Violet—Light violet of gold.
Deep Violet—Deep violet of gold.
Light Pansy—Light violet of gold, with a touch of deep ultras marine.
Deep Pansy—Deep violet of gold, sustained more or less and with an addition of ultramarine.
Reds. (3d group, except the purples.) Eed, a predominant color, is nearly always used alone. Thus, the reddish tips of green leaves are obtained by placing the red next the green, but not by putting it over. With the dark colors, on the contrary, it is red that disappears.
Chinese vermilion in oils has an equivalent tint m coral for porctiain applied thin; backgrounds arc made of it, but it would be risking a great deal to use it in painting, on account of its extremo sensibility in firing; besides, it suffers no mixing. Soar-let vermilion is approached by aiding a touch of flesh No. 1 to capucine red, and laying on this mixture in a moderate thickness.
Capucine Red—Capuoine red.
Poppy Red—Ilaif capucine red; hah deep purple. A satisfactory result is obtained only at the third application of this mixture, which loses at each firing.
Madder—Capucine red; a touch of purple and of carmine No. a.
Gules (in heraldry)—Capucine red anil a toueh of purple.
Venetian lied (in oik)—Violet of iron (third group).
Yellows. (Second group.) Certain yellows greatly destroy the color? mixed with them, and even make them disappear entirely. This disadvantage is perceived when too much ivory yellow is n ,:xed with red, or when that yellow is placed abundantly over other colors.
"The yellow called silver yellow contains no silver; it is composed of jonquil yellow and orange yellow. Yellows that contain no iron (yellow for mixing and jonquil yellow) are generally preferred /or making fresh greens. On the other hand, for mixing with iron colors, yellows that contain already this metal are used."—A. Lacroix.
Light yellows scale very easilyi the dark yellows, being less fusible, need to be used moderately thin in the first painting, for the first fire develops them; at the second firing they increase in depth, and if they are too heavily loaded they cannot be made lighter again.
Avoid using yellows next to blues, which would produce a green tint. For the centers of blue flowers, which necessitates some yellow, the place must be well scrapcd before putting the color.
Permanent yellow, (half white and half yellow for mixing), serves for placing lights in drapery and yellow flowers, as well as high lights in ornaments.
Lemon Yellow—Yellow 4? of Sevres, with a touch of silver yellow.
Golden Yellow—Halt silver yellow; half jonquil yellow.
Saffron Yellow—Two-thirds ivory yellow; one-third fltsh No. 1; a touch of capucine red.
Salmon—Two-thirds ivory yellow; one-third flesh No. 2; a touch of carmine No. 3.
Straw Color—Yellow for mixing, used very lightly.
Yellow Lake—Yellow for mixing.
Dark Chrome Yellow—Silver yellow; a touch oi jonquil yellow.
Light Chrome Yellow—Jonquil yellow.
Indian Yellow—Half jonquil yellow; half oenre.
Naples Yellow—Ivory yellow.
Orange Yellow—Orange yellow.
Maize—Half ivory yellow; half orange yellow.
Greens. (Second group.) For foliage it is well to remember that dark tints placed in advance of light ones destroy the latter m the firing.
All the greens, whether in foliage or in dxaperj, can be shaded with brown*, reds, and carmine tints.
By painting over for the second lire, foliage can be made pui-ple or bluish.
Dark green, being very powerful, should be used with caution.
The blue-greens are used for the distance, but then excessively light; they are tinted with capueine red for the horizon.
Emerald-stone Green—Emerald-stone green.
Water Green—Half apple green; hall deep blue-green.
Veronese Green-—One-third apple green; one-third chrome green; one-third emerald-stone green.
Malachite—Apple green; a touch of emerald-stone green.
Dark Green—Two-thirds chrome green 3 B; one-third dark green.
Bottle Green or Sap Green—Sap green.
Emerald Green—Two-thirds blue-green; one-third emerald-stone green.
Browns. (Third group.) The artistic browns for china wnich steady painters prefer, are vigorous browns, fresh when mixed, and resisting well the action of the fire, but which hare not the brilliancy of the less coloring browns.
The warm browns in oils exist for china. The deep red brown and mixtures of violet of iron and of laky red correspond to the red browns.
Golden Brown—Golden brown.
Vandyke Brown—It is impossible to obtain it exactly. The nearest approach would be by mixing brown 108 with violet of iron.
Orange Mars—Uranium yellow and a touch of purple.
Blacks. (Third group.) The blacks in oils are represented in the palette for pottery by raven, ivory and iridium black, which answers all purposes.
If these blacks fail> others can be composed by mixtures of simple colors, as dark reds and dark 1 lues. It would be better to operate hi two firings to av oid crazing.
The use of iron reds is not admitted on soft paste; the blacks are to be made with iridium black, which is ready made, or with purple and dark green. It is rare that black is needed fur subjects painted on soft paste. It is sometimes used decoration for surrounding ornaments with a line, but seldom for backgrounds, excepting 011 decorative vases of a certain style.
Greys. (Third group.) A grey ox some kind is always obtained by mixing complementary colors; reds with greens, or yellows with violets, violet being a combination of carmlae and blue.
The greys oDtained by mixing greens, ready made or composed, with carmine or purple, as required, are very frequently used by flower painters.
Expei ience on this subject can only be acquired by continual trials.
Dove Color—Dove color.
Ash Grey—Light grey used lightly, and a touch of skv blue.
Tearl Grey—Pearl grey No. G.
Russet Grey—Warm grey.
Brown Grey—Grey and sepia.
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