By George Field
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Additional info for A grammar of colouring applied to decorative painting and the arts
The method of applying these colours will be given in another section. These tints are intended for water-colour painting, but most of them may be mixed for tempera or oil painting by the addition of white in varied proportions. LAVENDER TINTS which may be diluted until they give the palest French greys. Lake and Indigo. Lake and Cobalt. Indian lied and Cobalt. Vermilion and Cobalt. GREY TINTS of a brown hue-- Madder Brown and Cobalt, Madder Lake, Cobalt, and Yellow Ochre. Red and Indigo. and Cobalt.
25 with white, we are indebted for the innumerable tints of Lilac, Lavender, Peach-blossoms, Pea-green, Teagreen, &c. In order to afford some instruction in compounding a few useful tints -the following list is given. The student is advised to mix each of these tints in different hues, giving in each experiment a predominance to one or other of the component colours. The method of applying these colours will be given in another section. These tints are intended for water-colour painting, but most of them may be mixed for tempera or oil painting by the addition of white in varied proportions.
PEARL WHITE. There are the two pigments of this denomination one falsely so called, prepared from bismuth, which turns : black in sulphuretted hydrogen gas or any impure air, and is used as a cosmetic ; the other, prepared from the waste of pearls and mother-of-pearl, which is exquisitely white, and of good body in water, but of little it combines, however, with all : other colours without injuring the most delicate, and is itself perfectly permanent and innoxious. force in oil or varnish CONSTANT WHITE, Permanent white, or Barytic white, barytes, and when well prepared and is a sulphate of from acid is free one of our best whites for water-painting, being of a superior body in water, but destitute of this quality in oil.
A grammar of colouring applied to decorative painting and the arts by George Field