian sienna and burnt umber with white lead, or French ochre and mineral brown with a little lamp black.
Dove Color. White lead, with a little Prussian blue and a touch of ivory black will produce an excellent dove color, ​but French ochre, Indian red, and lamp black may be employed, or a mixture of raw and burnt Turkey umber and Italian sienna.
Drab. A good drab is made by using burnt umber and white lead in the proportion of one of the former to ten of the latter, but raw umber and a little Venetian red may be used instead.
Fig. 25. Red Sable Brushes.
Fawn. This might also be called deep drab. It is produced by tinting white lead with a mixture of French ochre, Indian red and lamp black, or raw Italian sienna and raw Turkey umber. Another shade of fawn is obtained by using eight parts of white lead, one part of chrome yellow, one part of Indian red, and one part of burnt umber, or eight parts of white lead, two parts of medium chrome yellow, one part Venetian red, and one part of burnt umber.
​Fawn, Light. Tint white with sienna and a touch of raw umber.
Foliage Brown. Mix burnt umber with raw and burnt sienna and lighten with white as may be necessary.
French Ochre. This color, of course, is sold ready made, and it must be observed that, in addition to the fineness, the particular tone of this color is very important, especially to grainers.
Golden Brown. Sixteen parts of white lead are mixed with one of burnt sienna and three parts of yellow ochre.
Indian Brown. Mix equal parts of Indian red, lamp black and yellow ochre.
Lava. An orange brown lava shade can be had by mixing fifteen parts of black, five parts of orange, four of yellow and a very little white.
Leather Brown. Four parts of yellow ochre, three parts of Venetian red, two parts of white lead, and one part of blue black give a rich leather brown. If a lighter tint is required less black should be used. Or the following recipe may be used: mix white with three times the quantity of red and the same amount of yellow. Some painters use French ochre for a base and tint with burnt umber or Venetian red.
Light Lava. A mixture of raw umber and raw sienna added to white will give this color.
Light Oak. Add French ochre and Venetian red to white as a base.
Lizard Bronze. Fifteen parts of black, one of orange, live of yellow, and four of green will produce this dark greenish yellow shade.
Madder Green. A reddish brown madder shade is produced with one part blue, three parts each of orange and red, and six parts black.
Mahogany. Mix orange and yellow in equal proportions with five times the quantity of black.
Mast Colored Paint. The following recipe gives good ​results. Mix twelve parts of genuine dry white lead with two parts of French ochre, two parts of gray barytes, and one part of genuine oxide of iron.
Nut Brown. Equal quantities of red and yellow mixed with ten times as much black will give this shade.
Old Wood. To get this shade mix one part of blue and red, two of orange and five of black.
Olive Brown may be made by mixing three parts of burnt umber and one part of lemon chrome yellow; or another shade is given by mixing equal quantities of orange and green with about twelve times as much black. Some painters add lemon chrome yellow to raw umber for a base.
Orange Brown. Two parts of orange chrome yellow mixed with three parts sienna.
Pomegranate. A golden brown shade sometimes called by this name is given by mixing three parts of red, six of orange, four of yellow with twenty parts of black.
Purple Brown. Mix four parts of dark Indian red with one part of ultramarine blue and of lamp black. The addition of white lead will usually make a more satisfactory tint, if the shade is too purple, a similar quantity of blue should be added, if too red, more black may be used, or a little yellow added, but purple brown pigment is cheap.
Raw Sienna. Siennas are valuable earth colors most useful for staining or tinting, but practically useless as body colors. The degree of transparency determines to some extent the quality.
Raw Umber. A valuable earth color.
Russet Brown. Indian red lightened with white produces a tint sometimes called by this name.
Russet. A very good russet shade is got by mixing twenty parts of black, twelve of red, ten of orange, three of yellow, and five of green. Or medium chrome green, raw umber, and a little orange chrome yellow added to white as a base will give an excellent russet.
​Sandstone. A tinting color made by mixing raw and burnt umber will produce this color.
Fig. 26. Flat Bristle Fitches.
Seal Brown. Four parts burnt umber, one part golden ochre.
​Sepia. This is a natural color used chiefly by artists. It cannot be imitated and it must not be used in oil.
Sienna Brown. The color is variously called sienna brown, teak brown, and other names. It is made by mixing burnt Italian sienna and French ochre with pure zinc.
Snuff Brown. French ochre and Indian red added to zinc white will produce this color. Another way to produce a snuff color is to mix four parts of medium yellow and two parts of Vandyke brown, or burnt umber may be substituted for the Vandyke brown if desired. Another snuff color may be obtained by mixing burnt umber and yellow ochre, tinging with a little Venetian red.
Tan. Mix ten parts of burnt sienna and four parts of medium chrome yellow with three parts of raw umber. White lead and burnt sienna, to which has been added a very little lamp black, will also produce a tan color. A very rich tan color may be made from ochre, burnt Turkey umber and a little orange chrome with white lead.
Thrush Brown. One part yellow ochre, three parts burnt umber, twelve parts white lead.
Vandyke Brown. This is an important brown to the house painter. It cannot be imitated, although a little red added to umber produces a color somewhat similar to it.
Vienna Smoke. The best burnt umber should be tinted with lemon chrome yellow and a little Venetian red.
Wallflower Brown. This beautiful brown may be made by a mixture of medium chrome jellow and brown lake. Or crimson lake and burnt sienna may be mixed with medium chrome.
GRAYS.
Argent. A reddish gray tint, which can be produced by mixing together nine parts of black, sixteen of white, one of red and a little orange.
Ash Gray. Lamp black and a little French ochre added to white lead give this color. Another mixture is as ​follows: two parts of burnt sienna, three parts of light ultramarine blue, sixty party of zinc white.
Black Slate. Mix together black and Prussian blue in the proportion of about thirteen parts of the former to one of the latter and add a little white.
Dark Gray. Mix eight parts of black, one of white and a touch of red or blue to produce this shade; but practically any admixture of black and white in which the former predominates and to which has been added a little color will give a dark gray.
Dark Lead. This is a dark gray, being produced simply by adding lamp black to white lead.
Dark Slate. This also is black added to white. The mixture under Black Slate would answer.
Deep Lead. Black, a little bright blue, and Indian red mixed with white lead produces this color.
French Gray. This can be made by tinting white with a little ivory or drop black and adding a little carmine or crimson lake and ultramarine. This produces a very slight violet tinge. White tinted with a little ultramarine and Venetian red also gives a good French gray. Celestial blue or cobalt may be used instead of the ultramarine if desired. Another good mixture is made by tinting white lead with one part of black and two parts of orange chrome.
Granite. French ochre and lamp black added to white lead produce this color.
Graystone.–Mix five parts of black with three of white and three of blue and add a little red.
Gray Drab. Mix five parts of black with four of white and a little deep chrome yellow.
Green Slate. Same as lead, but with more black and blue.
Iron Gray. Mix eight parts of black with two of white and a little orange.
Fig. 27. Artist's Bristle Brushes.
​Mix nine parts of black with two of white, with a touch of deep chrome.
Lead. This is simply a dark gray, and is made by adding lamp black to white lead with sufficient blue.
Light Gray. Mix together one part of Prussian blue, one part of lamp black, ten parts of white lead. By adding more or less white lead a darker or a lighter shade may be obtained if required. Another shade is obtained by mixing two parts of black, eight parts of white and one part of blue.
Mastic. This is a dark gray shade. To produce it mix twelve parts of black with one of white, rather less than one of yellow and just a touch of orange.
Moss Gray. Tint white lead with French ochre, a bright green and a little lamp black.
Mouse Color. Eleven parts burnt umber, to which has been added one part of Prussian blue, mixed with about twenty times the bulk of white lead, will give this tint. Another shade may be had by mixing sixteen parts of white, three of black and one of blue. Some painters tint white with lamp black and add a very little Venetian red and burnt umber.
Neutral Tint. An artist's color is sold under this name.
Olive Gray. Three parts of lamp black, one part of chrome green, with about forty times the quantity of white lead, will give this color.
Opal Gray. One part of burnt sienna, two parts of cobalt blue, and thirty parts of zinc white.
Payne's Gray. Is an artist's color, which may be described as a gray having a lilac tinge.
Pearl. This is the same as French gray, but is much lighter.
Pearl Gray. Forty parts white lead, five parts of vermilion and one part of deep chrome green. Some decorators tint white lead with lamp black and call that pearl gray. Strictly speaking, however, it should not be called pearl ​gray, there being no color present. Six parts of white lead, two parts of Venetian red, and one part of lamp black gives a somewhat dark pearl gray, but a lighter tint may easily be obtained by adding more lead. Ivory black answers equally as well as lamp black.
Quaker Drab. This greenish gray shade is produced by mixing two parts each of yellow and green and five parts of white.
Rustic Drab. Tint white lead with French ochre and lamp black.
Silver Gray. Tint white lead with French ochre and lamp black, or yellow may be employed instead of the ochre if preferred. White lead tinted with a little lamp black and indigo gives an excellent silver gray.
Smoke Gray. Tint white lead with French ochre and lamp black.
Steel Gray. Tint white lead with a mixture of lemon chrome and medium chrome and lamp black.
Stone Gray. Add black and chrome to white lead.
Verdant Gray. Two parts of oxide zinc and one part of terra verte.
Warm Gray. Tint white lead with French ochre and lamp black or sienna and lamp black. A better mixture is produced by taking white as a base and adding a little burnt sienna and raw umber with a very little burnt umber and a touch of Prussian blue.
GREENS.
Aloes. A pale sage green shade. To obtain it mix six parts of black, three of white, one of chrome yellow, and three of Brunswick green.
Apple Green. The simplest way to obtain this is to mix medium chrome green with about thirty times the quantity of white lead, but other greens may be employed with the addition of a little Prussian blue when necessary. Or a little orange chrome yellow may be added to the medium chrome ​green and white lead. A very good shade can be produced by mixing one part of white with four of yellow and nine of green.
Autumn Green. Mix one part of chrome yellow with seven of black and two of emerald green.
Blue Green. Equal proportions of deep chrome green and cobalt, or three parts of chrome green and one of Prussian blue, added to white lead in the proportion of about four times the quantity of lead to the mixture of green and blue, will give a tint which is sometimes called blue green.
Bottle Green. Mix together five parts of medium chrome green and one part of blue black. A similar color may be obtained by adding Prussian blue and blue black and lemon chrome. Another shade is made by using four parts of black and one of green.
Bronze Green. The usual method is to mix black with deep chrome yellow, but indigo may be used instead if desired. A much brighter color is obtained from a mixture of medium chrome yellow, Prussian blue and burnt sienna. Or the following recipe may be used: Medium chrome green five parts, blue black one part, burnt umber one part. A light bronze color may be obtained by adding more green or by using light instead of medium green. Other shades of bronze green may be got by adding a little lamp black to dark chrome green, or by taking medium chrome green and adding lamp black and a little raw umber.
Brunswick Green. This color is sold in three shades. It may be imitated by a mixture of Prussian blue and chrome yellow, but chrome green, toned down with black, is sometimes used.
Chartreuse. This is a light yellowish green color. Mix four of chrome yellow and five of chrome green lightening up with white.
Chrome Green. This color can be bought ready made. To produce it by admixture, add Prussian blue to lemon ​chrome yellow in the proportion of about one part of blue to eight parts of yellow.
Eau de Nil. Tint white lead with medium chrome yellow, emerald green and a touch of Prussian blue.
Egyptian Green. Add two parts of raw umber and one part of lemon chrome yellow to white lead. Give the green tone to it by means of a little Prussian blue.
Elephant Green. A dark green, obtained by adding a little emerald green to black.
Emerald Green. This beautiful, bright green cannot be successfully imitated. It must not be mixed with ultramarine. The pigment is a great favorite with some painters, while others never use it. In this country the pigment is known as Paris green, but it is not used to any extent by painters, although it is used as an insecticide. In the absence of the real thing, a more or less presentable imitation may be obtained by mixing eight parts of white lead and one part of medium chrome green, or a light shade of chrome green may be used without lead. Emerald green, although so bright, has very little body, but it is very useful for glazing. A thin finishing coat is given over a good green ground to brighten it.
Foliage Green. One part of blue black may be mixed with four parts of lemon chrome. Use medium chrome yellow if a darker shade is required.
French Green. This is a bright yellowish green, which may be obtained by adding to emerald or deep chrome green about one-tenth part chrome yellow. Yellow ochre is sometimes used instead.
Gage Green. This is a variety of sage green. It may be made in the same way as pea green, and when that is reached a little black should be added to bring it to the required sage color.
Genuine Green. This is usually to be had ready mixed, but it varies considerably in name as well as in the exact tint.
Grass Green. The color sold as extra light chrome green ​makes a splendid grass green without any addition, but if it is not available, lighten up medium or dark chrome green with chrome yellow.
Green Slate. Tint white lead with a bright green toned down with ochre and lamp black.
Green Stone. Twelve parts white lead tinted with one part medium chrome green and one part of raw umber give this tint, or the tinting colors may be French ochre and emerald green with a little lamp black.
Gray Green. Use ultramarine blue, lemon chrome yellow, blue black and white lead.
Invisible Green. A dark green made by mixing nine parts of black and one of bright green.
Ivy Green. This is produced by a mixture of French ochre, lamp black and Prussian blue.
Leaf Bud. This color is suitable for inside work. It is made by mixing orange chrome yellow, light chrome green and white lead in equal proportions.
Light Green. Equal quantities of white and blue and rather more than twice the amount of green give a very good shade.
Light Olive Green. Mix three parts of middle chrome, two parts of black, and one part of burnt sienna and lighten up with white lead until the desired color is obtained.
Lime Green. This is sold ready for use, and is only suitable for distemper. It cannot be used with oil.
Manse Green. This is produced from a mixture of a bright green, medium chrome yellow and French ochre.
Marine Green. Mix one part of middle chrome green with four of black.
Medium. A green of this name may be purchased ready made. It is very similar to middle Brunswick green.
Mignonette. This is a dark green shade, obtained by mixing one part of chrome yellow and one of Prussian blue with three parts of chrome green and fifteen parts of black.
Muscovite. This is a dark sage-yellow greenish shade. It ​may be obtained by mixing six parts of Prussian blue, thirteen of chrome green, three of orange chrome, eight of white, and twenty of black.
Moss Green. Tint white lead with French ochre, a bright green and a little lamp black.
Moss Rose. This pale greenish shade is obtained by mixing chrome or Brunswick green, bright yellow and white in the proportions of one part green, four of yellow and three of white.
Mountain Green. Add to medium chrome yellow sufficient cobalt to produce the desired hue, adding a little white if necessary.
Myrtle. Three parts of dark chrome green, one part of ultramarine blue, and a little white lead will give an excellent myrtle color.
Night Green. Seven parts of chrome green and three parts of yellow ochre will give this shade.
Nile Green. Five parts of white, nine of emerald green and six of Prussian blue will give this shade.
Olive. Mix together ten parts of lemon chrome yellow, one part of ultramarine blue and one part of light Indian red. Another method is to use eight parts of lemon chrome yellow, one part of blue black and one part of Prussian blue. Or the following proportions give very good shades: three parts black, four parts white, four parts red, two parts yellow, and eleven parts green. Or, fifteen parts of white, twenty of red, twelve of yellow, and fifty-three of green. Some painters add equal portions of Prussian blue and lamp black to lemon chrome yellow for a base, or the base may be ochre instead of chrome, and a little of the yellow be added.
Oriental Green. Is made by mixing equal proportions of raw umber and lemon chrome yellow.
Royal Green. This color is sold ready made.
Peacock Green. A mixture of seven parts of white, fifty parts of emerald green and forty-three of Prussian blue will give this shade. A little yellow is sometimes added. The ​color is best produced by giving a final transparent coat over a ground color. For the ground mix a rich green, a very deep Brunswick green and middle chrome. Over this apply a very thin coat of a deep bluish green made from Prussian blue and lemon chrome.
Pea Green. Forty-eight parts of white lead and one part of chrome green will give this color, or emerald green may be used if desired. Some makers mix medium chrome green and white lead in the proportion of five parts of the latter to one part of the former to obtain a pea green, but the proportions may be varied considerably according to the exact shade required.
Persian Green. This is only another name for emerald green, the vivid and somewhat staring hue being sometimes employed in oriental decorations and being then termed Persian green.
Pistache. This is a yellowish green shade. It may be obtained by mixing seven parts of black, one of yellow ochre and one and half of chrome green. Or chrome yellow may, if desired, be substituted for the ochre.
Prussian Green. To produce this, mix five parts black, three parts chrome yellow and twelve parts emerald or medium chrome green.
Quaker Green. Mix equal proportions of Venetian red and medium chrome yellow and add blue black. Add to this mixture a quantity of chrome green equal in bulk to the three. This will give an excellent quaker green.
Reed Green. Mix white, chrome yellow and chrome green in about equal quantities to produce this shade. The name, however, has no special significance, and an admixture of almost any yellow and green, lightened up with white, might be used instead.
Sage Green. This may be produced by tinting white lead with four parts of light chrome green and one part of ivory black, or the white lead may be tinted with a mixture of French ochre, lamp black, and Prussian blue. Another ​recipe is as follows: Add raw umber and chrome green in the proportion of about one part of the former to two parts of the latter added to white lead until the desired shade is obtained, A pale Brunswick green and a very little black used to tint white also gives a good sage green.
Sap Green. Mix with white lead, medium chrome yellow and a very little lamp black.
Sea Foam. Tint white lead with medium chrome yellow and emerald green, or if too bright, use medium chrome green instead of the emerald.
Sea Green. This color is obtained by adding deep chrome to white lead. Another sea green, and a very good one, is obtained by mixing light Brunswick green, raw sienna or ochre and white.
Seered Green. Tint white lead with French ochre, medium chrome yellow and a little bright green.
Starling's Egg Green. A mixture of light chrome and Prussian blue, lightened up with white, will produce this color.
Tea Green. Medium royal green, chrome yellow and lamp black added to white lead will give this color.
Velvet Green. Mix three parts of burnt sienna, five parts of light chrome green and eight parts white lead.
Venetian Green. Lighten up dark chrome green with white lead.
Water Green. Raw sienna mixed with a little deep chrome green and added to white lead gives a water green tint.
Willow Green. Tint white lead with medium chrome green, and add a little burnt umber or ivory black.
JAPANS.
Rich Dark Red. Mix Indian red with a little black Japan.
Rich Dark Brown. Mix crimson lake and black Japan, varying the amount of each according to the depth required.
Chocolate Brown. Mix orange chrome with black Japan.
​Leather Color. This is obtained in exactly the same way as chocolate brown excepting that rather more chrome is used.
Bottle Green. Mix together Prussian blue, Dutch pink and black Japan.
Invisible Green. Use the same mixture as for bottle green but use less Japan.
Light and Dark Reds. A series to which there is no end, may be obtained by mixing either vermilion or vermilionette with black Japan in varying proportions.
Neutral Green. This is produced by adding lemon chrome to a little black Japan.
REDS.
Acacia. This may be described as a dark maroon. It is made by mixing five parts of black, three of Indian red and one of Prussian blue. Less of the black will give a more pleasing shade.
Amaranthine. This is a crimson which can be made by mixing three parts of vermilionette with one of Prussian blue.
Anemone. This is a reddish purple, and may be made by mixing two parts of black, one of white, six of a bright red, and six of Prussian blue.
Apricot. Mix middle chrome yellow with a little vermilion and add a very little lake.
Armenian Red. Mix one part of yellow ochre with two parts of Venetian red.
Aurore. A dull pink shade, which can be produced as follows: Mix together one part of Indian red, two of orange chrome, a little lemon chrome, and two of blue, lightening up with white.
Bay. Mix together five parts of black, three of Venetian red, and a little orange chrome.
Begonia. A dark red purple, which may be obtained by ​mixing: six parts of lamp black, five of bright red, and four of Prussian blue.
Black Maroon. Take eight parts of black and mix them with one of a bright red and a little Prussian blue.
Blood Red. Any bright red toned down with a little black will produce a shade sometimes called by this name.
Bordeaux Red. Take nine parts of black and mix with it two parts of orange chrome and one of Prussian blue.
Brick. Use two parts of French ochre to one part of Venetian red and one part of white lead, adding more ochre if required to lighten the color. This gives a good tint, sometimes called brick red, and is suitable for outside work.
Bright Scarlet. Mix twenty parts of vermilion, seven parts of pale chrome, and one part of golden ochre. A good vermilionette slightly toned down with yellow answers the same purpose.
Bronze Red. This is a red toned down with about a fourth part of black, a little bright yellow or orange being added.
Cambridge Red. Vermilion, to which is added about one twentieth part of Prussian blue, gives a color called Cambridge red.
Carmine. This is an artist's color, its rich red tint can hardly be imitated. A light vermilionette of good grade, to which is added a little bright yellow, may be used.
Carnation Red. Three parts of carmine lake and one part of white lead give a carnation color, but a better result is obtained by taking pure vermilion as a base and adding carmine and zinc white until the desired rich color is obtained. This color is not suitable for use outside.
Carnation Rose. White lead tinted with Indian red or vermilion, or one of the fast reds. A beautiful color can be obtained by simply tinting white with permanent crimson madder.
​Cherry Red. Mix together crimson lake, burnt sienna and azure blue, or two parts of vermilion and one part of carmine.
Claret. Mix two parts of carmine with one of ultramarine blue. A little vermilion may be added if desired, and this may render a little yellow necessary to tone down the color. A less rich color may be made by mixing Venetian red and yellow ochre.
Coral Pink. This color is useful only on inside work. It is made by mixing five parts of vermilion, two parts of white lead and one part of chrome yellow. Another recipe for producing shades of coral pink is: one part of white, three of red, five of orange, and three of blue.
Dregs of Wine. This shade is produced by mixing Venetian red with a little lamp black and white lead.
Egyptian. A dull yellowish crimson made by using five parts of black, one and half of white, two of orange, and one of blue, and a very little red.
Firefly. A dull orange red produced by mixing two parts of black, three of red, one of orange, and a little yellow.
Flesh Color. One hundred and twenty parts white lead, two parts yellow ochre, and one part Venetian red will produce an excellent flesh color. Or mix eight parts of white lead, two parts of orange chrome yellow, and one part of light Venetian red. An increased proportion of red may be employed where desired. A mixture of orange and white in the proportion of one part of the former to three parts of the latter may also be used, or a mixture of medium chrome yellow, ochre, and Venetian red added to white.
French Red. Use equal parts of Indian red and vermilion, and glaze with carmine or permanent crimson madder.
Gazelle. To obtain this mix Venetian red, lamp black and Indian red, and add sufficient white lead to produce the desired shade.
Geranium. To produce this color use nine parts of bright red and one of blue. Or Indian red may be used, afterwards ​glazing with madder lake for good work. Most of the larger color manufacturers make geranium red which is better than can be obtained by mixing.
Indian Pink. Tint white lead with a little Indian red.
Indian Red. This is a good permanent pigment to be bought ready made, and is most useful in mixing with other colors.
Light Pink. Tint white lead with a little pure vermilion. The word pink does not bear any very definite meaning, as almost any bright red such as carmine or crimson added to plenty of white give a good pink just as vermilion does, but of another hue. A very pretty and useful pink is made by adding white to permanent crimson madder.
Light Salmon. Tint white lead with raw Italian sienna, burnt Italian sienna, and burnt Turkey umber. Or tint white with any bright red, toning down with Sienna.
Lilac. A great deal of difference of opinion exists as to this tint. One part of ultramarine to one part of bright carmine, added to eighty parts white lead, give a very good lilac. A cheaper way is to use Indian red and lamp black as a tinting color, or rose pink may be added to the lead only. Yet another method for producing a lilac is to mix three parts of bright Indian red, three parts of white lead, and one part of ultramarine blue, but less white lead is preferred by some painters. A touch of yellow will help this color if too raw for the purpose.
Madder Lake. This is principally used by artists, but it is useful to the house decorator for glazing the best work where a bright red is required.
Magenta. Carmine and vermilion, with a little ultramarine blue, produce this color.
Maroon. This color is obtained by mixing carmine and blue black, and adding a small quantity of medium chrome yellow. It may also be made by mixing one part of ultramarine blue with three parts of Tuscan red. This gives a tint that is often considered a little too red, but this defect ​may easily be remedied by adding more blue. Some painters add ivory black and a little chrome yellow to carmine.
Mexican Red. Mix one part of red lead with four parts of Venetian red.
Mikado. Three parts of blue and seven of red, mixed with a little white, give this purplish red shade.
Moorish Red. Mix together three parts of vermilion and one part of rose pink.
Mulberry. This is a very dark purple obtained by adding a little blue and just a tinge of red to black.
Old Rose. Tint white lead with French ochre, Indian red and lamp black, or Venetian red and a very little lamp black may be used if desired.
Opaque Pink. Tint white lead with red lead.
Opera Pink. Tint white lead with a mixture of five parts of vermilion and one part of medium chrome green.
Oriental Red. Mix one part of red lead with two parts of Indian red.
Orange Scarlet. This color may be obtained by adding two parts of orange lead to one part of white lead.
Orange Vermilion. Orange lead comes nearest to this color. The tone may be made by adding chrome to vermilion.
Peach Bloom. This is a mixture of white lead and Venetian red. Or it may be produced by adding sufficient Indian red to white lead to give a warm tint and mixing it with equal proportions of white lead, lemon chrome yellow, ultramarine blue and light Indian red. Or a mixture of three parts of Indian red with seventeen parts of white is sometimes used.
Pink. White lead tinted with orange lead gives a bright pink.
Plum. Mix with equal parts of white lead. Indian red and ultramarine blue in the proportion of two parts of lead to one of each of the other colors. This makes a dark plum that is only suitable for inside work. If a light ​tint is desired add more white lead. A very rich plum may be obtained by mixing together ultramarine blue and carmine, and adding a little white and a little yellow.
Pompeian Red. Small quantities of bright red and orange are mixed with black to produce this shade.
Poppy. Blue and vermilion mixed in the proportion of one of the former to twenty-four of the latter give this shade. Some color mixers prefer to add a bright yellow instead of the blue.
Purple. Light Indian red, four parts; white lead, three parts; ultramarine, blue, two parts; or a purple may be obtained by mixing Indian red and white. A mixture preferred by some painters is made by mixing ultramarine and vermilion with a little white. A little crimson lake gives richness to the color.
Red Ochre. This earth color is cheap, and can be readily bought in most places. It can be imitated by mixing Indian red and chrome and adding a little vermilion.
Red Terra Cotta. Use equal proportions of burnt sienna and white lead. The tone may be varied by the addition of either of the umbers and the chromes. A good bright terra cotta is also made by using Venetian red as a base and coloring up with ochre and a touch of lake.
Regal Purple. Mix together four parts of white lead, two parts of cobalt blue and one part of carmine lake.
Roan. Mix black with half its quantity of red and add a very small proportion of blue and white.
Rose. Five parts of white lead mixed with two parts of carmine give a rose color that is suitable for inside work only. An admirable rose color may be obtained by using zinc white instead of white lead, as the zinc is a much purer white than the lead, and hence gives a purer tint.
Rose Carnation. Mix together one part of rose madder and eight parts of oxide of zinc. This is a beautiful color, but the madder is too expensive for use except by artists. ​A very successful color can be produced from permanent crimson madder.
Rose Wood. To produce this color, red is mixed with about twelve times the quantity of black and a very little green. The shade given is a very dark red.
Royal Pink. Mix together two parts of zinc white and carmine lake. This will only do for inside work.
Royal Purple. Mix one part of vegetable black, one and one-half of rich red, and seven of Prussian blue.
Salmon. Six parts of white lead, one part of vermilion, and a little lemon chrome yellow. This mixture produces a color somewhat bright. Another salmon color is made by a mixture of raw sienna, burnt sienna and burnt umber. A tint preferred by some is produced by adding to the white, Venetian red, burnt umber and French ochre. Another method is to add vermilion and golden ochre to white, which gives a nice bright color. Venetian red and chrome, added to white, gives a duller color. Still another mixture is Venetian red, vermilion, yellow ochre and white.
Scarlet Lake. A color very similar may be obtained in one of the many vermilionettes on the market. It will be convenient to remember that all vermilions are lightened by the use of pale chrome instead of white lead. Lead takes down the brilliancy of the color, producing a pink.
Scarlet Red. It is the name given to the brightest of the oxide paints.
Shell Pink. This color is sometimes made by adding a little good Indian red to white, but some decorators prefer to use vermilion with a little chrome yellow and burnt sienna.
Shrimp Pink. Mix Venetian red, burnt sienna and white lead, and add a little vermilion.
Signal Red. This is usually made by mixing orange lead, vermilionette and Paris white, or orange lead by itself may be tinted with vermilionette.
​Salmon Pink. Tint white lead with equal parts of orange chrome and vermilion. If zinc white is used instead of lead the color will be found brighter.
Terra Cotta. Mix together two parts of white lead and one part of burnt sienna. One of the best ways to produce a good terra cotta wall is to give a good under coat of white lead, orange chrome and a little Venetian red, and when dry to apply a finished coat made from Venetian red and a little orange chrome to which has been added a little white.
Turkish Crescent Red. Mix equal proportions of Indian red, vermilionette and rose pink.
Tuscan Red. This can be bought ready made, and may be imitated by mixing ten parts of Indian red with one part rose pink. Indian red is very similar in color but somewhat darker.
Venetian Pink. Tint white lead with a little Venetian red.
Venetian Red. This color is one of the most useful that the house painter has, being cheap, and having good covering power and body. It is not very good for tinting purposes. It would not, of course, be often imitated, but Indian red—a very similar pigment—could be tinted with red. Or it may be imitated by mixing vermilion, yellow ochre, madder, carmine and a little Cappagh brown, which is an artist's color and is rarely used by house painters.
Vermilion. This bright red cannot be imitated by an admixture of ordinary pigments, but there are many excellent substitutes on the market, most of them being vermilionettes.
Wine Color. Add a little ivory black to a mixture of carmine and vermilion.
WHITES.
A very little ultramarine green added to white lead makes a white sometimes called Japan white.
Equal parts of white lead and oxide of zinc are ​frequently used as a white paint, although two parts of lead to one of zinc gives a better mixture.
Some painters are under the impression that inasmuch as lead and zinc are both derived from metals they will not mix together to form a good paint, there being something of the nature of a galvanic action set up between the two metals. This, however, is an error, for although lead and zinc cannot properly be mixed together by hand, yet if they are ground by the ordinary paint manufacturers' machinery the result is a most durable paint.
On the other hand, it is doubtful whether the mixture of lead and zinc is a good policy to follow. Many painters get excellent results by using white lead for the under coats and zinc white for the final coats.
Commercial White. Seventeen parts of white lead, three parts of barytes. This is intended to be mixed in oil, not water.
Permanent White. The best quality barytes or blanc fixe makes a permanent white when ground in water. In oil it lacks body. For many purposes a white which will last a considerable length of time is made by mixing two parts of zinc white with one part of barytes.
YELLOWS.
If a yellow is too bright it may be lowered by adding a small quantity of blue and red. Instructions for obtaining the various grades of yellow are given explicitly herewith.
Alabaster. This is yellowish white in color. Mix four parts of white with one of middle chrome yellow.
Amber. An imitation of amber can be produced by mixing equal portions of burnt sienna, burnt umber, blue black and orange chrome yellow, and adding a quantity of white lead until the desired tint is obtained.
Antique Bronze. Add ivory black to orange chrome yellow in the proportion of about five parts of black and one part of orange.
​Asiatic Bronze. One part medium chrome yellow, two parts raw umber, and lighten with white lead.
Brass Yellow. This may be obtained by mixing forty parts of white lead, twelve parts of light chrome yellow, one part raw umber, and one part burnt umber. Or a mixture of French ochre and medium chrome yellow, added to a little umber, with a touch of blue, may be used to tint white as a base.
Bronze. Take fourteen parts of black and add one part of yellow and two of green.
Bronze Yellow. Mix together five parts of medium chrome yellow, three parts of white lead, and one part of raw umber. A mixture preferred by some painters is obtained from chrome yellow, French ochre and a little burnt umber.
Buff. Two parts of white lead and one part of yellow ochre produces a good buff, or white lead may be tinted with French ochre alone. Other shades are obtained with mixtures of two parts of black, four of white, one of red and one and one-eighth of yellow.
Buttercup. White lead tinted with lemon chrome gives a nice buttercup yellow.
Cadmium Orange. This is an artist's color of considerable value, but is, generally speaking, too expensive for house painters. It should not be mixed with chrome yellow or emerald green. It is made in three shades: pale, medium and deep, and it cannot be successfully imitated.
Canary. This is practically another name for straw tint, and it may be mixed in the same way. The proportions for an ordinary shade of canary are three parts of lemon chrome yellow to one part of white lead, but less yellow is often preferred. Another shade is obtained by mixing two parts of white, six of yellow and two of green. Some manufacturers make an extra light chrome yellow which they call by this name.
​Chamois. A dull yellow made by mixing four parts of white, five of yellow ochre and one of green.
Chamoline. Mix together five parts of white lead, three parts of raw sienna and one part of lemon yellow.
Citrine. Although this is a tertiary color, and theoretically can be made from green and orange, opinions as to the exact shade somewhat differ. It may be made by mixing four parts of medium chrome yellow and one part of raw umber; or five parts of lemon chrome yellow and two parts of raw umber.
Citron. To produce this color use Venetian red as a base and add one part of Prussian blue, two of chrome yellow and two of white.
Colonial Yellow. Medium chrome yellow mixed with white lead and a little dark orange chrome yellow gives this tint.
Cream. A good shade is obtained by mixing eight parts of white lead, two parts of French yellow ochre and a touch of Venetian red. French ochre and lead alone are often employed. Equal parts of raw sienna and orange chrome used to tint white gives a nice cream. There are many other methods of obtaining this tint.
Daffodil. Lemon chrome mixed with a little Venetian red will give this color.
Deep Cream. This color is made by tinting white lead with yellow ochre and a little Venetian red.
Ecru. Tint white lead with French ochre and medium chrome yellow. A tint which is sometimes called stone color is produced in the same way. Another shade of ecru may be obtained by mixing three parts of black, eight parts of white, three of medium chrome yellow and one of Brunswick green.
Jonquil Yellow. Tint white lead with medium chrome yellow to which has been added a very little vermilion red. One of the favorite methods is to employ sixteen parts white lead, one part of indigo and two parts of light red, adding as much chrome yellow as may be desired. Another way of ​making jonquil yellow is by simply mixing with a little green about forty times the quantity of yellow.
Gamboge. This is an artist's color. It is a gum resin, is somewhat fugitive, and is useless for the purpose of the house painter.
Gold. To obtain the color known as gold, white lead may be tinted with five parts of golden or yellow ochre and one part of vermilion, or a mixture of light chrome yellow. French ochre and vermilion may be used instead to tint the white lead. The quantity of yellow used should be considerably more than the ochre.
Hay Color. French ochre, medium chrome yellow and lamp black used as tinting color for white lead will give a hay color, or raw Italian sienna and lamp black may be employed if desired.
Ivory. The addition of a very little medium chrome yellow to white lead produces this tint, or a very little golden ochre may be used. Another way is to tint white very slightly with middle chrome and a touch of black.
Leghorn. This is a pale yellow shade, which is obtained by mixing white and medium chrome yellow in about equal proportions.
Lemon. For this color, lemon chrome yellow is used alone, but the tint may be made by using white lead for a base and adding medium chrome yellow until the desired tint is obtained. The tint that is usually preferred is obtained by mixing five parts of chrome to two parts of white lead, and adding a little green. However, lemon chrome yellow purchased ready made is the best.
Light Buff. A little yellow ochre added to white lead gives a good buff color, the tint varying with the quantity of ochre.
Light Stone. Tint white lead with French ochre and lamp black.
Lemon Yellow. This is also called lemon chrome, and is the palest shade of lemon chrome yellow. It is very useful ​for preparing the lighter shades of yellow, and may be imitated by adding cadmium yellow to zinc white.
Corn Yellow. Mix yellow and white in the proportion of about three parts of the former to one of the latter to get this light yellow shade.
Manilla. Is made by tinting white lead with French ochre and chrome yellow. Or a mixture of white with four times the quantity of yellow will produce a shade of manilla.
Marigold. This is obtained by mixing a very little bright yellow with orange chrome.
Melon. Mix equal quantities of black and white. Add twice the bulk of orange chrome and a quantity of medium chrome equal to the mixture of black and white.
Mushroom. A dull yellow shade, which may be obtained by adding one part of orange and two of yellow to ten parts of black.
Middle Stone. Mix as described under Stone, but use more umber and ochre.
Naples Yellow. This yellow is not now much used, chrome yellow having to a large extent taken its place. It may be imitated by tinting zinc white with cadmium yellow and a very little yellow ochre.
Naples Yellow. This is obtained by mixing orange with twice as much yellow and three times as much white. It is also the name given to an artist's color.
Ochre Yellow. Mix orange and yellow in about equal proportions with a rather larger quantity of black.
Old Gold. Use middle chrome with a little vermilion and burnt sienna, and add a very little cobalt. A cheaper color may be made by mixing ochre and burnt sienna. One part of green and three of bright yellow mixed with a little white will give an old gold shade. Or it may be obtained in the same way as gold, but a little burnt umber may be added. Some painters prefer to tint white lead with a mixture of chrome, ​raw sienna and vermilion. White tinted with a little orange chrome and burnt umber also gives a good old gold tint.
Olive Yellow. This color is sometimes called olive brown. It is made by mixing three parts of burnt umber with one part of lemon chrome yellow, a larger quantity of yellow being added if a lighter shade is required. Another method is to mix ten parts of black, one of orange, twelve of yellow and five of green.
Orange. Mix white, yellow and orange in the following proportions: One part each of yellow and white and eighteen parts of orange. Or another shade is got with seventeen parts of orange, six of yellow and two of white. Orange chrome yellow can be easily purchased, however, and gives this color without any admixture being necessary.
Persian Orange. Mix fourteen parts of orange chrome, five parts of yellow ochre and one of white.
Pompeian Yellow. Tint white with Italian ochre and add a very little ultramarine and vermilion.
Portland Stone. Mix equal parts of yellow ochre and raw umber and lighten up with white until the desired tint is obtained.
Primrose Yellow. Lemon chrome used by itself answers admirably.
Primrose. Ten parts of white, three parts of green and four parts of yellow will give this light greenish yellow. Another shade is got by mixing one part of orange, two parts of green and five parts of yellow.
Spruce Yellow. Add a little Venetian red to a mixture of French ochre and white lead.
Stone. This color, so much used, is usually made by mixing together five parts of white lead, two parts of French yellow ochre and one part of burnt umber. By adding a little raw umber, the tint may be varied as desired. This color is suitable for outside work. Another method for obtaining the shade is to tint white with medium chrome yellow and burnt umber.
​Straw Color. Lemon chrome mixed with raw umber.
Straw. White lead tinted with a little chrome yellow produces an excellent straw tint, but some prefer to add a little French ochre. Or medium chrome yellow may be used as a base, and a mixture added of white, French ochre and Venetian red.
Yellow Lake. This is a somewhat fugitive color which has but little body, but is useful for glazing. To imitate it use equal parts of burnt umber and white lead and tint with chrome yellow and lake. Or, mix umber and white in equal proportions and add Naples yellow and scarlet lake. To obtain this color in its full richness it is quite necessary to glaze either admixture with yellow lake.
Yellow Ochre. The ochres are natural mineral pigments, which are among the cheapest and most useful at the command of house painters. They can be used in any vehicle and are quite permanent, while they do not affect any other color with which they may be used.
Zinc Yellow. This is a chromate of zinc which is quite fast in light, and possesses the advantage of permanence even in the presence of impure sulphuretted hydrogen. It may be mixed with other colors, without adversely affecting them.