3 ¢ r } es oe rye err eny bn ea ae. ord MR ERECT RE IA AE Pe ad LUC CO PF VET! t La! ey ei WARREN SJWoekhez Minerva Paint Red and Biue Label. Vhe most economical and enduring paint on the market for INSIDE or OUTSIDE ure. * * * Gripon Supervar For every purpose (except seats), where a full brilliant and hard wearing finish 15 required. Satinette Enamel Glossy and Flat in White and Colors Unequalled. for Decorating Cottage, Villa or Mansion. ~Produces an exquisite and immensély durable result. Deydol Distemper For splendidly Artistic Distemper Effects. * * Hygeia Flat Wall * Finish The Perfect Flat, Washable, Finish for Interior )ecorations. Iron Paints, Preservatives, Lacquers, Stains, ete. Pino 2 : Kin Jolson fir Cov Lee ste The uniform good quality of the various lines—each exactly ‘suited to its purpose— which are here listed, allows us to urge their use upon Master Decorators, somewhat insistently. We have gained our knowledge rot ee the Trade’s requirements in the hard school of experience, and have ‘spared neither pains -nor research to place exactly the right materials to our customers’ hands. We believe that we can offer you the right goods at the right price, backed by efficient service. Put us to the test. HEYWOOD & CLARK, s Limited s Head Office: General Buildings, Aldwych, W.C.2. BRANCHES AND AGENTS ALL OVER THE WORLD. PARIPAN UNDERCOAT Used by all the best Decorators for the finest work. Showroom and Stock Depot for Paripan, Parax Paint and Paripan Varnishes: 73, EDGWARE ROAD, W. (Near Marbie Arch), Telephone: PAppINGTON 1480. All correspondence to PARIPAN LIMITED Sherwood House, Piccadilly Circus, : .. LONDON, W.1. = Write for Colour Book and Trade Prices mentioning this Book. See plate vii. for the twenty stock shades of Paripan Flat Enamel. 3 oe Good Things SHouLD Be WITHOUT. 66 | * .,. 7? The Perfect Water Muraline Paint in 30 Shades. SANITARY. ARTISTIC. DURABLE. Soldina Dry Powder in 23, 5and7-lb. packets. Also in Kegs. é¢ bd 9? The Celebrated Coveri he White Undercoating. One Coat transforms Black into White. Can be Secpad: coated in a few hours. ies i 7-lb. and 14-lb. Tins and in Bulk. Ss ? e | erfec “Velvarine = vie Japan. For Inside and Outside work. Does not Crack and Works Freely. Sold in Quarts, Half and 1 gallon Tins. CAN BE OBTAINED OF ALL BUILDERS’ MERCHANTS. Sole Manufacturers— Walter Carson & Sons BATTERSEA, LONDON, S.W. 11. Telegrams—‘ Carson, Battsquare, London.’ B ACHELOR S’ W ALK, Telephone—‘ Battersea 1630,” (2 lines). | DUBLIN. ae G R MIXIN ND COLOU PHETD, kk, bs Coboadepri MicE -DRUMELLER Bl3 ECOSTILLA kK kk wakes ga rors: PLATE 1. e 9 e Berger’s Master Painters’ Paint Semi-paste Reduced by White 1 to 1white 1to3white 1to8 white Stock Colours PAINT & COLOUR MIXING. Bee nAClICAL HANDBOOK FOR PAINTERS, DECORATORS, PAINT MANUFACTURERS, miwoto, AND ALE WHO HAVE TO MIX. COLOURS. CONTAINING OVER 300 SAMPLES OF ACTUAL OIL AND WATER- PAINTS AND WATER-COLOURS OF VARIOUS COLOURS, AND UPWARDS OF 1,500 DIFFERENT COLOUR MIXTURES, With Seventeen Coloured Plates, BY ARTHUR SEYMOUR JENNINGS, Fellow of the Institute of British Decorators, Editor of ‘‘ The Decorator’ and the ‘‘ Decorator Sevies of Practical Handbooks,” Author of ‘‘ The House Beautiful,” ‘“‘ Painters’ Pocket Book,’ ‘‘ Wall > Papev Decoration,” “Commercial Paints and Painting,” “House Painting and Decoration,’ “< Painting by Immersion and by Compressed Air,” etc., Consulting Examiner to the City and Guilds of London Institute in Painters’ and Decorators’ Work,’ Hon, Member oj the Nationat Federation of Master House Painters and Decorators of England and Wales Incorporated. SIXTH EDITION, ws London : roa Hae Po NN, SPON, Lrp:, 957, HAYMARKET, S.W. New Pork : SPON & CHAMBERLAIN, 123, LIBERTY STREET, 1g2T, First. Edition. ccc csecsis sues son eves) pe ee 1902 Second Edition, revised and much enlarged ......... 1904 Third Edition, revised and further enlarged ........1907 | Fourth Edition, revised .,....2ve «:.10e.s-te IQIO Fifth Edition, revised and much enlarged .. .. ...1915 Sixth “Edition, vev1sed......ssessness sone January, 1921 THE J. PAUL GETTY CENTER LIBRARY PREFACE TO THE SIXTH EDITION. WirTH the present edition, this book reaches a total issue of 15,000 copies—an unusually large number for a technical work. Originally the book was intended merely as a guide to painters who were more or less deficient in the knowledge of the art of paint mixing and colour mixing, From this point of view it was a great success, and as subsequent editions were produced, a great many new colour names and specimens were added. The instructions for mixing different colours will, it is hoped, be found to be clear and exhaustive. Experience proved that the book appealed very strongly to master painters, who found it most useful to show to their customers, in order to ascertain their tastes in the colours which they wished used in the deco- ration of their houses. Having been instructed to use any particular colour given in the book, it was a simple matter to order it from a paint manufacturer, who would probably have a copy of the work on hand, so that, by quoting the number of the plate and specimen, the exact colour required would be known. A further use of the book to paint manufacturers has been found as a guide in mixing and naming new tints and shades. The author hopes, therefore, that this edition will be even more successful than those previously issued. All the plates are quite new, and some of the text has been enlarged and re-written. ARTHUR SEYMOUR JENNINGS. Office of ‘‘THE DECORATOR,’’ 326, Bank Chambers, 329, High Holborn. London, W.C. January, 1921. * COON EE ELNI-S:. CHAPTER -1. PAGE PAINT AND CoLouR MIXING: INTRODUCTION. The Composition of a Paint—Pigments—White Lead—-Zinc White—Thinners for Zinc Oxide—Thmners—Tu1 pentine —White Spirit—Special Liquid Driers—Practical Paint Mixing—Paint Mixing Machines : we CHAPTER iI: STRAINING PAINT, Importance and object of straining paint, enamel and varnish-- Degree of fineness depends upon purpose to which paint is to be applied—Good and bad methods—Two or even three strainers of different mesh may be used—Staining gauze—Silk chiffon—Fine muslin—Metal gauzes—Beau- mont’s strainer—Iron paint mixer—Paint can attachment 17 CHAPTER Ill. COLOURS OR STAINERS. The Nomenclature of Colours—Examples and Variations in the Name of the Colours—Etfforts made to establish a Standard Colour Nomenclature -—- Colour Synonyms —- Economy of using Good Colours—-Hue, Tint and Shade—- Standardising Colour Competition ae sf ce 25 CHAPTER IV. COLOUR NOMENCLATURE. Difficulties in matching—Importance of mixing a smaller quantity of colour than is actually required—-Matching a lquid— Comparing samples and testing—-Matching gloss to flat, and vice versa—Matching in a bad or peculiar light—Matching a dry pattern—Matching a colour in wall papers—Matching Silk and varied shade Materials—A.dding Stainers—-Stainers in Liquid Form—Combining all Stainers first—Measuring Small Quantities—Colour Mixing—The Theory of Colour— Peculiarities of the Primary Colours—Keeping a Record of various mixings—-Record Card—Secondary Colours .. 35 CHAPTE RV: MATCHING AND MIXING COLOURS. Matching a Liquid—Matching Gloss to Flat and vice versa— Matching in a Bad or Peculiar Light—Matching a Dry Pattern—Matching a Colour in Wallpapers—Matching Silk and Varied Shade Material—Adding Stainers—Stainers in Liquid Form—Combining all Stainers First ane 54 VIN. | CONTENTS. CHAPTER NVL. REDS AND How TO MIx THEM, The Principal Reds and How they are Produced CHAPTER. VU. BLUES AND How To MIx THEM. The Principal Blues and How they are Produced CHAPTER. » Vidi: YELLOWS AND How To Mix THEM. How to Mix the Principal Yellows... CHAPTER IX. GREENS AND How To MIx THEM. The Principal Greens and How they are Produced CHAPTER =X, BROWNS AND How To MIx THEM. Vandyke Brown—Umber—Mixing Browns—The Principal Browns and How to Mix them CHAPTER XI. GREYS AND GRAYS. The Difference between Greys and Grays—-Experiments with Blacks——Difference in Tone of Certain Blacks—Colour Mix- tures for Various Greys and Grays- POMAPLTH Riis WHITES AND BLACKS. The Principal Whites and Blacks Used by Painters .. CHAPTER © XIII, Two HUNDRED STANDARDIZED COLOURS. An Addition to the Foregoing sap tele pro- portions of Materials Inidcated ae CHAPTER . XIV. GROUND COATS AND FLATTINGS. Difierence of Opinion—Deepening of Colours in Drying—The Choice of a Stainer—Opacity v. Transparency—Opaque Colours—Semi-Opaque Colours—Transparent Colours PAGE 62 74 81 g!I IO! Ilo 120 128 CONTENTS. 2x, CHAPTER XV. , PAGE Putty, HAND Stoppinc, KNIFE AND BRUSH. FILLING. Result of Using Soft Stopping—Facing up the Work—Properties of Good Stopping—Effect of Interior Putty—Composition of Putty—Putty for Glazing Iron Sashes—Stopping up on the Priming—Facing up on Second Colour—Paste for Knife Filling up—Another Knife ates SHEDS —Distemper. Villing.. rat a CHAPTIOR ++ XV i. Brack JAPAN IN COLOUR MIXING. Colours that may be Mixed from Black Japan os = 135 CHAPTER XV GLAZING. Glazing Defined Reds—Purplish Finish—-Peacock Blues and Greens—Scumbling—-Matsine ws 138 morte be OS VIET: GRAINING AND MARBLE GROUNDS AND COLOURS. Maple —Oak — Mahogany — Birch—Dark Oak—Satinwood — Pollard Oak — Pitch Pine — Italian Walnut —- American Walnut—Antique Oak—-Ash—Bird’s Eye gee wood -—— Sienna — Dove — Rouge Royal-— Vien or White —Oriental Verdantique—Egyptian or Vert de Mer—Rouge Grotte—-Granite F : : 143 CHAPTER XIX. MIXING PAINTS AND COLOURS ON THE MANUFACTURING SCALE. Raw Materials used in Paint Grinding—Barytes—-Whiting or Paris White—Gypsum or Terra Alba—China Clay—-Y ellow Pigments—-Black Pigments—Blue Pigments—Green Pig- ments—Table of Quantity of Linseed Oi] required in Grinding Pigments—Stiff Paints—Machinery and Plant used in Paint Grinding—Prepared Paints—Formule ior Ready Mixed Paints—Skeleton Cost Sheet--- Illustrations of Paint Machinery .. ‘ie on oe 149 CHAPTER XX. WATER PAINTS, DISTEMPERS, ETC. The Increase in the Use of Water Paints—The Advantages— Covering Capacity—Painting and Varnishing over Water Paints—Distemper .. ae a “e a yi) % CONTENTS. CHAPTER XXI. ARTISTS’ WATER COLOURS AND How To M1rx TikM. Pe ce ay Remarks—Restricted Palettes—Palettes of Cele- brated Artists—Chart of Water Colours—-How to Imitate Water Colours—Suggestions tor Painters in Water Colours— Colours for Autumnal Tints—Banks, Earthy—Bracken— - Branches ot Trees—Backgrounds—Clouds and Distances— Clouds (stormy )—-Flowers and Fruit—Foliage, Grass and Herbage—Foregrounds—Grass, Grays, Warm and Cold— Ivy—Leaves and Stems of Flowers—Mountains—Rivers— Roads — Sea — Shadows — Ship — Skies — Stone Walls — Sunset and Sunrise—Trees : CHAPTER: XXII. TESTING COLOURS, Chief Considerations—Purity of Material—Tone—Fineness of Grinding—-Spreading Capacity—-Testing—Chrome Green— Bronze Green—Emerald Green—Ve1 milion— Indian and Tuscan Reds—Vermilionettes—Blvues—Red Lead—-Chrome Y ellow—Ochre—Blacks—-U mbers—-Siennas CHAYVTER XXIII. ~ NOTES ON COLOUR HARMONY. General Consideration—Colour Blindness—-Matching Wall Papers—Contrasting Harmonies—Sugyestions tor Colour © Schemes—For a Red Wall, etc.—-Colour Combinations for Doors CHAPTER xX Xi THE PROPORTIONS OF MATERIALS, Notes, ETC. Proportions Vary with Conditions of Work—Priming for Iron—--Painting on Stucco—Priming for Deal—Inside and Outside Work—Table of Materials Required—Feggshell PAGE 185 196 211 Gloss--Oxide of Zinc—Pigments, some Useful Tahbles— | | Brushes and How they are Made—The Care of Brushes— The Tintometer — Coloured Oil Varnishes —- Oxides —— Jelstone Descriptions of the Coloured Plates Index 218 231 242 CHAPTER I. % PAINI AND CoLouR MIXING: INTRODUCTION. THE ComposITION oF A Parint.—Clearly the first thing to be done before studying the subject of paint and colour mixing is to define “‘paint’’ and ‘‘colour.’’ Without attempting to give a hard and fast definition, it may be said that a paint consists of any pigment, or pigments, such as white lead, tinctured or used plain, mixed with linseed oil, and thinned by means of turpentine to render it in such a condition that it may be readily applied to the surface of wood, iron and other work by means of a brush. ~ Paint serves the purpose, first of preserving the material to which it is applied, and sometimes, but not always, a second purpose, namely, that of decoration or adding to the beauty of the object to which it is applied. The principal pigment used in paint mixing is white lead, but there are many others that are also employed. Many painters look upon paint as_neces- sarily consisting of white lead, to which has been added sufficient colouring matter to give the desired tint. As a matter of fact, white lead may be wholly absent from a paint. For example, yellow ochre or sienna may each be used by itself. Iron oxide in the shape of Indian red, purple brown, or Venetian red, form in themselves good paints if the colour is not objection- able. Red lead used by itself is a useful paint. Again, in the white and lighter paints, we sometimes have white lead replaced by zinc oxide, lithopone, Charlton white, Orr’s white, and other white pigments, which may be used alone or be mixed with a small proportion of barytes, asbestine and other materials. The oil used in mixing paint is principally used 2 PAINT AND COLOUR MIXING. to combine or unite together the particles of which the pigment is composed. It is also employed to — give a glossy surface and to bring the material to a proper consistency. Turpentine could be used for the latter purpose by itself, but the result would be what is termed a “ flat ’’ surface, or an absence of gloss. The turpentine, too, evaporates almost ‘ wholly. It is generally conceded, among those who have given close attention to the subject, that the durability of a paint depends largely upon the oil used ; indeed, it has been likened to the hfe blood of the paint. Recent investigation has shown that it depends also and to a very great extent upon the fineness of the particles. A perfectly pure, but coarsely ground pigment, when made into paint, — will not last nearly so long as one which is finely ground. ; There is not much doubt that the best pigments may be replaced with others somewhat inferior without so much detriment to the quality of the paint as if linseed oil is replaced by some other oil. It is quite necessary that pure linseed oil be used in the manu- facture of all paints, and although there are one or two substitutes on the market which may be employed in very cheap work, no attempt should be made to execute a really good job unless pure linseed oil is used. The purpose of the oil in giving a gloss is sometimes assisted by the addition of a small quantity of oak varnish. This is a growing custom among painters, as the gloss produced is decidedly improved by the addition of the varnish, and the work shows up well, while the varnish does not in any way detract. from the durability of the paint, but rather adds to it. This practice 1s employed more on outside than inside work, where the execution of the painting requires more care than it does inside, owing to the severe atmospheric conditions, which cause any paint work not properly prepared to soon decay. INTRODUCTION. 3 For our present purpose “ colour ’’ may be defined as a pigment possessing a hue or colour in itself which it imparts to the white lead or other white pigment with which it is mixed, thus producing a series of “tints ’’ according to the proportionsemployed. It is for this reason that colours in painter’s parlance are frequently called “ stainers,’’ although the word is not quite correct, as it implies an effect similar _-to that which would be produced by the use of a ‘stain or dye. Asa matter of fact coloured pigments, when mixed with white ones, do not actually stain, ‘but the particles lie side by side and become merged into each other when viewed at a little distance. In mixing a paint the base, such as white lead, having been selected, a colour is mixed with it in order to produce the desired hue or tint. Frequently, however, a colour is made by the mixture of several colours, which are added to the base, or sometimes a single colour may be used by itself, or several colours without white at all may be employed. pees The colour having been determined, oi] turpentine, and driers are then added. The object of the driers is that of causing the paint material to dry quickly. There are several kinds of driers on the market, but -_ the two best known are termed “patent driers,”’ which is sold in solid form, and the ‘‘ liquid driers ”’ or “‘japanners.’’ Whichever is used, the actual quantity employed will depend very largely upon the pigment. Some pigments, such, for instance, as red lead, may be considered in themselves driers, and the addition - of any other is unnecessary. Others, like Vandyke brown, dry slowly, and much more driers will be necessary than is the case with white lead. Further on we give somé idea of the proportions of materials ‘to be used, but it will be understood that no exact information on the subject will be possible, for reasons that will be explained. It is of the utmost importance to remember that an excess of driers is most objection 4. PAINT AND COLOUR MIXING. able. It often retards, instead of increasing, the drying quality, it causes cracks and blisters, and above all, it proves very destructive to the paint itself. The quality of patent driers varies very greatly, some of the cheaper grades consisting largely of material which possesses no drying properties whatever. Indeed, at the present day there is so much patent driers on the market that is largely adulterated that the author prefers to always use liquid driers, provided, of course, that its good quality has been clearly estab- lished. When the latter is used the proportions can very readily be ascertained and the danger of using ~ an excess is avoided. Another effect of using driers in excess is a some- what peculiar one, and is worthy of mention here. The paint dries hard in rather less than the usual time, but after a week or two it gradually becomes soft, adhering to the hand or anything placed against -t. The reason for this is that the paint dries only on the surface, owing to the excess of driers, and that the soft paint afterwards works through. PIGMENT AND THINNERS.—It. being now clearly understood that a paint consists of pigment such as white lead, mixed with oil in order to bind the particles together, and thinned with turpentine in order to _render it of a suitable consistency for application by means of a brush, we may add a few remarks under each of these heads. : PIGMENTS.—The principal pigments used by the painter are, as already stated, white lead, zinc oxide, oxide of iron, and the various colours used for tinting purposes. White lead is manufactured either by what is known as the “ old Dutch ”’ process, also known as the “stack ’’ process, or by one of the many new methods which are designed to effect a saving of time. Speaking broadly, the old Dutch process yields the best lead, although there are one or two exceptions, notably Brimsdown lead, which is manufactured by a new INTRODUCTION. 5 process. It is a beautifully white and fine lead which is rapidly gaining great popularity among painters. Genuine white lead, 7.e., lead which is not adul- terated, is always marked on the package, ‘“‘ Genuine White Lead.’’ If any proportion of adulterant is — added, the package is then marked ‘“‘ Reduced White Lead,’ so that the reader need have no hesitancy in purchasing lead, because the mark will tell him what its quality is. If any merchant or manufacturer sells adulterated white lead as pure, he renders himself lable to heavy penalties for contravening the pro- visions of the ‘‘ Merchandise Marks’ Act,’’ and the White Lead Corroders Section of the London Chamber of Commerce order prosecutions in cases of the kind which come to their knowledge. ZINC OXIDE has, in recent years, made great advances in popularity among painters. Compared to white lead, it is as white to vellow. It is indeed beautifull” white, very fine, and easily worked. The whiteness .3; of importance in mixing paints, as the purity of co.our is retained, while when mixed with lead the yellowish cast to some extent destroys the purity of the original colour. The fact that- oxide of zinc is non-poisonous is a point in its favour of very considerable importance. It is claimed that painters who take care to wash themselves frequently are not likely to contract lead poisoning. This is doubtless true enough, but as a matier of fact, the best of painters are at times careless, while in the rush of work, it is often impossible to take the pre- cautions required. The most important quality of zinc oxide is its extreme durability. Properly mixed it will last, say at a moderate estimate, twice as long as lead, especially in large cities where the air is impregnated with sulphur derived from burning coal. Lead, in such circum- stances, turns yellow or black and quickly decays, and some places, such as stables, where sulphuretted () PAINT AND COLOUR MIXING hydrogen abounds, it is useless to paint with white lead, and if zinc is used these disadvantages are avoided. The practical reader will probably think, when he reads the foregoing, that while our remarks are true enough so far as they go, yet he willsay that zinc oxide is open to the objection that it is lacking in “ body.” In another chapter will be explained at length what “body ”’ is, and 1t must be acknowledged that white lead is superior in body to most, not all, other pig- ments. In fact, it is this quality which has caused it to be used for so many years, notwithstanding its other shortcomings. Zinc oxide has a very good body, probably as good as white lead. If a proper com- parison be made, and if both be thinned out to a consistency suitable to be applied by brush, it is true that zinc will apparently not have so good a body as lead, but it will spread much farther. Ifan exactly equal quantity of lead and zinc are both painted on an exactly equal area, zinc will cover a little better than lead. In this state, however, the consistency of the zinc paint would be rather too thick for applica- tion with a brush, but it can, of course, be thinned very readily by adding oil. A careful consideration of these facts will show the practical painter that he will require really less zinc than he will lead to perform a good job, and when the durability is also taken into consideration as well as the beauty, it will not take long for him to make up his mind as to the superiority of zinc. There is one point, however, about its use which must be very clearly explained. Zinc oxide is, when compared with lead, quite light in weight, or, in other words, its volume is much greater than lead. Now, it being an entirely different product, it must not be treated in the same way as lead. would be. The painter, perhaps, takes some zinc, mixes it with raw oil, with a hberal amount of patent driers and a more . 7 ‘ pe nen f ‘ 3 > 5 ‘ ‘ i =, \ \ - = ~ Pp F, & X 4 . . ‘ - ‘ . r. . a - vs ‘ ; - - : F ‘ t ‘ / a r : 1 . \s : i ‘ ; ~ Pe Wt ¥ . \ Be} _ ake ; i ; j J i ' eT ‘3 . in , “7 4 mA 5 ‘ 4 t PY ‘ : Lia se 7 v 4 “COMBINOL” LIGHT STONE FRENCH GREY z | STONE COLOUR ART GREY FAWN ART BROWN ~ LAVENDER PLUM COLOUR DEEP SALMON PLATE Il. YELLOW STONE do “DARK BUFF OLYMPIAN GREEN APPLE GREEN SEA GREEN : Eiee a a Cc LESTIAL BLU ROSE COLOUR LIBERTY GREEN NEUTRAL BLUE DEEP ART BLUE POMPEIAN RED OLIVE GREEN BRICK RED ART GREEN Specimens of ‘‘COMBINOL”’ FLAT-OIL PAINTS, by courtesy of Messrs. Goodlass, Wall & Co., Ltd., Liverpool. INTRODUCTION. 5 _ fiberal dose of turpentine, and then he grumbles because it does not show up to advantage. What he does is to destroy its inherent good qualities. To _ repeat then, zinc oxide must not be treated in the same way as white lead. Anchovy sauce is excellent for fish, but would be rather distasteful with a chop or steak. So with these two important white piginents. | The proper way to treat zinc oxide is to mix. it with refined boiled oil, z.e., no driers should be used, and only just sufficient turpentine to bring it to the required consistency. Refined boiled oil may be had without difficulty from a number of makers. ° Being pale, it does not destroy the whiteness of the zinc, while it certainly aids considerably in drying. It is paler than raw linseed oil, and hence it does not destroy the most delicate tints, however light. It will be observed that the words “ zinc oxide’”’ have been used in the above paragraphs instead of ‘‘ zinc white,’ the term by which the pigment is usually known among painters. The reason for this is that the latter term is not infrequently applied to an en- tirely different class of pigments of which Orr’s white, Charlton white, and lithopone are the best known examples. THINNERS.—Linsced oil is the principal vehicle used by painters. It is expensive, but no other oil can compare with it for good service. Itis used both raw and boiled. Frequently a proportion of each is usedin paint. Boiled oil is linseed oil, which has been heated to about 350° to 500° F. This causes the oil, when cool, to dry much quicker but dryers are with the same object usually added while the oil is hot. Boiled oil should dry hard in about twenty-four hours, and a good test is to paint a little on a watch glass. At the end of twenty-four hours it should have dried quite hard. There is a great difference. of opinion among painters as to the proper use of boiled and raw oils. Some prefer to use boiled oil 8 PAINT ‘AND COLOUR M1 XING Ke almost always, while others are of the opinion that the less used the better. The author’s opinion is that good boiled oil may safely be used if mixed with the proper proportions of raw oil, depending upon the - class of work to be done, and that this produces far better work thanitis possibleto obtain bythe practiceso _ frequently carried on of adding driers in excess to paint. TURPENTINE.—It is very important that the turpentinés used in paint be pure. American turpen- tine is mostly used. Owing toits high price it issome-_ times adulterated, with disastrous effects upon the paint. It should be perfectly white in colour, and its purity can roughly be tested by dropping a little on a sheet of writing paper. If it is adulterated, a greasy spot will remain, while if pure it will wholly disappear in a few minutes. When the adulterant is mineral oil it can ustially be detected by the ese | blue colour it gives to the turpentine. Although American turpentine has for so many years enjoyed a practical monopoly among English painters, the Russian product has of late become very much more popular, and bids fair to prove a very formidable rival. The old adage that “ necessity is the mother of invention ’”’ may aptly be applied to the condition of things concerning turpentine in recent years. ‘American turps were very high in price, with no prospect of their lowering, as the pine forests are rapidly becoming exhausted. Painters therefore are compelled to look for something to take the place of American turps. One or two enterprising firms took up the question of Russian turpentine. Painters who have tried this have objected to it on account of its smell, but experience proved that it was quite possible to remove this objection almost wholly, and to obtain a turpentine practically water white which hould answer for the purpose of American turpentine, n fact,be identical with it in appearance, behaviour, flash point and specific gravity, with perhaps a slight _ INTRODUCTION. 9 difference in smell, but nothing in the least objection- able. The most satisfactory substitutes at present on the market may be divided into three. groups (a) The Russian and French turpentines; (b) Spirits of petro- leum origin, and (c) Liquids produced by distillation of various pine products other than crude American turpentine. To these might be added the various mixtures which consist simply of blends of pure turpentine and petroleum spirit in proportions de- pending upon the price at which they are to be sold. Spirts of petroleum origin have proved very success- ful and iare now used to the extent of many thousands of gallons a year. Ordinary petroleum, such as lamp oil, would be useless in a paint because it possesses no drying properties, while the lighter distillations of the same product, such as benzine, would be suitable if they -did not evaporate so quickly. The, efforts of the manufacturers have produced petroleum spirits which possess neither of the objections mentioned, and they are increasing in use every day. The term “‘ White Spirit’’ is usually employed in connection with these thinners. They cost approxi- mately one-third the price of pure American turpentine and may be relied upon for all ordinary work. They are, however, not suitable for thinning Brunswick black or any japan made on a base of bitumen or asphalt. Their use should also be avoided for flat work done in hot weather. . Paint Mrxinc.—For ordinary quantities of paint, the following is the method usually employed in mixing. A can or kettle is most usually employed for mixing the white lead or other base, and this is first thinned out and mixed with the driers and oil, the colour being afterwards added to it. It saves time to well beat up the lead with a wooden spatula, shaped like an oar or spade, before adding thinners of any kind. This having been done, a little oil is first placed in the can, which is twisted around so that the 0) PAINT AND COLOUR MIXING. oil covers every part of the inside surface: This prevents the lead sticking against the tin. A sufficient quantity of oil and the patent, or other driers, is then added. The lead is stirred and beaten against the sides of the tin until the whole is of the same consis- tency, and more oil is added until the thickness is not sufficient to support the stick standing upright. Turpentine may now be addd to further thin the 3 mixture, and then the colour is added. It may be noted here that the result is not so satis- 3 a IN ! i i A A Zo factory if the turpentne. is added before the oil. A simple but effec- _ tive home-made mixer : for beating up lead is Y Mia col shown in the illustration. VT 4\ The leverage obtained by the simple means indica- ae ted greatly facilitates | ' the operation. © Messrs. a Postans and Morley, of : IN i Birmingham, marketed an apparatus of this kind Rrra some years ago, the up- right stick being a strong bamboo cane. | The best way of mixing tinting colours is to place them on a stone, thoroughly amalgamating one with the other by means of a spatula. When the colour is what is required it is added to the white. To take a simple case of a gray, a little black would be beaten up on the stone, and when quite thin addeed to the pot of white. This would then be stirred up thoroughly and the grey colour observed to see whethet it was sufficiently dark. Then a very little red and blue might be prepared on the stone and this be added to the pot, the mixture being again stirred. Two very INTRODUCTION, rI important rules must be observed at thispoint. The first is that the colours ground in oil should be used and not dry colours. If dry colours are employed, oil must be added to them on the stone and not in the pot. Wemay repeat, by way of emphasis, that under no circumstances must dry colours be added to the pot of colour. This is a rule to which there is no exception. The second rule, and one which is equally important, is to add only a small quantity of colour to the pot of white at the time. Taking the case once more of the grey, a little black being added and the mixture well stirred, it can be seen at a glance whether the desired depth of shade is obtained. On the other hand, it would be quite impossible to take any of the black from the mixture, and should it be too dark, the only way to lighten it would be to add more white, and this would probably mean mixing much more paint than was required for the job. It will be understood that the above description of mixing refers to ordinary jobs such as are required in painting a house. When a considerable quantity of paint isto be mixed at the same time, a mechanical mixer may be used withgreatadvantage. Itisremark- able that painters do not use these paint mixers more frequently. They certainly effect a great deal of saving of tiae, and the outlay of a few pounds would be quickly repaid. | Since the first edition of this book was published in which it was recommended to use a machine for mixing paints, considerable progress has been made in this direction and many contractors now realise that whenever a large quantity of paint is to be mixed, it pavs far better to use a machine than it does to use the: old fashioned method. The author's opinion is that excepting, perhaps, in very small shops, it would pay every employing painter to pur- chase a good paint mixer. Paint MixinG MAcHINES.—There are on the \ 12 PAINT AND COLOUR MIXING. market several types of paint mixing machines. One known as the ‘‘Wee Macgregor’’ is represented in Fig. 1, and is suitable for painters’ use. It consists of a cylinder which contains the paint, and in this are three bent knives or paddles. The handle attached, on being operated, turns the cylinder in one direction and the knives in the opposite direction, these knives — in the meantime revolving around on their own axes. ~ The paint is thus mixed very quickly, and as the Fine we: cylinder may be had to hold 24 gallons, in the case of bridge work, wall work, or other positions where a very large quantity of the same paint is required, the purchase, for a few pounds, of such a machine may mean a saving of a considerable amount of labour. Fig. 2 shows a similar machine when the handle is thrown back which lifts the mixing blades out of the cylinder, leaving it free to be lifted in order that the paint may be poured out. | INTRODUCTION. 13 The mixers illustrated in Figs. 2 and 3 are manu- factured by Torrance and Sons, of Bitton, near Bristol. In many shops, where large quantities of stone colour and other paints have to be turned out, such a machine would soon repay its cost. As they are light in weight they could easily be moved from job to job. The paint mixers above mentioned, although excellent of their kind, are not quite suitable for mixing very small quantities of paint or colour, and they. are also almost too expensive for a small painter’s shop. Messrs. Torrance’ and Sons, Ltd., have, however, recently brought out another mixer, the price of which is only £2, and it is admirably adapted for its purpose, mixing the paint very thoroughly and quickly. As shown in Fig. 3a, it consist of a conical cup or container resting upon a three jawed stand. The inside of the * 14 PAINT AND COLOUR MIXING container is turned pertectly true, and has a polished surface. Against this surface rolls a heavy pestle or conicai roll, which is shown in Fig. 4, suspended by a rod while out of use. The white lead, oil, ete., being placed in the container the pestle is rolled around and gives something akin to a grinding action at the same time that it mixes the solid and liquid together. There 1s nothing complicated to get out of order, and FIG 3A. everything can be wiped clean very easily. The colour being mixed the container is raised by the handles and the contents poured into the paint pot or through strainers ready for use. The author 1s writing from experience with this mixer, which he has pleasure in strongly recommending, not only to painters, but also to paint manufacturers who can use it to advantage in mixing samples and for other purposes where a larger mixer would entail much more time in cleaning. INTRODUCTION. 15 ‘‘THE DECORATOR’’ MIXER. This is a handy little machine, which was brought out at the author’s suggestion, by Messrs. Torrance & Sons, Ltd., Bitton, near Bristol. It is made in two sizes, both of which are shown in Figs. 5 to 8 FIG. 4; The conical form contains half a gallon, and the capacity of the second form is one gallon. The container is turned and polishel bright, the mixing blade of polished gun-metal. By means of these machines, paint can be thoroughly mixed in a few minutes. The contents can be emptied in the painter’s kettle by tilting the container, as shown in Fig. 8. 16 PAINT AND COLOUR MIXING. Ee Steen PAInNt MIXER, ‘(DECORATOR “* Ey THE STRAINING PAINT. 17 CHAPTER. IT: STRAINING PAINT. The straining of paint is such an apparently simple and everyday sort of process, that it seldom receives a second thought, except from the few who are out to do better than their fellows, and to do it in the most efficient manner and in the least possible time. The paint strainer may prove to be either a good friend to the painter, or a ‘‘pal’’ to the smudge pot, and a prolific producer of bad results, according to the discrimination of its choice and the manner of its use. Paint, which for the purpose of these remarks, includes enamel and varnish, and all the various mixings of pigment and vehicle, may be vastly improved, or it may be absolutely ruined during the process of straining. The object of straining paint is to free it from all particles which exceed a certain dimension, the maximum of size being determined by the bulk of pigment in use at the moment, and the surface to which it is to be ‘applied. For instance, a paint intended for rough exterior work need not be so finely strained as one which is to be used as a finishing paint on a staircase wall or a drawing room door. For the former, a mesh of 50 per inch would suffice, for the latter, 100 mesh would be none too fine. For every kind of paint according to its composition and purpose, there is a strainer of the correct ‘‘mesh’’ through which that paint will pass by gravitation alone, 18 PAINT AND COLOUR MIXING. without the aid of brute force or the coercion of a paint brush. ; The painter must first learn to recognise the correct mesh required to successfully strain the various mixings with which he has to deal. He must also understand that a paint strainer was never designed with the object of serving as a receptacle in which to break up dried skins and masses of pigment. He must realize the folly of attempting to push a one-inch piece of solid matter through a hole one hundredth part of an inch in diameter, the only result of which is to obtain some fine hard grit, and a choked strainer. 3 TIER STRAINER CLEAN AND AND For Factory EFFICIENT .» DIRTY. USE, FIG, 9. One can hardly imagine a man in his right senses snatching a strainer, consisting of a portion of woollen underwear tied on a frame, out of a pail of dirty water, hastily scrape away some of the gritty exudations of the last operation, and calmly proceed to push through some white enamel, aided by a moulting, lousy brush. Yet we have seen it done. Not once, but many times. That — ~~ ~ STRAINING PAINT. 19 same man will turn round and say, ‘‘I strained it, and then it was gritty,’’ and he is ay convinced the material was at fault. . terial The operation of straining a pot of paint should be one of a few minutes only. If the paint is well broken up from materials which have not been allowed to dry up and waste, the simple act of pouring it through the correct meshed strainer is all-sufficient. n SYS A KNIFE FOR REMOVING PAINT SKINS For ; "SKINNY PAINT. SILK GAUZE Fig, 10. . When the paint is extra charged with skins, it is a great saving in time to use two strainers. The first could have a mesh of 50 per inch. This would catch all the skins and larger particles, and prevent the finer mesh clogging when the paint was passed through it, No brush need be used to aid its passage, but a square-ended knife should be kept handy for removing skins should they accumulate too rapidly. 20 PAINT AND COLOUR. MIXING. There are two distinct types of straining gauze in general use, one of fabric, such as muslin, silk and stockingette, and the other of metal, such as iron, wire, copper and brass gauze. ! Of the fabrics, there is only one which we consider perfect, and it is sold under the name of ‘‘silk chiffon.’’ It is even in mesh and free from fluff or loose particles. Owing to its price, however, it can only be looked upon as a luxury to be indulged in for the very finest gloss finishes. The method adopted by some of the super- SILK GAVYVZE F RVOBER RING BeEAumontTs , = DeTacuaBle PENNY BAZAAR HAND POT CAVUZE © STRAINER Fic. 11 \ coach painters will readily appeal to those anxious for perfection. , Sufficient material, whether it be enamel or varnish, to cover the job in hand is taken out into a hand pot, - and covered cver with a piece of silk chiffon, held in place by a strong astic band (a cleaner and quicker method than tying with string). It is then poured out through the chiffon into a second pot, a small quantity at a time, from which it is used. This method prevents the STRAINING PAINT. 2X material getting gritty or fatty, and ensures a clean job, _ provided, of course, that equal care has been taken in other directions. When once used the chiffon is thrown away, hence its extravagance. » Of the other fabrics, a fine muslin is probably the best for ordinary paints, as being the most even in mesh and with most freedom from fluff. Any ofthe stockingette or woollen types are an abomination, and should not be allowed a place on the paint bench. One has only to handle a piece of this type of material in a strong ight and note the quantity of loose fluffy stuff which TUT oe: = ), €€ Even the standard pigments are not constant in colour, practically every one of them being subject to more or less variation in hue, or tone, different samples from the same manufacturer sometimes varying to the extent of several tones or hues of the present work ; indeed, in every case where two or more samples of the same colour have been compared, it has been found that no two are exactly alike, the difference often being very great. For example, of five samples of “‘Vandyke brown,’’ only two are approximately similar, each of the other three being widely different, not only from one another, but from the other two, one being a blackish brown, another reddish brown, the third a yellowish orange-brown. Of eleven samples of ‘‘olive,’’ no two are closely similar, the colour ranging from a shade of dull (grayish) blue-green to orange-brown, dark brownish gray, and light yellowish olive ; and the same, or nearly the same, degree of variation is seen in absolutely every ceé COLOUR NOMENCLATURE. .° at colour examined, showing very clearly the utter worthless- ness of colour name unless fixed or standardized. In order to obtain as many colour names as possible for standardization, it has been necessary to draw from all available sources. Several thousand samples of named colours have, therefore, been collected, and for convenience of reference and comparison, gummed to card catalogue cards, with the name, source and other data thereon. These include the colours from many standard works. | ‘For obvious reasons,’’ Mr. Ridgway says, ‘“‘it has been necessary to ignore many trade names, through which the popular nomenclature of colours has become involved in really chaotic confusion rendered more confounded by the continual change of new names, many of them synonymous and many of them vague and variable in their application. Most of them are invented, apparently without care or judgment, by the dyer or manufacturer of fabrics, and are as capricious in their meaning as in their origin. For example, such fanciful names as ‘Zulu,’ ‘serpent green,’ ‘baby-blue,’ ‘new old rose,’ ‘London smoke,’ etc., and such non- sensical names as ‘ashes of roses,’ and ‘elephant’s breath. ’ An inspection of the sample books of manufacturers of fancy goods, such as embroidery silks and crewels, ribbons, velvets, and other dress and upholstery goods, is sufficient not only to illustrate the above observations, but to show also the absolute want of system or classifica- tion and the general unavailability of these trade names for adoption in a practical colour nomenclature. This is very unfortunate, since many of these trade names have the merit of brevity and euphony, and lack only the quality of stability. ““In any systematically arranged scheme, unless the number of colours shown is practically unlimited, it will, necessarily, be impossible to find represented thereon a certain proportion of colours comprised among even a very limited number selected at random, or only roughly 4a PAINT AND COLOUR MIXING. classified. Hence many (thirty-six, or more than five per cent.) of the colours shown in the old “‘ Nomenclature of Colours,’’ fall into the blank intervals of the present work, being intermediate either in hue or tone, or chrome, sometimes all. ; ‘‘The question of giving representations of metallic colours in this work was at one time considered ; but the idea was abandoned for the reason that these are in reality only ordinary colours reflected from a metallic or burnished surface, or appearing as if so reflected. The actual hue is precisely the same, though often changeable according to angle of impact of the light rays, and relative position of the eye, this changeableness being sometimes due to interference. Colours, again, vary without actual dif- ference of hue, in regard to quality of texture or surface ; that is to say, the colour may be quite lustreless, appear- ing on a dull, sometimes velvety, surface, while, again, it may be more or less glossy, even to the degree of appear- ing as if varnished. To deal with these variations, however, requires simply the use of ‘suitable adjectives. For .xample, to indicate a colour which has no lustre or brightness, the adjective matt (or mat) may be used, in preference to dull, which implies reduction in purity or chroma; other adjectives appropriate in special cases being velvety, glossy, burnished metallic, matt- metallic, etc.’’ ‘ THe FRENCH CHRYSANTHEMUM SociIETy’s Book. This splendid work consists, of 365 separate plates, arranged on the plan mentioned below with tints of each colour. The work of compiling it was carried out under the auspices of the French Chrysanthemum Society, by M. H. Dauthenay, with a number of old collaborators who attempted a repertory to aid in the determination of the colours of flowers, foliage and fruit. Apart from the method of Chevreul—which is based on the solar spectrum—he acknowledges that there is : - COLOUR NOMENCLATURE. 43 no good plan of nomenclature. Since the discovery of the coal tar colours, there has been a complete revolution in the colour industry. The nomenclature employed by the colour makers, however, usually conveys no exact meaning except to specialists. - Moreover, synonyms abound and the names of the dyestuffs are still further complicated by the fact that they include words which have nothing to do with colour, for instance, patent blue, cloth red, chrome violet, Perkin’s mauve. At the same time, whenever the name of a colour derived from its origin seems to strike the imagination, Dauthenay has adopted it. The ink makers use a number of names derived from the dyes that are used in making the inks. Hofman violet, methylene blue for instance. Others refer to the quality as light yellow, fast red, etc., or to the effect they . will produce, brilliant lake, steel blue, etc. Some are merely commercial names, Washington yellow, Senegal red, but there are others which give an idea of the colour they represent, tobacco brown, for instance. - The painting industry, ranging from artists to the house painters, give the greatest number of names of colours derived from their origin, and the majority of these are familiar to the public. Dauthenay adopts such of these as have become classic, so to speak. As regards the colours used in describing silks and satins, he rejects them as inapplicable or too fantastic. It is another matter with the humbler textiles ; many of the colours given to woollens and cottons are familiar household words and strike the imagination, Nankin yellow, Cardinal red, Navy blue, for instance. Taking all usable expressions from these industries, Dauthenay was still at a loss for names for colours. In the case of each shade still without a denomination, he therefore chose the best known flower, and the least variable one, or the commonest foliage or fruit to use in his nomenclature. -In the industries mentioned, there are many colour names derived from the vegetable 44 PAINT AND COLOUR MIXING. kingdom ; lemon, lilac, mauve, heliotrope, moss green, etc. Some colour names from the same source have long since passed into the familiar tongue, orange, rose, chestnut, violet, etc. _ There are few of these words among the blues, because as a matter of fact very few flowers are really blue ; they turn more or less towards violet. Most of the blues are of mineral origin and their names are derived from this. On the other hand there are plenty of vegetable names among the greens. The green hues of foliage are of very complex tints and shades. To aid in naming them Dauthenay chose a certain number of the best known plants and used them as types of green to apply to the foliage of other vegetables. For instance, ivy, holly, eucalyptus and spinach greens. To sum up Dauthenay’s system is to denominate colours by means of the most usual terms in the ordinary language, and those most capable of striking the imagin- ation, justifying their use by a few words as to their origin, etymology or signification. DAUTHENAY’S METHOD OF CLASSIFICATION. Basing his method on that of Chevreul, Dauthenay takes as basis of classification the degrees of clearness of the colours, taking count of Chevreul’s observation, “vellow is the most similar colour to white in its clearness and’ lack of intensity, as blue is the most analogous colour to black; red, the most of intense colours is placed between yellow and blue. ”’ He therefore commences with pure white, following with tinted whites, or at least lowerings of other colours towards white of which the clearness is greater than the first yellow. From yellow he passes through orange to red, following the order of the solar spectrum. Then from red to blue by way of violet, in this way effecting the conjunction of the two extremities of the solar spectrum. He leaves aside green yellow, the clearness of which is comparable with that of the light reds. On COLOUR NOMENCLATURE. 45 “the other hand, he introduces between the reds and the violets a clearer series, that of the pinks. ' As a fact, pink is simply a lowered red. The carmines are the link between the reds and the pinks, the violet pinks connect up the purples which thus form the transi- tion between the reds and the violets. Passing from violet to blue there are many transition hues, as almost all the flowers which it is the custom to call blue are more or less violet. From blue to green the transition is naturally by way of blue green. The series is terminated with green yellow. The cycle of free colours (unshaded with black) is thus terminated. As for the shades, that is old rose, olives, browns, ochres and chestnuts they are in two parts ; 1, the slightly shaded colours, in which the free colour is so much in excess that they can be included in the pre- ceding series without offending the eye; 2, the shades, which could not be included in the preceding series without offending the eye. The first category are put among the free colours in the places where their presence seems most natural. Thus lemon yellow, canary yellow, and madder red seem much more in their place among the yellows, oranges and reds than among darker shades. The old reds and old pinks naturally follow the reds and pinks, because it is easy to make transitions between the old reds and the carmines which follow them, and also between the old pinks and the lilac pinks. As for the deep shades they are in two special sections, making a natural transition between green yellow and pure black. The first commences with the olives and passes through the ochres to the bistre browns ; the second leaves the ochres, passes by the fawns, then by the chestnuts to touch on impure blacks and these lead to pure black, the lowered tints of which give the pure greys. In this last series the greys are lowered until the tint approaches pure white. They are in a way whites shaded with grey. 46 PAINT AND COLOUR® MIXING. These last terminate the repertory in such @ way © that plate 365 can be put side by side with plate r. . The Repertory thus contains 12 series. I. Pure tinted whites. II. Yellows and golds. III. Oranges and salmons. IV. Reds, old reds and carmines. V. Pinks, old pinks and lilacs. VI. Purples, Garnets, and amaranths. VII. Lilacs, mauves and _ violets. VIII. Blues. IX. Greens. X. Bistres (Bronzes) and ochres. XI... Fawns and chestnuts. XII. Blacks and greys. The plates can therefore be arranged i» circle. The first condition in determining colour is that the observer must not be afflicted with Daltonism or chromo. topsy. Colour confusion and colour blindness are com- moner defects than is ordinarily imagined ; about 5 per cent. of the candidates for railway cp oeee are rejected for these causes. The second condition is that the colour must not be influenced by neighbouring colours. When a colour is - placed side by side with another, it assumes a different hue or tint to the eye. When a green is placed alongside a blue, the green appears yellower and the blue more violet than they really are. If a turquoise blue is put between a_ cobalt blue and a navy blue, and also between an apricot tint and a green yellow, the apparent difference is very striking to the eye. The turquoise blue is greener in the former case and bluer in the latter than it is in reality. A lilac placed between a flesh tint and a pink seems to be more intense than the same colour placed between a dark green and a violet. Black and white rectangles, when side. by side, are more intense than when they are isolated on the grey ground, COLOUR NOMENCLATURE. 47 _ The third condition is to arrange the colours so that - their reflects are not seen or seen as little as possible. Certain things, says Chevreul, such as dyed woollens and poreelain coloured in the furnace, do not reflect the sun- light. It is otherwise with flowers, and they must be. examined in diffused light, and in a position where the direct ravs of the sun do not strike the eye. Chevreul’s plan of ascertaining the colour of a flower applies equaliy to any other object. ‘‘ Ifa flower,’’ he says, “‘is supposed to be violet because’ when it is placed by the side of this colour there is no contrast, it should be compared with the hue that immediately precedes violet (5 blue violet), and with that which follows it (1 violet). | It should appear redder than 5 blue violet and bluer than 1 violet.’’ The repertory is to be used in the same way. The nearest approach to the colour under examination must first be sought, and this being found, it must be con- trasted with the neighbouring hues. This should be done in the diffused light, not only for the reasons already stated, but also to preserve the colours of the plates. THE STANDARD COLGUR CARD RELATING TO TEXTILE AND ALLIED INDUSTRIES OF. THE. U.S.A; This extremely useful attempt to standardize colours for the textile trades consists of folding plates, com- prising in all 106 specimens of coloured ribbons, each one of which is numbered and named. The system of standard numbers has been established, giving each colour a number consisting of four figures, which express as nearly as can be done the character of the colour according to the following scheme. The first, second and third figures indicate the relative proportions of the component parts of a colour which are as follows :— 1. White 4. Yellow. 2. Red. 5. Green. 3. Orange. 6. Blue. 48 PAINT AND COLOUR MIXING. 7. Violet. g. Black. 8. Grey. 10. No change. As the actual strength of a colour may, of course, vary, the 4th figures indicate such strength as follows :— 1. Lightest. 6. Medium dark. 2. Second lightest. 75° Darke 3. Light. 8. Second darkest. 4. Medium light. 9g. Darkest. 5. Medium. To illustrate by two or three examples :—Amethyst is numbered $7185, the ‘‘S’’ (for standard) being prefixed to the numbe1 in order to avoid possible interference with the established number. On reference to the above table, it will be seen that 7 indicates violet as the principal colour, I the addition of white as the principal blend, 8, grey as a secondary blend which gives the colour, while the 5 indicates that the strength of the colour is medium. The reference number for plum is $7187, which it will be observed is exactly the same as Amethyst, but that the 7 indicates that the strength of the colouris dark. To take another example, strawberry is numbered S2185, 2 being red, 1 white, 8 grey, while 5 shows that the tint is a medium one. The colour of old rose $2183, is identical, excepting that the 3 shows that it is a light tint. In some cases where the primary or spectrum colours are used without admixture, we have no change, for instance, emerald is 55005. Emerald green, of course, is as near a spectrum colour as one can get, and 5 shows that the particular green is indicated, while the 2 ciphers following indicate that there is no change, the final 5 shows that the strength of the colour is medium. This plan appears to be a very practical one, which has distinct possibilities, and doubtless something of the kind will be issued before long in connection with decora- tors’ and artists’ colours. It may be added that copies of the card may be obtained from the Textile Colour Card Association of U.S.A. Incorporated, 354, Fourth Avenue, New York, price $1.05, including postage. COLOUR NOMENCLATURE. 49 MEASURING SMALL QUANTITIES.—To the student who-is just commencing experiments in colour mixing, the question of working accurately in minute quantities is one of great importance to avoid waste and unnecessary expenditure. z Probably the easiest way for him will be to measure his quantities rather than weigh them, and the first step towards this is to reduce all colours to a uniform liquid condition. He can then make a _ preliminary trial by taking a number of drops of each until the correct. result is obtained. From that he can progress to a more ambitious method of measuring, by the use of a measuring glass, which need not be a costly affair, but is easily made at home from any kind of glasstube or jar, the gradations being first marked out on a strip of paper and pasted to the outside of the glass (see sketch). Another simple way of measuring liquids is to mark a piece of wood in sections, preferably of roo in order to deal with per- centages. This measure will stand in any kind of vessel used for mixing in, and is particularly useful for meas- uring thinners in various proportions. CoLouR MIXING. THE THEORY OF CoLouR.—In theory, all colours ma\ be made by mixing certain proportions of red, blue and yellow, and these are termed the Primary colours, because they themselves cannot be made from any mixture of other colours. In practice, the colourman will not find it so con- venient to confine himself to three colours only, for nature, and the paint chemist, has provided him with a choice range of combination colours, which will save him a great deal of trouble. In addition to this, it would be unwise to suppose that any shade of colour may gbe obtained from any one kind of red, any one blue, or any one yellow. There is as much variety in the primary colours as there is in the effects to be obtained from them. 50 PAINT -AND. COLOUR Mix iG No PurRE CoLours.—There are no absolutely pure colours at any rate in the form of paint pigments, though this may not be true when speaking of light. Red pig- ments incline towards blue, and are termed crimson red, or they incline towards yellow and are termed scarlet reds. Blue pigments incline towards red and are termed violet blue, or they incline towards yellow and are termed greenish blue. Yellow pigments incline towards red and are termed orange yellow, or they incline towards blue and are termed greenish yellow. PECULIARITIES OF THE PRIMARY CoLouRS.—The first thing for the student to do is to acquaint himself thoroughly with the peculiarities of the primary colours and the principal stainers, to recognise them by their hue, in order to know how to choose them for specific purposes. To obtain a pure green by mixing a blue and yellow, for instance, the blue must incline towards yellow, and the yellow must incline towards green. Should either of these colours incline in the opposite direction, the effect would be similar to adding grey to the colour, and the brilliance would be lost. Similarly, in choosing the colours for making a rich purple, the red must be one inclining toward blue, and the blue have a reddish hue. Again, a pure orange colour could only be made from a red inclining to yellow, and a yellow with a reddish hue. Some method must be adopted of working systemati- ‘cally and keeping a proper record of all the various mixings, so that these can be referred to at any time. Probably the most simple and inexpensive way is to use a number of pieces of white cardboard, cut to a standard size, and lined out in sections, as per the sketches shown. These cards should be ‘‘sized’’ with gelatine, or white of egg, to stop suction. | The first set will be used for primary colours and pure stainers only, and each colour will have a separate card, so that the various stainers which come under the same name may be compared. COLOUR NOMENCLATURE. 51 The colours must be applied to the card in such a way that any difference in hue or cast may be seen and com- pared. This is best done by following the method adopted by some manufacturers of artists’ water colours. A little of the colour is taken on the middle finger, and applied fairly thick in the form of a disk, and then Seo NG REDS. - NAME. , RECORD CARD - FIRST SERIES. COMPARING PRIMARY PIGMENTS. N22 BLUES Fiero, N&S YELLOWS. gradually worked downwards with a circular motion, . until the colour on the lower portion of the disk is worked out almost to nothing. The white background showing through this will at once emphasise the variation in hue. 52 PAINT AND COLOUR MIXING, Having made a record of all the known stainers under the title of red, blue and yellow, and carefully named each one for reference, further experiments should be made of adding to each, first various proportions of white, and then various proportions of black, and recording the result on the second series of cards, with the proportions carefully noted. ; RECORD CARD. NAME or COLOUR EQUAL PARTS ASB RECORD CARD - SECOND SERIES. MIXING PRIMARY PIGMENTS ETC Fic. 20, This experiment must be extended to all the stainers which come to hand ready for use, commencing with the three principal ones used by the house painters, the ochres, umbers and siennas. SECONDARY COLOURS.—We now come to the actual mixing of two primary colours in order to produce a third, these being known as secondary colours. Red and yellow produce orange. COLOUR NOMENCLATURE. 53 Yellow and blue produce green. Blue and red . purple. According to the hue of the primaries used, so will the result be seen in the hue of the secondary colour produced. The student will obtain much useful information from these experiments. [or instance, he will find that by combining certain primary colours, he will produce a third which has always been familiar to him under some trade name, but of its composition he was quite ignorant until _ he produced it in this way. An excellent example of this is the making of the well-known Brunswick Greens by mixing pale lemon Chrome and Prussian Blue in varying proportions The secondary colours may be intermixed in the same way to produce a third series of colours. These are more complex, containing some portion of the three primary colours in each. Orange and green produce citrine. Green Pee DUl ple wv, ar OVE: Pies... Otange, ,, - russet. These mixings are perhaps more instructive than useful, as the resulting colours can be obtained by a much shorter process and a more simple mixture, the addition of black or grey to the primary and secondary colours giving us all the colours of the third series. If a record of these colours be made in the manner suggested, together with a series of tints formed by the addition of varying proportions of white, and a series of shades formed by adding varying proportions of black or grey, they will form a useful and reliable guide towards determining the composition and proportion of any colour sample. 54 PAINT AND COLOUR MIXING. CHAPTER V. MATCHING AND MIXING COLOURS. The actual process of matching a colour, apart from any consideration of the various stainers which enter into its composition, varies to some extent, according to the form in which the sample appears. To match a luguid sample is far more simple than matching a dry painted pattern, for reasons which shall be explained later. : To match a gloss paint to a flat sample or pattern, or vice versa, is always more difficult than matching flat to flat and gloss to gloss. : To match a colour which is in close proximity to other colours, and forms part of a colour scheme, such, for instance, as a single colour chosen from an elaborate wallpaper design, is really far more difficult than matching a similar colour which stood alone, and which was not influenced by other colours. The matching of silk or other fabrics, which present a variety of shades, is always a difficult task, excepting to those of long experience, or who have adopted some definite lines upon which to work. There are many little aids to success which may, with every advantage, be adopted by the would-be colourist, and we shall try and indicate some of the best of these. At the same time, we strongly urge the student to try not only the ways indicated, but any others which may be presented to him, and to adopt that which helps him best to attain the desired end. | Before commencing these, we would like to throw out a suggestion, which will probably save him a great amount WOOD STAINS PLATE V. i MAPLE PITCHPINE CEDAR SATINWOOD LIGHT OAK MID. OAK WALNUT ROSEWOOD DARK OAK MAHOGANY eee of ‘‘FASTAINS’” on Veneer, by courtesy of Messrs. Naylor Brothers (London), Ltd. MATCHING COLOURS. . | 55 of wasted material—Do not start to make a colour with the full amount of material which you have calculated the job will require. If you do, you will probably find that by the time you have added your stainers, you have a great deal more paint.than you require. Commence by taking one-half the estimated amount, whether it be white-lead, zinc-white or one of the colour pigments, and proceed to add your stainers as directed, keeping an eye on the quantities used of each, until you arrive at the correct colour. If you happen to add too much stainer you can lighten up with a portion of the reserve pigment. Having arrived at the correct shade with the first portion, it is * fairly easy to deal with the second half, seeing that you now know which stainers to use, and the approximate amount of each. It sometimes happens that a great deal more stainers have to be added than at first thought necessary, to produce the correct shade, either from bad judgment of the sample, or because the stainers employed are of low staining value, and the first mixing is found to produce enough paint, without touching the reserve portion. 3 In order to ensure that subsequent mixings shall be exactly the same as the first, we would direct attention to the method given under the heading of ‘‘adding stainers.°’ We will now take the various forms of matching, which the colourman is likely to have to deal with in the ordinary routine of the painter’s business. MatTcuHING A Liguip.—The liquid sample should be well stirred and shaken up to ensure freedom from sediment and perfect mixture. A small quantity should be applied to the centre of a painted pattern board. Just a circle of the colour applied with the finger will do, and the pattern board should be painted white for preference. This will first give you an idea of the composition of the colour, and whether it has been made up in turps, oil or varnish, according to the gloss it retains upon drying. Proceed KE 56 PAINT AND COLOUR MIXING. to match it according to instructions given on another page, and as you proceed you put a touch of the colour you have made, next to the pattern on the board, in order to see that you are working in the right direction. When you have obtained a colour approximating to. the sample, you can make a comparative test to see what difference, if any, there is between them. To do this, - take a small clean palette knife, and dip it first into the sample, and then part way into your mixing. Any variation in shade is at once discernible if the light is at all good. If you are matching a gloss paint to a gloss sample, or a flat paint to a flat sample, and can see no difference between them on the knife, you may rest assured that the colour is sufficiently close for all ordinary purposes. If the job is a very particular one, it would be well to make a further test, by painting out a pattern of your colour and the sample on the same board, so that they just touch, but do not overlap. This must be left an hour or two for the colours to set before taking a final decision. It is a pretty well-known fact, though two mixings may be exactly alike in the liquid there will be a slight variation between them when dry, through one sample developing a stronger colour than the other. Part of this is due to the oxidation of the colour used, and part to insufficient grinding, the finer colour pigment showing the least change, so it is always the safer plan to paint’ out the samples and let them “‘set’’ before accepting. MATCHING GLOss TO FLAT AND VICE-VERSA.—When _ making up a gloss paint to match a flat sample or pattern, or vice-versa, the knife test is not sufficient at any time. It will do for a preliminary trial to see that your colour is somewhere near the sample in tone and shade, but they must be painted out on the same board and allowed to set. : | ~The difference will be at once very noticeable. The: one drying flat will have lost much of its richness, and probibly appear lighter than when in the wet state. MATCHING COLOURS... 37 To bring a flat paint up to the colour of a gloss pattern you must add a stainer which will impart the richness of tone which the oil or varnish gives to the gloss material. There is no rule by which this may be determined. Sometimes it means the use of a proportion of richer and deeper colour of the same series as that forming the base of the gloss colour. For instance, you may be matching a rich red of, say, deep vermilion. To obtain the richness in the flat colour you must add a proportion of scarlet lake. With the majority of blue colours, the rule is just the opposite, and instead of adding a richer blue you will find it necessary to use either yellow or green as a toning influence. To bring a gloss paint to an exact match of a flat sample it is necessary to adopt quite the opposite tactics, and modify its brilliance by toning down with white or erey, or other colour as occasion may require, in order to impart tosthe gloss paint that degree of softness which the flat paint possesses. MATCHING IN A BAD oR PECULIAR LIGHT.—We are probably all aware that a good north light is the most suitable for matching colours, in order to see them at their true value, but such a light is not always to be obtained. Too strong a light is. bad for some colours,. especially the lighter ones, while for others, such as deep blues and ‘invisible greens, the direct sunlight will best reveal the latest difference in shade or tone, just as it will in the black pigments. It sometimes happens, however, that neither a good north light nor direct sunlight is available, but there is a peculiar reflected light present, which makes it very difficult to judge the colours clearly. The best way to overcome this is to apply a small patch of each colour, the sample and the one you are making, side by side and just touching each other, on a piece of thin clear glass or celluloid, and inspect them from the reverse side. Any difference in shade or tone will be at once detected.. 58 PAINT AND COLOUR MIXING. MATCHING A Dry PATTERN.—It is more difficult to match a dry pattern than a liquid sample, because of the deepening of colour which takes place during the process of drying. This deepening is more pronounced with some pigments than with others, and is particularly noticeable with certain blues and with greens which are derived from a mixture of blue and yellow. This may be due in part to the difference in weight or specific gravity of the two pigments, as well as to a habit which the blue has of ‘‘floating’’ in certain vehicles, particularly - varnish, but there is no doubt that the principal cause is to be found in the continued development of the blue pigment through oxidation during the process of drying. This bad habit on the part of certain colours makes the work of the colourman all the more difficult, because he has nothing but experience to guide him as to what allowance he must make for the deepening of the colour he is making in order that it shall dry down to match the pattern, and the only safe plan for him to follow is to paint out a portion and allow it to dry before taking a final decision. There is one method which may be applied with satisfactory results provided some account be kept for future guidance. The colour must first be exactly matched, then lightened up about two or three shades by the addition of the white or other pigment which forms the base of the colour. The quantity required for this varies with different colours, and should be recorded. On applying a touch of the colour obtained to the dry pattern it will appear much too light, but as the colour sets or oxidises it gradually darkens to the correct shade. MATCHING A COLOUR IN WALLPAPERS.—When a single colour is chosen from a group of colours, such as in a wallpaper design, it is not always correct to produce an exact match, but the general effect according to the influence of the contrasting colours must be taken into account. To view a colour which forms only a small part of an elaborate colour scheme is quite a different thing MATCHING COLOURS. 59 from seeing it in large masses, and the more faithfully the colour was copied the worse match would it appear. It is invariably necessary to tone the colour with some contrasting colour appearing in the wallpaper, and further to lighten it up to counteract the bulk effect. The wallpaper from which the colour is chosen should be hung up in a good light, then the colour can be matched, and painted out on a fairly large pattern board and hung beside the paper. It will at once be apparent to what extent this overshadows the colour as it appears in the paper, and the necessary toning influence to use. As an instance we might imagine a design embracing some green leaves with a blue flower, on a light ground. If the blue flower were faithfully matched, and the colour applied to the woodwork, it would look altogether too strong and overpowering, and it would be found necessary to tone it considerably with the foliage green, and lighten it with the background cream, before harmony could be established. If a second panel is painted with the corrected colour and hung beside the wallpaper, the improvement is at once obvious. MATCHING SILK AND VARIED SHADE MATERIAL.— . Silk varies in hight and shade according to the position from which it is viewed in relation to light. As this peculiarity cannot be imparted to the paint, the matching of ‘silk becomes purely a matter of imitating effect rather than colour. The lightest and the darkest shades appear- ing on the silk should be matched separately, and by combining these two in the proportion of two of the light to one of the dark an approximate match is obtained. This should be painted out on a panel and hung up beside the silk so that they can be viewed together, and the general effect noted. Any toning required to bring them into harmony can then be done. It is well to note that fabrics which possess a “‘sheen’’ such as silk has, can be more faithfully matched in a semi-gloss colour than is possible in a dead flat, and an 60. PAINT: AND ‘COLOUR: MIXING even more striking resemblance may be obtained from a gloss finish, which is finally ‘‘felted’’ down with pumice stone powder and oil. There is a silkiness obtained in this way which mere brush work does not possess, and a richness of colour far in excess of that obtained by ~ flat finishes. | ADDING STAINERS. ’ STarners In Ligurip Form.—The quickest, cleanest and most reliable way of adding stainers to a paint mixture is to first reduce them to liquid form of paint consistency, with turpentine. If they contain any trace of skins or lumps they should be strained through muslin, silk chiffon or copper gauze, before adding to the paint: The use of stainers in a lumpy or skinny condition is a constant source of bad colour matching and waste material, as the full strength of the stainer is not obtained until the final straining of the paint, when these lumps are broken up, and a stronger tint obtained than was desired or expected. If the stainers are thinned and strained into lever lid tins they are ready for immediate use and there will be no waste. COMBINING ALL STAINERS FIRST.—A method which has much to recommend it is the combining of all the mecessary stainers before adding to the paint. It is, however, only possible to carry this out economically when some idea of quantities required is available, and a record should therefore be kept of all the standard mixtures, so that they can be repeated with accuracy. The stainers having been mixed, a test is made by paletting up a small quantity with the base pigment — and noting the colour. Having once obtained the correct mixture, it is possible to make up two or more batches of paint, to the exact shade. It is only necessary to put aside some of the combined stainers in a lever lid tin, carefully marked, MATCHING COLOURS © 61 and the colour can be repeated at any future date, cither for re-doing the same, or for work which has to be similar. It is a much better way than putting aside the actual paint which in time becomes fatty and unfit for use. It also enables the colourman to mix just the bare quan- tity of paint he will require for any particular job, without troubling about a safety margin, which on the average job means so much waste. < v 1 , WLS i 77) HOME- MADE MEASURE. ~ Fic. 21, wv g = Fic. 22. This method is particularly applicable to such stock colours as. buffs, stone colours, etc. which have to be regularly repeated, and when the tins containing the mixed stainers are properly labelled and the proportions of each stainer used written plainly upon them, they form an invaluable guide for the future, not only for the colourman who recorded them, but for anyone else who for any reason has to pick up his work, or repeat his mixings. 62 PAINT AND COLOUR MIXING. CHAPTER VI. REDS, AND HOW TO MIX THEM. Having proceeded through a course of study and experiment the student will now require the actual mixtures necessary to produce the various named colours. These are given in this chapter and. those immediately following. Note.—All colours marked * can be purchased veady made. 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. * ALIZARIN CRIMSON.—A lake colour prepared from alizarin or coal tar colours. Alizarin crimson and scarlet are other varieties. They are not so brilliant as genuine madder colours, made from the madder root. 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. 2 * ANTWERP CriIMSON.—A fast red of a rich dark hue made by Messrs. Mander Brothers. 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. REDS. 63 - AURORE.—A dull pink shade, which can be pro duced 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 three parts of black, three of Venetian red, and a little orange chrome. Beconia.—A dark red purple, which may be obtained by mixing four parts of lamp black, five of ~ bright red, and four of Prussian blue. 3 Brack MAroon.—Take four parts of black and mix them with one ofa bright red anda little Prussian blue. } BLoop RED.—Any bright red toned down with a little black will produce a shade sometimes called by this name. BoRDEAUX ReED.—Take one part of black and nux with it two parts of orange chrome and one of Prussian blue. Indian red glazed with lake gives the best effect. A colour is made under this name by Messrs. Mander Brothers. 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 colour. 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. BrRoNzE ReED.—This is a red toned down with about a fourth part of black, a little bright yellow or orange being added. *BROWN MADDER.—-A permanent lake colour made from the madder root. Nearly fast both in oil and water. *BURNT CARMINE AND BuRNT LAKE.—These are two names of the same water colour which is also called “‘ Purple Lake.’ They are not: permanent. 64 PAINT AND COLOUR MIXING. ~*BuRNT Ocure.—Another name for light red; also called ““ Burnt Roman Ochre.” CAMBRIDGE REpD.—Vermilion, to which is iadea about one twentieth part of Prussian blue, gives a colour sometimes called “ Cambridge Red.”’ *CARMINE.—This colour. is usually rece front cochineal if it is to be made into a water colour, in which case it is quite fugitive. Carmine, when ground in oil, is usually made from alizarin and is nearly permanent. It is very useful for glazing in order to produce a rich red. *CARMINETTE.— This is the registered name of an excellent colour manufactured by Messrs. Mander Brothers. It is a bright strong red, which 1s useful when protected with two coats of varnish. It is of no use, however, for tinting purposes, or in distemper. CARNATION ReEpD.—Three parts of carmine lake and one part of white lead give a carnation colour, but a better result is obtained by taking pure vermilion as a base and adding carmine and zinc white until the desired rich colour is obtained. This colour is not suitable for use outside. CARNATION RosE.—White lead tinted with Indian red or vermilion, or Rubinette, made by Messrs. Goodlass, Wall and Co., Ltd., of Liverpool. A beautiful colour can be obtained by simply tinting white with Lewis Berger’s permanent crimson madder. _ *CHINESE VERMILION.—This is the name usually given to the deepest shade of vermilion. CHERRY REp.—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 colour. A less rich colour may be made by mixing Venetian red and yellow ochre, and glazing with crimson or madder. REDS Ste on 65 CoRAL PINK:—This colour 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. *CRIMSON LAKE.—A bright red colour made from cochineal (see Carmine). It is used both in oil and water, but isnot permanent. . *CRIMSON MADDER (PERMANENT).—A beautiful and very useful colour manufactured by Messrs. Lewis Berger and Sons, Ltd., of Homerton, London, and shown on the plate facing title page of this book. *DRAGON’S BLoop.—A rich, deep red made from the resin of thatname. The genuine colour is fugitive and an imitation for use in water only is made by mixing burnt sienna, cochineal, lake and gamboge. DREGS OF WINE.—This shade is produced by mix- ing 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. *EXTRACT OF VERMILION.—Another name for — Scarlet Vermilion. *Fast MArRoon.—A_ speciality of Messrs. Goodlass, Wall and Co. A useful colour for shop fronts, door panels, etc. Very rich in hue, and permanent. *Fast REp.—A series of bright scarlets usually of the vermilionette type. Messrs. Goodlass, Wall and Co, make one of the best known. *FirE Rep.—A brilliant red used instead of deep vermilion, to which it is superior. FLESH CoLouR.—One hundred and twenty parts white lead, two parts yellow ochre, and one part Venetian red will produce an excellent flesh colour. Or mix eight parts of white lead, two parts of orange chrome yellow, and one part of light Venetian red. 66 PAINT AND COLOUR MIXING. 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 Berger's perma- nent 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 colour 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 colour manufacturers make geranium red which is better than one can obtain by mixing.’ INDIAN PinK.—Tint white lead with a little Indian red. : | *INDIAN ReEp.—This is a good permanent iron oxide pigment and is most useful in mixing with other colours. It is sometimes called ‘ Mars’ Red.”’ *ITALIAN Pinx.—An artists’ colour, also called ‘“ Yellow Carmine,” ‘‘ Yellow Madder,”’ and ‘“‘ Yellow Lake.’’ Not permanent. | *LicHT Rep.—tThis term might be applied to any tint of red lightened up with white. It is, however, a definite name of a water colour which ts also called ‘Burnt Ochre,” ‘“‘ Burnt Roman Ochre,” and “ Terra Rosa.’ It is obtained by burning yellow ochre, and is quite permanent. An excellent light red for decor- ator’s use is made by Messrs. Mander Brothers, which may be used for all paint work, including distemper. LicHt 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. REDS. 67 A very pretty and useful pink is made by adding white to permanent crimson madder, as shown on the plate facing the title page of this book. 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. Litac.—A great deal of difference of opinion exists as tothis 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 colour, 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 ultra- marine blue, but less white lead is preferred by some painters. A touch of yellow will help this colour 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 colour. MAHOGANY LAKE.—A pure lake of the maroon character. *MAROOoN.—This colour 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 con- sidered 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. *MARKEATON RED.—This well known speciality is a very bright red which lasts as long or longer than vermilion, but is considerably cheaper. It is made by Messrs. Ellam, Jones and Co., of Derby, and is used by many of the big railway companies, Post Office, etc, 68 PAINT AND COLOUR MIXING. *MarS’ ORANGE.—Another name for Venetian red which see. *Mars’ Rep.—Another name for Indian red, which see. MEXICAN RED.—Mix one part of red lead with four parts of Venetian red. Mi1kapo —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 ver- milion 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. *NEW .PERSIAN RED.—Messrs. Mander Brothers make a bright red of good body which is sold under this name. It costs only 7d. a lb., and is fairly fast although it lasts better if protected by a coat of varnish. It must not be used for distemper. 3 OL_p 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 Pinxk.—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 colour may be obtained by adding two parts of orange lead to one part of white lead. . *ORANGE VERMILION.—The pale shade of ver- milion orange lead comes nearest to this colour. The tone may be made by adding chrome to vermilion. PEACH Bioom.—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 REDS, 69 red with seventeen parts of white is sometimes used. _ *PERSIAN Rep.—A bright scarlet. Pink.—White lead tinted with orange lead gives a bright pink. See also ‘‘ Light Pink.”’ *PINK MADDER.—A lake colour made from the madder root. It is made only in water. 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 colours. This makes a dark plum that is only suitable for inside work. Ifa 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, but Tuscan red tinted with red gives a better result. : Poppy.—Blue and vermilion mixed in the pro- portion of one of the former to twenty-four of the latter give this shade. Some colour mixers prefer to add a bright yellow instead of the blue. PurRPLE.—Light Indian red, four parts; white lead, three parts; ultramarine blue, two parts; ora purple may be obtained by mixing Indian redand 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 >olour. ; *PURPLE LAKE.—A beautiful water colour called also “‘ Burnt Carmine,’’ and “‘ Burnt Lake.’’. It can- 1ot be relied upon to stand light. *PURPLE OxIDE.—The correct name o° »vurple brown or dark iron oxide. Rep OcnrE.—This earth colour is cheap, and can oe readily bought in most places. It can be imitated dy mixing Indian red and chrome and adding a little vermilion. i 8) | 70 PAINT AND COLOUR MIXING. Rep TERRA Cotta.—Use equal proportions ot 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 colouring up with ochre and a touch of lake. w= i By 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 colour that is suitable for inside work only. An admirable rose colour 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 colour, but the madder is too expensive for use except by artists. A very successful colour can be produced from Lewis Berger’s Permanent Crimson Madder. *RosE MAppER.—A lake colour made from the madder root. It is suitable both for oil and water, but is not quite permanent. RosE Woop.—To produce this colour bright red is mixed with about six times the quantity of black anda very little green. The shade givenisa very dark red. 3 RoyAL PiInK.—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 half of rich red, and seven of Prussian blue. Some manufacturers make this colour ready for use. SALMON.—Six parts of white lead, one part of vermilion, and a little lemon chrome yellow. This 7 ee ry Beal i : al ; oe wa aw 2 < 10. Cream 12. Primrose 9. Golden Ochre 13. Terra Cotta 4. Pale Rose 18. Deep Rose 1]. Carnation 20. Scarlet 15. Maple Green Pp Pale Green 14. Italian Green 3. Ivy Green 19. Pale Grey 2. Blue Grey 16. Shell Grey 1. Maroon 5. Pale Blue 8. Deep Blue 17. Chocolate 6. Neutral Brown Samples by courtesy of Messrs. Naylor Brothers (London), Ltd. REDS. | 71 - \ mixture produces a colour somewhat bright. Another ; salmon colour 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, Veretian red, burnt umber and French ochre. Another method is to add vermilion and golden ochre to white, which gives a nice bright colour. Venetian red and chrome, added to white, gives a duller colour. Still another mixture is Venetian red, vermilion, yellow ochre and white. *SCARLET LAKE.—This colour is manufactured from ‘a mixture of vermilion and alizarin crimson. It is suitable both for oil and water, and is permanent, A colour very similar may be obtained ir one of the many vermilionettes on the market. It will be con- - venient to remember that all vermilions should be lightened by the use of pale chrome instead of white lead. Lead takes down the brilliancy of the colour, producing a pink. *SCARLET RED.—This is_bought ready made. It is the name given to the brightest cf the oxide paints. *SCARLET MADDER.—A _ permanent but rather weak alizarin with which many beautiful tints can be obtained. SHELL PINK.—This colour is sometimes made by adding a little good Indian red to white, but some decora- tors prefer to use vermilion with a little chrome yellow and burnt sienna, Surimp PinK.—Mix Venetian red, burnt sienna and white lead, and add a little vermilion. *SIGNAL RED.—This is usually scarlet vermilion, but may be imitated by mixing orange lead, vermilion ette and Paris white, or orange lead by itself may be tinted with vermilionette. ‘‘Signal Red’’ is a_ well known speciality. ee SALMON PinkK.—Tint white lead with equal parts of orange chrome and vermilion. If zinc white is used instead of lead the colour will be found brighter. 72 PAINT AND COLOUR MIXING. *SuNLIGHT REpD.---A specialty of Messrs. Mander Brothers. It isa deep crimson shade, is of good body, fast in light, and suitable for metal or wood signs, shop fronts or work exposed to the light, especially if varnished. TERRA Cotta.—Mix together two parts of white lead to one part of burnt sienna. One of the best wavs to produce a good terra cotta wall is to give a gcod 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. See also under e Reamlenra jours. | *TERRA Rosa. —Another name for Light Red, which see. TURKISH CRESCENT RED.—Mix equal proportions ef Indian red, vermilionette and rose pink. : *Tuscan REp.—This can be bought ready made, and may be imitated by mixing ten parts of Indian red with one part English rose pink. Indian red is very similar in-colour but somewhat darker. It is also cheap. VENETIAN PiINK.—Tint white ee with a little Venetian red. «VENETIAN RED.—This colour is an iron oxide and is sometimes called ‘“‘ Mars’ Orange.’ It is one of the most useful that the house painter has, being cheap, and having good covering power and body. It may be used both in oi] and water, and is quite permanent. It isnot 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 artists’ colour, and is rarely used by house painters. *VERMILION.—This bright red is a mercuric sul- phide,.¢.e.,.a combination with sulphur and mercury. It cannot be imitated by an admixture of ordinary REDS, fo ka 73 pigments, but there are many excellent substitutes on the market, most of them being vermilionettes. The pale variety of vermilion is known also as ‘‘ Orange Vermilion’ and “ Pale Vermilion.” *WAGON RED.—Messrs. Mander Brothers make a beautiful colour under this name in twoshades, “‘pale ”’ and “‘deep.” The latter is quite fast in light. Messrs. Manders’ Wagon Red is not a vermilionette. It is not intended for distemper. Wine Cotour.—Add a little ivory black to a mixture of carmine and vermilion. Or use Indian red mixed with a little black or umber, and glaze with madder. See also the chapter on ‘“‘ Glazing.” *VYELLOW LAKE, YELLOW MADDER, AND YELLOW CARMINE, are three names given to the artists’ colour which is more frequently known as “ Italian Pink. - It is very fugitive. 4, PAINTING AND COLOUR MIXING. CHAPTER VII. BLUES, AND HOW TO MIX THEM Note.—All the colours marked * can be bought veady made. “== *ANTWERP BLUE.—This colour may be described as a weak Prussian blue. It is also called “ cyanine blue” and “‘ Leitch blue.”’ If necessary to imitate it, mix one part of bright green with two parts of ultra- marine; add a very little zinc or other white, but not lead. Brunswick blue is frequently used in the place of Antwerp blue. It may be used both in oil and water and is nearly permanent. 3 *AZURE BLUE.—Also called “new blue’ and sometimes used as a synonym of cobalt. To imitate mix 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. Cobalt and white may also be used. *BERLIN BLUE.—This is only another name for Prussian. blue. BLUE Grass TINT.—One part Prussian blue, three parts of emerald green, seven parts of white lead. *BREMEN BLUE.—This is a colour to be bought only ready made. It is not now much used, and is not suitable for an oil colour. *BRONZE BLuE.-—A dark blue colour, which may be made by mixing three parts of black with one of Prussian blue. BLUES. A ”6 *BRUNSWICK BLUE.—This is bought ready made, and can be imitated by adding white lead to Prussian blue in sufficient quantity to obtain the desired tint. *C BURLEAN.—This is an artist’s colour of a light and somewhat greenish blue tone. It is a stannate of cobalt. An imitation may be made from ultra- marine and white, with a little yellow, although the colour is a difficult one to imitate successfully. *CaRULEUM.-—A colour introduced by Messrs. Rowney and Co. It contains tin (stannic) oxide, cobalt. oxide, calcium sulphate, and silicic oxide. (silica). Itis permanent both in oil and water colour. CELESTIAL Biur.—About equal parts of Prussian blue, chrome green and white lead will give this colour, but there should be most white, and the tint should be more blue than green. *CHINESE BLuE.—Another name for Prussian blue, which see. Usually the term Chinese blue is applied to a high grade Prussian blue, but sometimes the reverse is the case. *CoBALT.—This colour is alumina tinctured with oxide of cobalt. It is one of the best artists’ colours, and cannot be successfully imitated. It is a beautiful and most useful colour, but unfortunately, it is expen- sive, and it is therefore only used in the finest work. It is quite permanent, both in oil and water. *CYANINE BLuE.—Another name for Antwerp blue, which see. Dark BLuE.—Obviously this is no very definite colour. 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. | »>FoGc BLue.—Equal parts of burnt sienna and Prussian blue, lightened up with about twenty parts of white lead. 76° PAINT AND COLOUR MIXING. ., *FRENCH BLUE.—The name is applied to the best quality of artificial ultramarine, which is some- times termed ‘“‘French ultramarine. It is permanent both in oil and water. - ForGET-ME-Not.—This can hardly be termed a name of a colour, although it suggests a clearer idea than many of them. It can be obtained by adding white to cobalt. - .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 ultra- marine blue. HELIOTROPE.—This colour 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. *InpIcGo.—This dark blue is a natural vegetable pigment, being extracted from the Indigo plant. 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, however, a’ very useful colour, although not quite permanent, especially in oil. LAVENDER.—Thiee 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 1o white lead may. be employed for outside work. *LeITcCH BriuE.—Another name for Antwerp blue, which see. Licht BLuE.—This is simply an ultramarine blue tint produced by the addition of zinc; or the colour ‘ (BEUES. 3 s ; a4 may be obtained by tinting white lead with Prussiat blue. *LIME BLUE.—Thisisa colour much used ‘eeiheily for mixing distemper, but artificial ultramarine has to a great extent supplanted it. It must not be used in oil. Thecolour usually sold for lime blue isa variety of ultramarine. MARINE BLUE.—A_ very dark nee which is obtained by mixing one part of ultramarine blue with nine of ivory black. Mascot.-—This is a very dark blue shade, which s 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.—Is made from aniline, and is not per- manent either in oil or water. Four parts of cobalt blue, twelve parts of oxide of zinc, and one part of carmine lake give an excellent mauve, or the colour 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. MrETHYL BLUE.—Mix green with twelve times its quantity of blue and a touch of red. MountTAIN BLUE.—One part of-ivory black, two parts of rose madder, three parts of cobalt blue, and four parts of white lead. This colour is only intended or artists’ use. Navy Brive.—Ivory or drop black mixed - with one-fourth the quantity of blue will give this shade. NEUTRAL. BiruE.—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 +58 PAINT AND COLOUR MIXING. little burnt sienna if a warm neutral blue is required, or a little black if one cool in appearance is desired. *NEw BriurE.—Another name for azure blue, which see. 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. 3 ORIENTAL BLUE.—One part of lemon chrome yellow, two parts of Prussian blue and twenty parts of white lead. Pracock BLuE.—This colour is one upon which ~ opinion varies considerably. A splendid colour 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 colour. It is very like cobalt, but slightly darker. *PERMANENT BLUE.—A pale variety of the best quality of French (artificial) ultramarine. 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 colour is certainly the most important blue the house 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 conse- quence. It is a ferro-cyanide of iron obtained by mixing together solutions of a ferric salt and an alkaline ferro-cyanide. Prussian blue is also called BLUES. 79 “ Chinese blue.” It 1s not quite permanent, and must ~not be used in distemper. QUAKER BiuE.—Add a little black to Prussian, blue, and lighten up with white. . Rosin’s Ecc Brur.—Use white for base, tint with ultramarine untila 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 BiuE.—Two parts of Prussian blue, three parts of raw sienna, thirty parts white. SKY BLUE.—This 1s the blue sold as ““ new blue. To imitate 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 hme blue, adding a very little middle chrome, but the -latter is more suitable for a distemper colour than it is for an oil paint, as lime blue is not very lasting in oil. STEEL BLUE.—Zinc white tinted with lme blue gives this colour for distemper. STONE BLUE.—One part of raw umber, twice the _ quantity of Prussian blue on a base of white lead will give this colour. TRANSPARENT VIOLET.—Mix together four parts of ultramarine blue and one part of crimson lake. This is suitable only for artists’ use. TORQUOISE BLUE.—Two parts of cov.alt Sue, one part of emerald green, twelve parts of white lead. *ULTRAMARINE (ARTIFICIAL).—This is one of the -chief blues used by the painter, and must be bought ready made. It is quite permanent, both in oil and 2S: 80 PAINT AND ‘COLOUR MEXING. water, and cannot be imitated, but it can be bought in many different qualities and shades, such as purple, eobalt, etc. It must not be mixed with chromes or white lead, as it contains sulphur, and there would on that account be a likelihood of discolouration. Natural ultramarine is very expensive. It is made from selected parts of the mineral lapis lazult. *ULTRAMARINE ASH.—An expensive artists’ colour made in the same way as genuine ultramarine, but of a paler shade, owing to the larger proportion of stone allowed to remain. : *VERONA BLUE.—This beautiful colour is manu- factured by Messrs. Lewis Berger and Sons, Ltd., of Homerton, London, and is most useful for hehe class decoration. YELLOWS. eee CHAPTER VIII. YELLOWS, AND HOW TO MIX THEM. NotEe.—All the colours marked * can be bougat yeady made. ALABASTER.—This is a yellowish white in colour. Mix four parts of white with one of middle chrome yellow. ) *ALIZARIN YELLOW.—A comparatively new yellow lake made from the coal tar colours. 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 BronzeE.—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. : *AUREOLIN.—An artist’s water colour, often termed “cobalt yellow.” It is a double nitrate of eobalt and potassium and was originally introduced by Messrs. Winsor and Newton. *AURORA YELLOW.~~-A speciality of Messrs. Winsor and Newton, introduced by them in 1889. It is an . opaque and brilliant variety of sulphide of cadmium of greater body than ordinary cadmiums and a much better drier. It is as bright as the best chrome, but is quite permanent. 82 PAINT AND COLOUR MIXING. Biscuir CoLour.—The purest tints may be obtained by tinting zinc oxide with Naples yellow. Ochre added to white with a touch of ee may be used. 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 a one part of yellow and two OF green. See also under Sp hareetlyt 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. Burr.—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 YELLOW.—This is an artist’s colour of considerable value, but is, genera!ly speaking, too expensive for house painters. It should not be mixed with chrome yellow, emerald green, or any pigment containing copper or lead, and tints should therefore be obtained by using zinc oxide. It is made in four shades: pale, medium, deep, and orange, and it cannot be successfully imitated. The palest shade is sometimes called “ Radiant yellow.’’ Cadmium yellow is sulphide of cadmium and is quite permaneat in afi and nearly so in water. YELLOWS. 83 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. CuHAmois.—A dull yellow made by mixing four parts of white, five of yellow ochre and one of green. *CHINESE ORANGE.—Another name for Alizarin orange. 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 colour, 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. CirRoN.—To produce this colour use Venetian red as a base and add one part of Prussian blue, two of chrome yellow and two of white. *CITRON YELLOW.—This is strictly zinc chrome or lemon yellow, but the name is sometimes used for chrome yellow (pale), which see. *COBALT YELLOw.—Another name for aureolin, which see. COLONIAL YELLOW.—Medium chrome yellow mixed with white lead and a little dark orange chrome yellow gives this tint CREAM.—The best and purest tints of cream are obtained by tinting zinc oxide with a little Naples yellow. 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 emplq ed Equal parts of raw I % 84 PAINT AND COLOUR MIXING. sienna and orange chrome used to tint white gives a uice cream. There are many other methods of obtain- ing this tint. Note.—Light buff, medium buff and dark buff may all be obtained in the same way by adding more or less-of the French ochre or white. *CHROME YELLOW.—Normal chromate of lead pro- duced by precipitation, These yellows are cheap and very useful to the house painter, but although per- manent in sunlight they darken when exposed to pure air. There are five different shades known as primrose, lemon, middle, orange and scarlet chrome. The latter is sometimes called orange chrome, deep. DAFFODIL.—Lemon chrome mixed with a little Venetian red will give this colour. ; *DAFFODIL YELLOW.—This name is sometimes given to the palest tint of cadmium yellow. DEEP CREAM.—This colour is made by tinting white lead with yellow ochre anda little Venetian red. (See Cream.) 3 Ecru.—Tint white lead with French ochre and medium chrome yellow. A tint which is sometimes called: stone colour 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. *GAMBOGE.—This is an artist’s colour. It is a gum resin, is somewhat fugitive, and is useless for the purpose of the house painter. A preparation called ‘’ Gamboge ’’is ground in oil, but itis an alizarin yellow. GoLp.—To obtain the colour known as “ gold,” white lead may be tinted with five parts of golden or yellcw ochre and one part of vermilion, or a mixture rf tight 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. . *GOLD OcHRE.—Another name for Roman ochre YELLOWS, . 85 . Hay Cotour.—French ochre, medium. chrome yellow, and lamp black used as tinting colour for white * lead will give a hay colour, or raw Italian sienna and lamp black may be employed if desired. *INDIAN YELLOW.—A rich yellow made from “ purree,”’ the dung of camels, etc. It is chemically a magnesium salt, and if properly prepared byrepeated washings is practically permanent, It is permanent both in oil and water. *ITALIAN LAKE.—A colour made from quercitron bark. Also called Italian pink, yellow madder, or yellow carmine.. It is not permanent. , Ivory.—Varying tints of ivory are best obtained by tinting zinc oxide with Naples yellow. The addition of a very little medium chrome yellow to white lead also produces an ivory or a very little golden ochre may be used. Another way is to tint white very slightly with middle: chrome and aidouch, of black. Jongui_ YELLow.—Tint white lead with medium chrome yellow to which has been added a very little vermilion red. One of the favourite 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. *KINGS YELLOW.—This was formerly arsenious sulphide, but as that colour fades so rapidly pale chrome yellow is usually employed. LEGHORN.—This is a pale yellow shade, which is obtained by mixing white and medium chrome yellow in about equal proportions. LeMon.—-For this colour, emer chrome yellow is used alone, but the tint may be made by using white lead for a base and adding medium chrome vellow until the desired. tint is obtained. The tint that: is usually preferred is obtained by mixing five parts of 86 PAINT AND: COLOUR MIXING. chrome to two parts of white lead, and adding a little green. However, lemon chrome yellow purchased ready made is the best. In artists’ colours a lemon’ yellow is made which is also called “ strontium yellow, ” and sometimes “ yellow ultramarine.”’ | Licut Burr.—A little yellow ochre added to whité lead gives a good buff colour, the tint varying with the quantity of ochre. Licut Decx.—This colour may be produced by mixing medium and lemon chrome yellow with white. LIGHT STONE.—Tint white lead with French ochre and lamp black. *LEMON CHROME.—This is the palest shade if lemon chrome yellow. Some makers produce a sti!l lighter shade which they designate “ canary chrome.” It is very useful for preparing the lighter shades of yellow, and may be imitated by adding cadmium yellow to zinc white. *L—EMON YELLOW.—Is also called “ Barlum Yellow,’ and is a preparation of Chromate of Barium. In the deeper shades a little chromate of strontium is often used. The pale variety is also called yellow ultramarine or permanent yellow. Care should be taken to distinguish between lemon yellow and yellow chrome. Pure lemon yellow is permanent both in oil and water. MaizEe.—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. *MANDER’S YELLOW.— This is intended to be used as a substitute for old Oxford ochre, but is claimed to be superior. It is based on ochre and is of great strength and body. MANILLA.—This colour is sometimes called “ deep deck.’”’ It 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. t¢ FLAT ENAMELS a a Broken White Ivory White Cream 301 302 303 304 305 Specimens of ‘‘PARIPAN” FLAT ENAMEL, by courtesy of Messrs. Paripan, Limited. YELLOWS. 84 MARIGOLD.—This is obtained by mixing a very little bright yellow with orange chrome. *Mars YELLow.—Another name for Romen ochre; which see. It is quite permanent, both in water and on. | 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 eight parts of black. MIDDLE STONE.—Mix as described under ‘‘ Stone,”’ but use more umber and ochre. *NAPLES YELLOW.—A permanent yellow made from an admixture of oxide of zinc and cadmium yellow. In oil colours it may be imitated by mixing lead or zinc with cadmium and adding a little ochre. Naples yellow, when mixed with varying proportions of zinc oxide, yields pure tints of cream, ivory and biscuit. NEUTRAL ORANGE.—-A water colour made from a mixture of cadmium yellow and Venetian or light red. O_p Go1ip.—Use middle chrome with a little vermilion and burnt sienna, and add a very little cobalt. A cheaper colour 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” (which see), but a little burnt umber may be added. Some painters prefer to tint white lead with a mixture of chrome, raw sienna and ver- milion, White tinted with a little orange chrome and burnt umber also gives a good old gold tint. OLIVE YELLOW.-—This colour is sometimes called olive brown. It is made by mixing three parts of burnt umber with one part of lemon chrome yellow, G 88 PAINT AND. COLOUR MIXING. . 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 colour without any admixture being necessary. *ORPIMENT.—Another name for pale chrome yellow. *OXFORD OCHRE.—Another name for yellow ochre but usually applied to a good grade. *PERMANENT YELLOW.—-Another name for lemon yellow (pale), which see. 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. Another variety is called “citron yellow. 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. | *RADIANT YELLOW. — Another name for pale cadmium yellow. *ROMAN OCHRE.—A bright coloured ochre often zalled ‘‘gold ochre,’’ and sometimes ‘“‘Mars yellow.’” It is quite permanent, both in oil and water. 2 hae J YELLOWS. . | 89 SPRUCE YELLOW.—Add a little Venetian red to a mixture of French ochre and white lead. -STONE.—This colour, so much used in London, 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 colour is suitable for outside work. Another method for obtaining the shade is to tint white with medium chrome yellow and burnt umber. STRAW CoLouR.—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. *STRONTIUM YELLOW.—A name given to the deepest shade of lemon yellow. -*YELLOW LAKE.—This is a very fugitive colour which has but little body, but is useful for glazing. It is also called ‘‘ Italian lake,’ “‘ yellow madder,”’ and “ yellow carmine.’’ To imitate it use equal parts of burnt umber and white lead and tint with chrome vellow and lake. Or mix umber and white in equal proportions and add Naples yellow and scarlet lake. To obtain this colour in its full richness it is quite necessary to glaze either admixture with yellow lake. *YELLOW OCHRE.—The ochres are natural mineral pigments, consisting of clay and ferric earth, 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 colour with which they may be used. Oxford ochre is generally accepted to be the brightest of the series, while it is distinguished also for the depth of its covering power. go PAINT AND COLOUR MIXING. *YELLOW ULTRAMARINE.—Another name for lemor yellow (pale), which see. *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 air, sulphuretted hydrogen, etc. It may be mixed with other colours, without adversely affecting them. It is also known as ‘‘zinc chrome’’ and ‘‘citron yellow.’ GREENS, * gi CHAPTER IX. * GREENS, AND HOW TO MIX THEM. NotEe.—The greens marked * in the following list may be purchased ready made. *ALIZARIN GREEN.—This series of greens is manu- factured from the coal tar colours and may be regarded as lakes. They are practically permanent, and take the place of sap green, Hooker’s green, and Prussian green. 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. Ora 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. *BicE.—A water colour called also ‘‘ Green Lake.”’ BLUE GREEN.—Equal proportions of deep chrome green and cobalt, or three parts of chrome green and one of Prussian blue, added to white Jead in the pro- portion 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.”’ 92 PAINT AND COLOUR MIXING. BoTTLE GREEN.—Mix together five parts of mediuin chrome green and one part of blue black. A similar colour may be obtained by adding Prussian blue to blue black and lemon chrome. Another shade is made by using four parts of black and one of green. *BRONZE.—A water colour made of a mixture of chrome greens. BRONZE GREEN.—The usual method is to mix black with chrome yellow (deep), but indigo may be used instead if desired. A much brighter colour is ebtained by a mixture of medium chrome yellow, Prussian blue, and burnt sienna. Or the following recipe may be used : Middle chrome green, five parts ; blue black, one part, burnt umber, one part. A light bronze colour 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 colour is sais in three shades. It may be imitated by a mixture of Prussian blue and chrome yellow. Chrome green is really the same colour, the latter being the name used by artists’ colourmen. *COBALT GREEN.—A_ useful, permanent colour manufactured by tinting oxide of zinc with oxide of cobalt. It is permanent both in water and oil. CHARTREUSE.—This is a light yellowish green colour. Mix four of chrome yellow and five of chrome green, lightening up with white. *CHROME GREEN.—This colour is bought ready made, and is by no means permanent. It is not suit- able as a water colour. To produce it by admixture, add Prussian blue to lemon chrome yellow in the pro- portion of about one part of blue to eight parts of yellow. *CHROMIUM OxIDE.—This is a beautiful, rich and GREENS,» 93 permanent green of an emerald green hue. Chemi- cally, it is a sesquioxide of chromium. It is an artist’s colour. | *CINNABAR GREEN.—Similar in composition to chrome green, but darker, owing to a deeper variety of chrome yellow being employed. It isnot used in water, and is not quite permanent in oil. Fau DE Niz.—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 pale yellow to white lead. Give the green tone to it by means ofa little Prussian blue. ELEPHANT GREEN.—A dark green, obtained by adding emerald green to black. ELECTRIC GREEN.—Mix blue black and lemon chrome, add a little cobalt and lighten up with white. Another method is to use emerald tint, and to adda little blue toit. Usually, the term is a very vague one, and is applied to almost any greenish blue. *EMERALD GREEN.—This beautiful, bright green cannot be successfully imitated. It must not be mixed with ultramarine. The pigment is chemically an aceto- arsenite of copper, is a great favourite with some painters, while others never use it. In America, the pigment is known as “ Paris green,’’ but it is not there used to any extent by painters, although it is used as an insecticide. In the absence of the real thing, more or less presentable imitation may be obtained by mixing eight parts of white lead and one part of medium chrome green, ora 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, ?.e., a thin finishing coat is given over a good green ground to brightenit. Very nearimitations of emerald green are made by most colour houses, 94 PAINT AND COLOUR MIXING. and are sold under various names such as emerald tinted green, emerald tint green, etc. They are not, however, suitable for distemper. Emerald green stands better in oil than it does in water. FOLIAGE GREEN.—-One part of blue black may be mixed with four parts of llyomon 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 isa variety ofsage green. It may be made in the same way as pea green, and when this is reached a little black should be added to bring it to the required sage colour. *GENUINE GREEN.—This is usually to be had ready mixed, but it varies considerably in name as well as in the exact tint. It comes very near to what some manufacturers call ‘“‘ Deep Royal Green,” while it is not far removed from an olive. ef GRASS GREEN.—The colour 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 BIcE.—See Bice. ‘GREEN SLATE.—Tint white lead with a bright green toned down with ochre and lamp black. *GREEN LAKE.—A water colour also called “‘ Greem Bice.” 3 | (GREEN STONE.—-T welve parts of white lead tintec with one part medium chrome green and one part ol raw umber give this tint, or the tinting colours may be French ochre and emerald green with a little lamp black. GREY GREEN.—Use ultramarine blue, lemon chrome yellow, blue black and white lead. *GUIGNET’S GREEN.—Another name for Viridian which see, ¢ GREENS. 95 *HOOKER’S- GREEN.—An artist’s colour made in three or more beautiful shades and called also “‘ Alizarin Green.”’ Originally Hooker’s green was made from an admixture of pigments, but its fugitive character has led to the alizarin being substituted by some firms. *HOLLY GREEN.—A useful colour made by Messrs. Thomas Fewster and Son, Ltd., of Hull. 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 Bup.—This colour 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. Licut 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 colour is obtained. ~ *LIME GREEN.—This is a very fast colour which is bought ready for use, and is only suitable for dis- temper, etc. It cannot be used with oil. *MALACHITE GREEN.—A prepared native carbon- ate of copper. MANSE GREEN.—T[his is produced from a mixture of a bright green, medium chrome yellow and French ochre. MARINE GREEN.—Mix one part of middle pole green with four of black. MepiuM.—A green of this name may be purchased ready made. It is very similar to middle Brunswick green. MIGNONETTE.—Thisisa dark green shade, obtained by mixing one part of chrome yellow and one of Prus- sian blue with three parts of chrome green and fifteen parts of black. 96 PAINT AND COLOUR MIXING. MuscoviTrEe.—tThis 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 colour. 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. This may also be mixed in the manner described in wood, Cy aN Lhe 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 propor- tions 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. *OLIVE GREEN.—The colour sold under this name is made from quercitron lake and ultramarine. In GREENS. 97 water colour it consists of a combination of Indian yellow, umber and indigo. *OLIVE LAkr.—An artist’s colour more familiarly known as “ Sap green,’ and sometimes “‘ Olive green.” ORIENTAL GREEN.—Is made by mixing equal pro- portions of raw umber and lemon chrome yellow. 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 colour is best produced by giving a final transparent coat over a ground colour. For the ground mix a rich green, a very deep Bruns- wick 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 colour, or emerald green may be used if desired. Some makers mix medium chrome green and white lead in the pro- portion of five parts-of the latter to one part of the former to obtain a pea green, but the proportions may be varied 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. *PRIVET GREEN.—A useful green, guaranteed not to face, made by Messrs. Goodlass, Wall and Co. *PRUSSIAN GREEN.— his is sometimes an alizarin yreen.i More often it is made of a mixture of gamboge and Prussian blue for water and quercitron lake and Prussian blue in oil. It is fairly permanent both in jos PAINT AND COLOUR MIXING; water and oil. To imitate, mix five parts black, three darts chrome yellow, and twelve parts emerald or medium chrome green. QUAKER GREEN.—Mix equal proportions of Vene- tian 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 See an excellent Quaker green: *QUEEN ANNE GREEN.—A useful itaiik green made by Messrs. Mander Brothers. REED GREEN.—Mix white, chrome yellow and chrome green in about equal quantities to produce this shade. The name, however, has no special sig- nificance, and an admixture of almost any yellow and green, lightened up with white, might be used instead. *ROYAL GREEN.—A rich green usually made in three or four shades. 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.—An artist’s colour known also as ‘Olive green.’ The colour was formerly made by the admixture of various pigments and was by no means permanent, but now the alizarin colours are usually employed both for water and oil. Mix with white lead, medium chrome yellow, and a very little lamp black. *SAXON GREEN.—A useful colour of lead base. SEA FoAmM.—Tint white lead with medium chrome yellow and emerald green, or if too bright, use medium chrome green instead of the emerald. GREENS. 99 SEA GREEN.—TIhis colour 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 colour. *SUFFIELD GREEN.—A series of beautiful greens made in nine shades by Messrs. Mander Brothers, Wolverhampton. They are a decided improvement on Brunswick greens, standing the light much _ better. They are made in various useful art shades, and the author, who has used them, considers them to be worthy of the highest praise from a. decorator’s point of view. TEA GREEN.—Medium royal green, chrome yellow and lamp black, added to white lead will give this colour. TERRE VERTE. — A natural green earth found in Italy and elsewhere. A _ yellowish variety is sold called olive terra verte. It is quite permanent both in water and oil. VELVET GREEN.—Mix three parts of burnt sienna five parts of light chrome green and eight parts white lead. *VERONESE GREEN.—See Viridian. VENETIAN GREEN.—Lighten up dark chrome green with white lead. *VIRIDIAN.—A beautiful transparent green; also called Veronese green. It is a hydrated chromium sesquioxide and was originally introduced by Messrs. Winsor and Newton. It is useful to-the decorator for glazing, and is permanent both in water and oil. bah peer green and added to w. water BURN int eAbsGr oi eres chrome green, and add a little burnt umber or i ep a DIA Cl, | an -*ZINC GREEN.—A bright colour intended te pe tite place of Brunswick | green as it stands the 1 __. and impure air better. - BROWNS. bel CHAPTER. XxX; BrRowNS, AND HOW TO MIX THEM. There is no definite line of demarcation between the browns and the darker yellows any more than there is between the blues and the greens, or the reds and the oranges. One colour may be said to merge into the other. Still, Vandyke brown may be taken as a typical brown, and should, therefore, be experi- mented with. Umber is another valuable brown which yields tints of a somewhat greenish hue. © In comparing different browns it is well to mix not only white. with them, but also Venetian red, orange, and yellow in various proportions. Then add a_ little black, and then ochre, and perhaps sienna. The colour mixer who has worked conscientiously through this book thus far, will probably be. surprised at finding the number of rich browns obtainable by these means. 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. *AMBER Brown. — Mix together six parts of burnt umber, four parts of medium chrome, and three parts burnt sienna. ARABIAN Brown.—TIhis is a dark terra-cotta, and ‘may be made by adding white and black to Indian red. | 102 PAINT ‘AND .COLOUR MIXING. . Arcus Brown.—This is a very dark brown, and may be made by mixing six parts of black with two parts of orange and one part of yellow. AUBURN TaNn.—This is also called ‘‘auburn brown.’’ Mix together one part of burnt umber, three parts of golden ochre and twenty parts of white lead or zinc oxide. AUTUMN LeEaF.—This is also called ‘‘ leather Jake.’’ It may be made by mixing on a base of white lead, French ochre, orange clrome 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 BrowNn.—This colour is obtained by mixing with six parts of black, one part of orange ant one of yellow. '*BISTRE.—This colour is made from soot obtained by burning wood. It is principally used by artists, and must not be mixed with oil. 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. *BITUMEN.—A dark colour called also asphaltum. It is not ground in water and is liable to cause cracks in paint. BronzE Brown.—Black coloured with a little orange chrome and bright green. Brown.—The methods of obtaining different browns will be found under the headings of the re- spective 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 colour is obtained by using more ochre and less black, in tact, a large variety of brown tints may be produced by varying the pro- portions of ochre and black. V idl GLOSS PAINTS PLATE WV. we 1, mies : 2. Eau de ae ; 3 | . 5. Ecror i ; Sea mice: . s | | ich | } | 9. Buff ; ) - s apes meh | 11. Venetian Red | 13. Light Stone 14. Middle Green 15. Light Purple Brown — = Re a one ; : ] 17. Dark ee: : 18. aS Green = 8. ; en rae. ; ) Seer : “ aie: pai : rae - ee one | 19. Chocolate | 20. Pale ae | 16. Black 23. Russet Brown 24. Dark Blue Samples by courtesy of Messrs. Naylor Brothers (London), Ltd. BROWNS. | 103 *BROoWN OcHRE.—Also called ‘‘ Roman ochre,” | which see. | BROWN Pinx.—A lake made from quercitron bark. {t is fugitive. Burnt Rose.—This is a dark red brown shade. To produce it use two parts of black, one and hall 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. It is quite permanent, both in oi) and water. The colour is a most useful one, and will be found in many of the mixtures in this book. *BURNT UMBER.—This is a rich dark greenish brown, but the shade varies considerably in different qualities. It is made from natural earths by calcining, and is permanent both in oil and water. Turkey umber is the richest. Umbers should always be purchased ground ready for use. . CAFE AU LaAIT.—To produce this shade mix five parts of black, three of white, one of yellow, anda little orange. A little red may also be added if desired. *CALEDONIAN Brown.—A natural earth in which the colour is due to ferric oxide. An imitation may be made by mixing Vandyke brown and sienna. *CAPPAGH BROWN.—This is an artist's colour of a reddish brown colour, being very like umber. It contains manganese. | *CASSELL EartTH.—Another name tor Vandyke brown, which see. 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. Equal parts of chrome and vermilion with a little black may also be used. CHOCOLATE.—Five parts of burnt sienna and one part of carmine or lake give a rich chocolate. ee BaAryTES.—A heavy white or greyish white natural mineral of crystalline. texture consisting principally of sulphate of barium. This article varies in quality FLAT WALL PAINTS E HYGEIA 26 PLATE XI. HYGEIA 65 HYGEIA 27 HYGEIA 60 HYGEIA 33 HYGEIA 61 HYGEIA 43 HYGEIA 62 HYGEIA 54 HYGEIA 56 HYGEIA 79 HYGEIA 72 HYGEIA 63 HYGEIA 64 a HYGEIA 70 HYGEIA 76 Selection from HYGEIA FLAT WALL FINISH range of Colors, by courtesy of Messrs. Pinchin, Johnson & Co., Ltd., London. , > a _ , -, eee MANUFACTURING SCALE OF MIXING. I51 and price according to its whiteness and freedom from earthy and irony matter. The finest grades are used to adulterate white lead, white zinc, and similar high class white pigments. The commoner varieties are introduced as cheapening agents tutuputty and coloured paintsgenerally. Ithasbeen te: medthe paint grinder’s friend, and it is equally his enemy according to the point of view. Its price varies from 35s. to £4 per ton, and a peculiarity of the material is that it requires a very small proportion of oil to reduce it to the con- sistency of paste. - WHITING OR PARIS WuitTEe.—This well known material (which is almost pure carbonate of lime) is used largelyincheap paints to neutralise the heavy and porous nature of barytes; it is more opaque than barytes but it is much lighter and absorbs a much larger proportion of oil. It is, as is well known, the base of common distempers and a peculiarity of the article is that although in a water medium it dries out very white, in an oil medium it assumes a yellow olour. Putty is composed largely of whiting. GYPSUM OR TERRA ALBA.—This material is not much used in Britain in paint making but enjoysa wide use in America, and for certain kinds of paint it has much torecommendit. Ifitis adopted care should be taken that it should only be employed in the hydrated form, as if it is not used in this form it rapidly absorbs moisture from the air and sets into a hard impervious mass, acting precisely as the well known plaster of Paris. Terra alba of good quality is a very white pigment and amalgamates well with certain of the lighter oxide. of iron colours, ochres, etc., forming protective paints of good quality. CHINA CLtay.—This article is never used in large quantities in paint grinding, but a small proportion is sometimes introduced into paints of a spongy or open texture in order to give coherence. A word or two must be added with regard to the K 18%. PAINT AND COLOUCK Wii base pigments with which the foregoing cheapeneis or adulterants are mixed. Little need be said of white lead or white zinc, as to completely treat of these well known articles would cover many pages. The following brief notes, however, on the chief colour pigments may be of use, and one remark applics to them all, viz., that in manufacturing paints it is the truest economy to purchase the very best pigments that can be obtained. Ly best we mean the strongest and brightest, and these properties should in every case be caretully tested against a standard sample. YELLOW PiGMENTS.—The ochres are natural earths, and are valued in proportion to their purity of yellow tone, staining power and freedom from materials such as chrome or cheap lakes introduced with the object of giving a fictitious yellow tone. A good quality grinding ochre will fetch a very high price and it is one of the most expensive colours to grind, requiring to be passed through the rollers many times before the grit is finally disposed of. The chromes are well known yellow pigments and are seldom ground otherwise than pure. RED PIGMENTS.—These are obtained in endless variety, the most important being the zvon reds, the best of which is oxide of iron.. Thus we have Indian ved, Venetian red, bright oxide reds, purple browns and purple oxides and many other oxide colours known under fancy names. In purchasing these for grinding purposes they should be examined for staining power and also for the tone of shade produced on reduction with white lead and whiting respectively. The colour produced on reduction with whiting is important for the reason that cheaper grades of paint would be produced in this way and often an unpleasing tint of red is produced on reduction. Freedom from grit is also animportant feature. Itisa great mistake to purchase a red which is difficult to grind even although it is otherwise cheap, as the saving in price MANUFACTURING SCALE OF MIXING. 153 _will be rapidly neutralised in the subsequent grinding operations. Other red pigments are the ved lakes and so-called fast reds and aniline reds, which are used in comparatively small proportions for special decorative purposes, BLACK PIGMENTS,— The most important is perhaps ivory black and a large proportion of black sold under this name to-day is not ivory black at all but simply bone black, the production of ivory black being very limited. Other blacks are vegetable or lamp black and gas or carbon black. - The latter possesses great staining power and is useful in giving the requisite amount of blackness to black paints which, paradoxical as it may seem, always contain a large amount of white material. BLUE PIGMENTS used by the paint grinder are ultramarine blue, to a very limited extent, and more largely Prussian blue usually in one or other of its reduced derivatives, Brunswick blue (which is Prussian blue struck on a base of terra alba) or celestial blue, (which is composed of Prussian blue struck on a base of barytes). The enormous staining powerof Prussian blue will be understood when it is said that a very excellent and strong staining Brunswick blue can be produced by striking Prussian blue on terra alba in the proportions of 124 per cent. of Prussian blue to 874 per cent. of white base. GREEN PIGMENTS.—The great bulk of these consist of the well known Brunswick greens which really consist of a mixture of chrome yellow, Prussian blue, and white base, the latter being usually barytes. In the case of greens it is of the utmost importance to use a very pure and strong staining colour, otherwise it is impossible to reduce them with economy in the mixing and grinding. Having disposed of the dry colours used in the. process of paint manufacture we now turn to the oil employed to reduce the dry colour to the paste or 154° PAINT AND COLOUR MIXING. stiff form. Linseed oil is-the only oil of practical. importance in this connection, although for artists’ colours some other of the drying oils are occasionaily used. The proportion of oil absorbed by the various pigments is a matter of great consequence to the paint grinder, and we give the following table compiled by Mr. J. Cruickshank Smith, B.Sc., F.C.S., the figures in which represent the number of parts of o11 by weight usually required by I00 parts by weight of the respective dry colours. TABLE OF QUANTITY OF LINSEED OIL REQUIRED IN GRINDING PIGMENTS, _ hite Lead (English stack made) 63—7. 4 (Chamber process) 74—8, Oxide of Zinc sae 20—21, _ Sulphide Zinc White ... . ws =14—I16. Sulphate of Lzad (Glasgow Whites, cant SE Best White Barytes fe ih ie, bag Second Quality Barytes ret 56 yr pS Common Grade Barytes 9-10: Paris White x 2t=-23) Oxide of Iron Pigineits 18—24. Fine Italian Ochre OF: Strong Staining Ochres Ne ... 30 and upwards. Strong Staining Siennas ee eH iar 15 Sy Fine Turkey Umbers ... oe ve arash Yee si Vandyke Brown es ee baa OS Vegetable and Carbon Black. Nae iow Leh Pure Chromes 3.7 i els oa oats Eas Ultramarine... a ae a ATericet Lime Blue ae Bn oA Pure Prussian Blue iss a tes SFOs Brunswick Blue ts By: oae 8094 EOE Celestial Blyei... = iat she ee Brunswick Green 15—20. The question of oilis allimportant in paint grinding as the cost of the oil is one of the most serious con- siderations. It is therefore one of the problems which face the paint grinder to adjust his paint mixing in such a manner as to necessitate the introduction of the smallest possible quantity of oil in the grinding MANUFACTURING SCALE OF MIXING. 155. At the same time he has to consider that unless vere is an adequate proportion of oil present he cannot get the paint to mix properly and therefore he has to hit upon the nappy medium. The general rule is that the heavier the pigment the less oil it absorbs, and a reference to the foregoing table will show that this rule is followed pretty closely, white lead and barytes which are the heaviest pigments, absorbing the smallest proportion of oil, while pigments like sienna and Vandyke brown, which are very light, require almost their own weight of oil. A further important point is that damp pigments always require more oil to grind them than dry pigments. It is a mistake to suppose that the use of cheap or indifferent linseed oil cheapens the cost of the paint, because it does not do so. Oil containing a large pro- portion of albuminous matter does not go so far as a clear bright oil. Therefore attention ought to be paid to the quality of the oil purchased and also to the storage tanks to see that they are free from sludge and foots. The last ingredient we have to revert to in the case of stiff paints is what is sometimes termed the “ binder.’ This material may vary in nature and it 1s not always required. Its object is to enable the oil to retain the pigment in suspension. Thus, if the paint grinder is grinding a somewhat low quality of Brunswick green, he finds that after the paint is ground - and placed in the kegs, the solid matter is apt to settle down with the result that the lower part of the keg contains a hard mass of pigment and the upper part a sloppy mass of mixed oil and pigment. To avoid this inconvenience which at once results in complaints he introduces into the paint in the process of mixing something of a tenacious viscous nature which helps the oil and pigment to remain incorporated together. Bc'led oil is sometimes used for this purpose and some old fashioned grinders use a large proportion of 156 PAINT AND COLOUR MIXING. boiled oil in their paint mixing. This practice, how- ever, is rapidly dying out and a better material to use is a small proportion-of varnish foots, say 7 to 14 lbs. to the cwt., but care must be taken that the quantity is not too large, otherwise the whole of the paint will set hardin the kegs. Before finally adopting any particular batch of varnish foots or other similar’ material as a binder it should be tried on a small scale, as these materials often contain large quantities of active driers and other chemical matters which act in peculiar ways on the paint. MACHINERY AND PLANT USED IN PAINT GRINDING. After a paint grinder has decided on the relative proportions of colour, cheapening materials, oi! and binder, he has to set about amalgamating these into the stiff paint and the first process is that of mixing. Paint mixing machines are of various types including :— (1) The old fashioned pug mill, which consists of a vertical cylinder with revolving spindle carrying usually six knives set at right angles to this spindle which, when the latter rotates, cut through the mass of paint and gradually mix it. (2) The vértical mixer which consists essentially pf a horizontal box or chamber containing blades ~ which revolve and cut the paint up after the fashion of a dough mixing machine used by bakers. (3) The improved pan mill of which that perfected by Messrs. Torrence, of Bitton, may be taken as a type. This latter mill possesses many attractions and is especially useful where mixing has to be done quickly, as owing to the construction of this mill the paint undergoes a good deal of grinding as well as mixing. The second class of mill referred to above is onty useful for fairly soft paints. For very stiff paints the first class is said by some authorities to give the best _ results. The process of mixing paints in any of the MANUFACTURING SCALE OF MIXING. 157 above mentioned machines is not altogether a hap- hazard process. For example, in mixing tinted paint it does not do to throw in all the white colour first and then dump the staining material in towards the end of the operation. Asa matter of fact the best results are got by mixing up the tinting matter separ- ately in another mill and introducing it in the mixed state into the mixture containing the white colour. This avoids the formation of lumps and irregular patches of material which would otherwise manifest. themselves when the mixture was placed upon the grinding rollers. In making up tinted paints on a large scale the order in which the various tinting materials are added is somewhat important, and if this be not attended to the result is frequently that a considerable pro- ' portion of material is wasted. In thisconnection the author strongly recommends anyone who proposes engaging in the manufacture of tinted paints to under- take a fairly exhaustive course of study of the actual tinting and staining properties of the pigments com- monly used by paint grinders. This side of the question is very frequently left somewhat severely alone with the result that it is only after numerous failures and spoiled batches that the would-be manu- facturer comes to appreciate the relative strengths and tinting properties of the raw materials which he ‘s using. A very useful course of study is to take in | rotation the ‘various staining pigments commonly used by paint grinders, most of which we have already dealt with in the foregoing paragraphs, and to reduce these in varying proportions with white lead, white zinc and whiting. In this way a very fair idea is obtained of the variety of shades obtained by these strong staining materials. In order to indicate a few of the points that have to be attended to in making up tinted paints in general we may discuss in some detail the manufacture of 158 PAINT AND COLOUR MIXING. two typical tinted paints, viz..: Slate colour and mast colour paints. We will suppose that the paint manufacturer is required to produce a slate colour paint in the stiff form, and we will imagine that the exact tint to which his paint is to conform has been given him. Let us suppose that this tint is of a somewhat pale colour of the nature of the so-called ‘‘ invisible grey ’”’ used in the British Navy. Now, every practical man who has gone through a course of training in the staining properties of pigments will see by inspection of this colour that it contains four elements, viz.: white, black, blue and red, and common sense united with a little practical experience will show him that it will be fatal to the ultimate result if he adds too much black to begin with. He will know by practical trial and experience that the most sensitive or easily affected of the four elements just mentioned is blue, and he will be proceeding on correct lines if he adds the blue tinting material first. Let him therefore select his white base, which in the case of a somewhat “clean ’’ or bright looking colour would be oxide of zinc (either pure or reduced according to the required cost with terra alba). Let him then add such a quantity of ultramarine blue as will bring the paint to the same depth of colour as the given sample. By then adding little by little small proportions of black the brightness af the blue will be “ killed ” and the slate colour or greyness will gradually manifest itself. The object of the red is to neutralise the native “‘ cold- ness ’’ of the blue and black and the addition of a very small quantity of Indian red will probably suffice to give the necessary cast of colour. The proportion of Indian red will be very small and will vary accord- ng to the colour of the ultramarine used as certain grades of ultramarine possess in themselves a dis- tinctly reddish tone. Suppose for the moment the paint grinder were MANUFACTURING SCALE OF MIXING. 159 to begin by adding black to the white base. He would in all probability overstep the mark and would obtain a dark grey colour which would require the addition of a very large proportion of blue and pro- bably of white as well to bring it to the required slate tone. The general rule, therefore, in adding a mixture of tinting colour to a white base to produce tinted paints, is to commence with the more sensitive and delicate ones and to add the stronger and darker ones last and in the smallest proportions. FIG. 25. Another example of a tinted paint and the method of its product on is mast colour. In this case the white base will in all probability be white lead, con- taining a greater or smaller proportion of whiting, and, if the quality is a somewhat low one, a proportion of second grade barytes as well. The tinting colours will be Oxford ochre, Venetian red, burnt seinna, and orange chrome. In this case the practical man will see at once that the ochre is the predominant materia! 160 PAINT AND COLOUR MIXING, ~ — and he therefore commences by adding a sufficiency of this pigment. He then adds sufficient burnt sienna to give the richness and density to the ochre; this he then follows with Venetian red, or in the case of some low grades he would probably use Venetian red right through in place of sienna. Finally, he livens the whole up by means of orange chrome. One of the chief points in paint grinding is to FIG. 26. judge the proportion of oil that should be added in ~ the mixing process. Frequently the material becomes somewhat heated with the result that it works softer than it ultimately becomes when cold ; this has to be allowed for. Another type of machine largely used for the mixing of paint bodies and the thinning down of same is the ‘‘ Universal Kneading and Mixing Machines,” MANUFACTURING SCALE OF MIXING, 161 made by Werner, Pfleiderer and Perkins, Ltd. These have been for wy many years adopted by leading paint and enamel manufact- urers. As. will be seen from the _ illustrations, MMMM, these machines consist of I oe coma oof \ equipped with one or two f* horizontal blades, the | action being such as to WY produce the most gh thorough and __ perfect mixing obtainable, and in such manner as to pre- vent any possibility of settling or stratification. Fig. 25 shows _ the heavier type as_ used for white lead and zinc bodies, etc., whilst Fig. 26 illustrates the lighter type in use for thinning down, stirring, etc. The ‘‘ Universal’’ type of Kneader is also extensively used in the manu- facture of the finest grades of putty. These machines are, where required, supplied with arrangements for emptying through the bottom of the trough instead of by the tilting of it. ,. GARDNERS PATENT RAPID'SIFTER & MIXER Fic. ray In the preparation of fine colours and paints in oil, turpentine or water, it is often most economical to mix and sieve the pig- i ments while they are in the form of a dry powder and before they are ground in their medium. For this- purpose a very useful IFic. 28. machine is the ‘‘Rapid’’ Sifter and Mixer, manufact- ured by Messrs. Wm. Gardner and Sons (Gloucester), Ltd., and is illustrated in Fig. 27. It may be said to con- 162 PAINT AND COLOUR MIXING. sist of two chambers, one above the other. In the top chamber into which the powdered pigments are intro- duced is a finely meshed sieve of silk which surrounds a specially constructed spiral brush. This brush very quickly breaks up tiny lumps while the mechanism causes the finely divided powder to pass through the sieve and drop to the chamber below. At the same time any. foreign matter, such as small stones, sticks and irreducible lumps, are automatically thrown out of the machine through a spout provided for the’ purpose. In the mixing or blending chamber below to which the finely sifted powder has descended, an agitator is provided by which the blending and mixing is very thoroughly effected in a short time. A second form of the same machine is shown in Fig. 28. A still further variety in construction is called the “‘ Quick Change”’ powder dresser. In this machine the sieve can be changed so that several powders of varying degrees of fineness can be dealt with in the same day. It can also be adjusted. in such a manner that two different mixings can be produced at the same time. After mixing, the paint is transferred to the grinding rollers which now almost invariably consist of what is known as a three-roller horizontal mill. These mills have been brought to a state of great perfection, and by the use of suitable mixing apparatus the amount of grinding is reduced to a minimum. Sometimes two, three or more grinding mills are worked in series and the paint falls from one to the other becoming still further reduced at each operation. As an indication of the difference in grinding required by different pigments we may remark that white lead is usually considered to require one grinding, white zinc two grindings, ochre staining colours three grindings, sienna and some of the harder staining colours, as well as colours for coachmakers and printers inks four to six grindings. MANUFACTURING SCALE OF MIXING. 163 In the first part of this book are given illustrations and descriptions of the paint mixing machines which are suitable for the use of house painters, coach painters and decorators. It will be useful now to include a brief description of some of the larger machines suitable for the use of paint and colour manufacturers. In Fig. 29 is shown a motor edged runner mill for dry grinding and blending; the rolls are carried on separate crank and rise and fall quite independently of each other. The rolls bear ali across their entire width of face and are always parallel to bed of pan. The rolls cannot get out of the upright position nor lean over to either side. Ploughshaie scrapers are provided which always present the material in a new form to the action of the rolls. It may be mentioned that the mills have been altered and somewhat improved since the block was made. FIG. 29, The quadrant triple roller mill is illustrated in Fig. 30. This machine is made on an entirely new principle; the driving pinions are carried by two quadrants which, while maintaining the proper depth of gear between themselves and the driving wheel in any position, admit ot a varying adjustment of gear with the driving wheel fixed upon the roller spindle and by a simple screw 164 PAINT AND COLOUR MIXING. adjustment to accommodate themselves to the diminish- ing diameter of the rolls. The gear is entirely enc osed FIG. 30. and works in an oil bath, and thus effects a considerable saving of power. MANUFACTURING SCALE OF MIXING 168 The illustration in Fig. 31 shows what is known as the ‘‘Vortex’’ mixer, which has a capacity of 4o to 50 gallons, and is suitable for mixing and diluting all kinds of paints and enamels. The contents can be drawn off while the mixture is working, ensuring uniform consistency from first to last. The propeller blades are all polished and are in knife edged contact with the bottom of the container. They are driven by machine cut gear and work in an oil bath gear case. . Fic. 32. An excellent type of mixing machine adapted for mixing dry colours in oil as well as for thinning down thick pastes to liquid paints, indeed, for nearly all kinds of mixing when uniform results are required, is the ‘““Torrance’’ Patent Mixer, which has two sets of blades .n the revolving pan. By means of the lever the pan is thrown out of gear, whilst the blades continue to revolve and agitate the contents, which can then be drawn off during agitation, ensuring a perfect uniform consistency 166 PAINT AND COLOUR MIXING. from first to last. The capacity of this mixer is 30 gallons, and it is a very serviceable machine. The ‘‘Perfect’’ Mixer is shown in Fig, 33. It is used for practically the same purpose as the former, but is quite different in construction. The object in this case was to produce a machine of extreme simplicity. The whole contents of the container are brought in turn in the action of the revolving blades and the mixing is BiG. 33; accomplished in a few minutes. The container may be removed to any convenient place for drawing off the contents. This container is 2I inches in diameter and 14 inches deep, and will mix 12 gallons at one operation. It is fitted with handles convenient for lifting, and with a discharge valve as shown in the engraving. All the above machines are designed and» manufactured by Messrs. Torrance & Sons, Ltd., Bitton, near Bristol. PLATE XIl. pra es WEE LOW GREEN: “DARK “BROWN: © Feaciples of “MATSINE * on Painted Surfaces. | a nae MANUFACTURING SCALE OF MIXING. 167 The mixer shown in Fig. 34 is American made, the proprietors being Messrs. Kaestner & Co., Harrison and Troupe Street, Chicago, Ill. The construction is clear from the engraving. Bic. 34. In Fig. 35 is shown a sectional elevation of a special mixer made bv the same firm, while in Fig. 30 Li 168 PAINT AND COLOUR MIXING. is shown a mixer specially constructed to be suspended from the ceiling. This may be either steam or water om | Fic. 35. jacketed and is manufactured by the. above-mentioned house MANUFACTURING SCALE OF MIXING. 169 I ini Kg t i is si be | Fic. 36. HIS ARN I I= i, \ 170 PAINT AND COLOUR MIXING, But Ae sis. ee A battery of paint mixers is shown below. This illustration gives a good idea of the mixing machinery in use in a modern paint manufactory. The quantity of ~ Fic, 37. paint which can be mixed within say a week is very large. The mixing is very thorough MANUFACTURING SCALE OF MIXING. I7I For more minute information of the grinding of paints we refer the reader to the ‘‘ Manufacture of Pam by). Cruickshank Smith, B:Sc., F.C3S., published by Scott, Greenwood and Son, London. PREPARED PAINTS. These are, as we have already indicated, the final stage in the manufacture of paint. The stiff paint prepared as already described is placed in large mixers either of a horizontal or vertical type where the proper proportions of oil, turpentine, driers and sometimes varnish are added. The machinery is set in motion and the mixture is thoroughly beaten up by means of stirrers for several hours, at the end of which time the ingredients have become thoroughly amalgamated. Anyone who has seen a paint mixing mill of this des- cription will at once disabuse himself of any idea he may have possessed that a painter working with a domestic pail and a wooden paddle is equipped with an ideal paint mixing plant. The proportions of the various ingredients employed by manufacturers of prepared paints vary greatly. Much depends upon the con- sistency of the stiff paint used, the softer this is the more easily it is worked up, and many of the ready _ mixed paint manufacturers are very skilful in making up their stiff paint so as to require the minimum amount of thinning with oil and turps, which are expensive ingredients. Then again the quality of the stiff paint has considerable influence ; the better the quality the more thinning material the paint will stand. Obviously, if the paint is of very inferior quality the addition of the normal quantity of liquid thinners would render the paint practically useless as a covering material. While, therefore, the dominating agent is the nature of the pigment in the stiff paint it is only practical trial with the particular stiff paint that” is to be employed, which will indicate exactly how much thinners is required. As to the relative proportion 172 PAINT AND COLOUR MIXING. of oil and turpentine, this also is a matter which will vary according to the necessities of the case. For ordinary outside use one part of turpentine to three parts of oil is ample, and the probability is that when turps reaches a high price this proportion will be re- duced, if possible. The question has sometimes been discussed whether really glossy paint can _ be made without the addition of varnish. Trial has proved that this can be done by using a good bodied boiled oil in place of a proportion of the linseed oil. Indeed the introduction of varnish into prepared paint has little effect upon the gloss, although it has a considerable influence. on the wear and vitality of the paint. | | The whole question of the advisability of employ- ing varnish as an ingredient of ready mixed paints is one on which contrary views are entertained, and if the question is asked whether or not varnish is a satisfactory ingredient of these products, the answer is that it all depends upon the nature of the varnish and the composition of the paint. Assuming that the paint is made of the very best «materials, carefully selected and prepared in the best possible manner, and assuming also that the varnish is selected with due regard to its composition and the composition of the ingredients with which it will be combined, then there can be no doubt that the introduction of a material containing, as varnish does, a proportion of gum resin will add materially to the life and protective qualities of the paint. On the other hand, if paint is manu- factured to meet competition and if the temporary appearance of the painted surface rather than the composition of the paint itself has been the object of the paint manufacturer’s attention; if, further, the composition of the varnish is a more or less unknown quantity, then it may unhesitatingly be said that varnish will do little good to the finished paint and. may in many cases be a source of serious trouble MANUFACTURING SCALE OF .MIXING: 173 A varnish which contains resin should never be used in mixed paints. Not only so, but many of the cheaper gums used as substitutes for the finer copals are not suited for amalgamation with pigments. Again, the presence of certain dry materials in paint often exer- cises very curious results on materials of a varnish nature, causing what is known as “ jellying ’’ and other disastrous results. There is no more technical or intricate branch of varnish manufacture than the preparation of what are known as mixing varnishes, that is to say, varnishes suitable for admixture with paints and pigments, and unless the paint manu- facturer is prepared to spend some time in the selec- tion of suitable varnishes he will be well advised to leave them out of the question altogether in the - fabrication of prepared paints for decorators’ use Of course, in such articles as varnish paints, anti- fouling compositions, etc., varnish of some. kind is the base of the whole thing. - The recent boom in turpentine substitutes has raised the question whether these could be safely used in ordinary prepared paint. The balance of evidence dt the present time appears to show that assuming ‘due care and caution have been exercised in the purchase of a turpentine substitute, very good _ paints can be prepared containing these articles, pro- vided there is plenty of oil in the paint as well; that is to say that while a very good glossy paint can be produced containing a turpentine substitute, it would not be so easy to Pee a thoroughly good flat naint. The question of driers in ready mixed paint also deserves attention. Paint manufacturers as a rule use nothing but paste driers, and these are usually added in a considerable quantity for two reasons. (1) Because the driers employed are usually very cheap and tend to cheapen the paint. | 174 PAINT AND COLOUR MIXING. (2) Because of all the complaints to which the~ paint manufacturer is exposed that of bad drying in paint is most troublesome, and so long as he gets his paint to dry he is not so particular about other features. Of late years manufacturers of prepared paints for special purposes, in particular protective paints, have been adopting the principle of using liquid driers, but detailed information concerning their use and proportions is hardly within the scope of this work. The following are authenticated proportions which _have been employed in Britain in the manufacture of prepared paints. The qualities, it will be observed, are by no means first rate, but represent very fairly what may be described as ordinary commercial quali- ties of tinned paints suitable for re-sale. It is, of course, in the power of the manufacturer to vary these mixings according to his actual requirements. GROUND PuRPLE BROWN (FoR R.M. PAINT). cwts. qrs. Ibs. 2 O Dry Purple Brown. 2 O Paris White. 2 2 0 No. 2 Barytes. 21 Boiled Oil Foots. 7 Varnish Foots. 20 Raw Linseed Oil. GROUND BRUNSWICK GREEN (FOR R.M. PaInrt). cwts. qrs. 1 eee. I eae Dry Green (pure). 3 21 Paris White. 3 2 O No. 2 Barytes. 14 Boiled Oil Foots. 14 Varnish Foots. ~ I 21 Raw Linseed Oil. MANUFACTURING SCALE OF MIXING. 175 GROUND White LEAD (FoR R.M. Painr), cwts. qISs. lbs. ae O O Dry White Lead. 6 O O Best Barytes. 2 16 Refined Linseed Oil. COMPOSITION OF7ONESLON. OF. k.M.- PAINT .ON. THE BASIS OF A VARIETY OF SHADES, cwts. rs. lbs. I4 I 15 Stiff Paint. 2 pe 22 Paste. ters. 2 I O Raw Linseed Oil. 2 1g American Turpentine. 20 fo) O With regard to the cost of prepared paint per ton, the following is_a skeleton cost sheet, including the various items which must be included in such a statement. } Cost oF R.M. Paint PER Ton. fe Sie el. Materials as above .. - et BOAO. UO Cost of manufacture of stiff ite Se ONO = poole... paint, “including filling and labelling Q 32046 eee tins. OO. 0 = labels 7 a sis ree OO ,, packing ae Pl BORO AG ,, supervision, office, travelling, and other expenses .. 3 Si 6 cen It will of course be borne in mind-that the cost of tins is a very important item in the above. Tins are usually quoted at so much per gross, therefore in the case of paint packed in one pound tins there will be 2240 tins per ton, in the case of paint packed 176 PAINT AND COLOUR MIXING. — in two pound tins 1120, and so on, according to the size of the various packages. It has been stated by a prominent ready mixed paint manufacturer that he considers the cost of manufacturing ready mixed paints exclusive of materials and packages, but includ- ing labour and packing, at about £8 per ton on an average of all sizes of packages. | : WATER PAINTS, DISTEMPERS, 6c. 1797 CHAPIER XX. WATER PAINTS, DISTEMPERS, ETC. For many years distemper colours have been used ‘by painters with more or less success, a large variety of colours being available for interior decoration. In most cases such distemper colours consist of whiting mixed with colour in the proper proportion to produce the desired tint, size being added by the painter to bind the particles together and prevent the colour rubbing off when the hand or clothes are brought in contact withit. Of late years various washable water paints have been put upon the market in a large variety of colours and have gained very considerably in popularity. Not only are they suitable for insice _ work, but in certain cases they can be employed also on the exterior of buildings. Further than this, some of the water paints may be painted or varnished over so as'to produce the effect of oil paint at a considerable reduction in price. The varnish may be applied directly to the distemper or a coat of:size may kc given first. In the latter case there will be little or no darkening of the colour when: the varnish is applied. A better method than using size is to give a coat of gold size thinned with twice its bulk of turpentine. This costs rather more than the size, but is more satisfactory. 178 PAINT AND COLOUR MIXING. The coloured plates, numbered VI., VII., VIII. IX., and X., show many examples of different water paints, some of them of totally different character, and it is hoped that these will be of service to the reader in selecting suitable colours for his work. Alabastine,. shown on Plates IX. and X., as fully explained under the heading of ‘‘ Description of Coloured Plates,”’ is a class of distemper which is manufactured in a number of colours, and supplied in the form of powder. Some of these washable distempers shown on the Plates have a world wide reputation. The author feels that he should limit himself here to a description of the use of these water paints, leaving the reader to investigate further as to their respective merits. One point, however, is worth especial note, and that is each manufacturer issues a book of colours or tints which he keeps in stock, and these are freely supplied to painters on request. A small selection of such books will be found of the utmost use in selecting the particular colour required for any job, whether it be a simple cottage ora townhall. Indeed, such books are exceed- ingly useful to show to one’s customer, who can quickly make a selection from them. The latest plan is to supply the books with the samples divided through the centre so that harmonious contrasting colours can be selected. The use of water paints may be divided con- veniently into three parts, (1) for interior decorations ; (2), as a substitute for oil paints ; and (3), to prevent blistering. We may take these three headings sertatem. For interior work they produce, if properly applied, very beautiful flat surfaces of light or bright colours as may be desired.. After a little practice they are not at all difficult*to apply, so as to get a flat surface without laps. _ Very charming results are obtained by using a different coloured frieze to that of filling and stencilling onasimple ornament. The mistake that many painters ~ WAIT RPA is; DISTEMPERS, Ed" 179 make is to suppose that this class of paint possesses more body than it has, or to put it in another way, because these paints have an excellent body, some painters try to produce with one coat the results that can only be reasonably expected withtwo. Whiting is not always the base of these paints, frequently lithopone or zinc white is employed, it being well known that zinc white acts well either in water or oil. ‘As to how far these paints will go, Mr. J. CRUICK- SHANK SMITH gives the following figures:—For one hundredweight, one coat, 400 yards; two coats 200 yards, and three coats,’'120 yards. One of the most used water paints on the market is mixed with a special liquid supplied by the manufacturer, and the painter should be cautioned against making his mixture too thin, and also against adding anything (such as water), other than the ingredients recommended by the manufacturers. In every case explicit directions are given by the makers as to the use of these paints, and the painter has only himself to blameifhe departs from them. We give belowa few recipes for distempers and water paints arranged by Mr. W. G. Scott, the eminent American writer on paints and ‘painting. WALL SUCTION SIZE. (a) 2 lb. white glue ; soak four hours in 8 gallon coid water; dissolve on water bath. (6) ¢ 1b. pulv. alum ; dissolve in } gallon boiling water. (c) $ lb. bar soap (shaved fine) ; dissolve in 4 gallon boiling water. Into solution (a) pour 2 gallons of boiling water, add solution (b), then (c) ; stir well, then add 8 Ib. of plaster of Paris. This will stop suction on the coarsest sand wall, and the surface eventually becomes as hard as flint. 180 PAINT AND COLOUR MIXING. SIZE FOR DISTEMPER. bas -(a) 14 1b. soda (carbonate of soda); } 1b. borax ; dissolve in 3 gallons boiling water ; add_a little at a time, 5lb.pulv. resin ; continue the heat until the resin is dissolved. | | (b) 5 1b. white glue ; soak four hours in 5 gallons cold water ; dissolve and add ro gallons hot water. Mix (a) with (0). INSOLUBLE WALL FINISH FOR PLASTER WALLS. (a) 4 oz. chloride of zinc ; dissolve in ? gallon hot water. (b) 2 oz. borax ; dissolve in 4 fl. oz. hot water. (c) 2 oz. cream of tartar; 8 oz. common starch ; 16 oz. zinc oxide ; mix with 4 gallon cold water. Mix (a) and (bd), boil and add (c), stirring a few minutes, then apply hot. ! DEXTRINE BINDER FOR WATER COLOURS. (a) 8 oz. yellow dextrine ; dissolve in 16 fl. oz. cold water. | : | (6) tograinsthymol ; dissolvein 8 fl. oz.hot water. Mix (a) and (0). STARCH BINDER. (a) 3 oz. common starch beat up with 6 fl. oz. cold water, then pour into 64 fl. oz. boiling water. (b) 2 oz. gum arabic ; 4 oz. pulv. borax ; dissolve in 16 fl. oz. cold water. Mix (a) with (0).° DISTEMPER AND WHITEWASH. COMMON DISTEMPER. (a) 4 1b. white glue, soak four hours in } gallon cold water.; dissolve on a water bath. (b) 16 lb. dry Paris white or whiting, beat up in 1 gallon boiling water. Pour (a) into (0), and mix by stirring. The above formula will make about 2 gallons of distemper, and it will weigh 12 lb. to the gallon. WATER PAINTS, DISTEMPERS, Ge. 181 The covering capacity is as follows : 1 gallon covers on wood, 225 square feet; 1 gallon covers on brick, 180 square feet ; 1 gallon covers on plaster, 270 square fee t. 2 The time of applying, using a 4in. brushis : Rough walls, 22 square yards per hour; smooth walls 38 Square yards per hour ; flat surface, 40 square yards per hour; ceiling, 25 square yards per hour. FENCE SIGN WHITE. (a) 6 lb. quicklime ; slack in 1 gallon warm water ; keep covered while slacking. (b) 4 oz. white resin ; dissolve in 12 fl. oz. boiled linseed oil. | (c) 6 lb. whiting ; beat up on x gallon skim milk. Mix (a) with (b) while hot, then add (c). WEATHER WHITEWASH. (a) 8 lb. quicklime; slack in 2 gallons boiling water. | (b) xr lb. carb. soda; dissolve in + gallon boiling water. (c) 4 1b. common glue ; 1 lb. rice flour or pounded rice ; soak 8 hours in ? gallon cold water; dissolve ‘on water bath. | Mix (a) with (b), then add (c). WASHABLE DISTEMPER. (a) 4 lb. white glue; soak 4 hours in 4 gallon cold water; dissolve on water bath. (b) 4+ lb. phosphate of soda; dissolve in 4 gallon hot water. _ (c) 16 lb. whiting or other pigment ; beat up in I gallon warm water. Mix (a) with (c), then add (6). CoLp WATER PAINTS. --I lb. casein, 14 oz. soda ash, mix with ro Ib. whiting, zine oxide, clay, or other white pigment, o1 182. PAINT. -AND COLOUR MIXINGS 1 lb. casein, 6 oz. Vienna lime, mix with Io lb. whiting, plaster of Paris, etc., or 1 lb. casein, I 0z. powdered soap, 2 OZ. pulverised borax, 3 oz. dry carbonate of soda, mix with 10 lb. dry white pigment. WASHABLE CoLD WATER PAINT. 7 |b. Paris white, 2 lb. zinc oxide, 2 lb. plaster of Paris, 4 1b. white dextrine, + 1b. pulv. gum arabic, 14 oz. pulv. borax, I oz. pulv. alum. LIQUID PREPARED WATER COLOUR. (a) 12 lb. quicklime slack in 3 gallons water. (b) 3 lb. silicate of soda, thin with 1 gallon hot water, then stir in 14 Ib. casein ; stir until dissolved. (c) 2 lb. strong white glue; soak 8 hours in 4 gallon cold water; dissolve in 4 gallon hot water; dissolve on water bath. (d) 2 lb. pulv. alum; dissolve in } gallon hot water ; then stir in 24 lb. Paris white or whiting. Mix (a) with (b), add (c), then stir in (d). * COLOURS WHICH ARE FAST TO-CUimie In executing distemper or fresco painting upon ordinary plaster, anumber of colours cannot be success- fully used as the free lime in plaster acts upon the colour and bleaches it. Following is a list of the principal colours which are fast to lime, and are not affected. Most of the earth colours, such as Vandyke brown, red oxide, yellow ochres, siennas and umbers, Venetian red, Indian red, light red, lithopone, zinc white, whiting, cadmium yellow, ultramarine, cobalt blue, chrome green, emerald green, lamp black, and all black pigments. The crimsons and greens are the most likely to be adversely affected by lime. The following test may be used to ascertain whether any particular colour is fast to lime or not. First mix three parts of plaster of Paris to one part of freshly slaked lime, add water, mix toa paste and place WATER PAINTS, DISTEMPERS, Gc. . 183 in a frame or mould about one inch deep. Place the paste in this mould, smooth level on the top, and when set remove the frame. Now take the colour to be tested, painting all the surface of the plaster slab so formed, at the same time paint a small portion of cartridge paper, and when dry, put this away between the leaves of a book, so that the light cannot get to it. Expose the painted slab to strong light for twenty-four’ hours, and then compare the colour with the colour painted on the cartridge paper. If there is any differ- ence between them, the colour is more or less affected by the lime. As a further est place the slab into a dish or other suitable flat vessel, pour in water until it nearly covers the slab, leaving, however, the painted surface just above the top of the water. Leave it in that con- dition for twenty-four hours, and again compare with the cartridge paper. The water will act upon the lime, and cause it to act in its turn upon the colour. Any water paint which will stand this test may be said to be quite fast to lime. The substitution of washable distempers for oil paints in order to lessen the cost is becoming better understood among painters every day. The writer is by no means prepared to say that one or two coats of water paint, followed: by a coat of oil paint, will produce a better result from the point of view of durability than a good oil paint of carbonate of lead or zinc all through, but he does assert most positively that where it is necessary to lessen the expense, the water paint under the oil paint will produce a far better job than could be obtained by using the adul- terated oil paint which would be necessary in order to keep the price within the same limits. There is an immense amount of work done by the painter which does not justify the use of the very highest class materials, for instance, cottage and small villa property, workshops, factories, where a very high finish M 184 PAINT AND COLOUR. MIXING, is not always required, and if the work is primed with water paint and two coats of good oil paint are given on top of it, the job will be a good one. The preven- tion of blistering by the use of water paint above mentioned is very important and is not so well recog- nised among painters as it deserves to be. Ifa really good water paint is used it will cure the most obstinate case of blistering. — Another use for certain of the water alte which are supplied in dry powder, notably Alabastine, 1s for filing. The importance of having a level surface upon which to paint is well understood among painters, and the necessity is most marked in the case of enamel work, because the gloss would show up every inequality. A simple, cheap filling is made by Alabastine, and the cost is lessened also, because it may be so readily rubbed down. ARTISTS’ WATER COLOURS. “185 CHAPTER XXI. ARTISTS WATER CoLouRS AND How To MIx THEM. The colours used in water colour painting in most cases bear the same names as those ground in oil for decorators’ use, but there are a number of excep- . tions. For instance, the chrome green of the artists’ colourman is similar to the Brunswick green of the house painter. All of the principal names will, how- ever, be found under the head of the various chapters headed, “ Red,” ‘“ Blue,’ etc. Noté is also made in the same places of those colours which are used exclusively in water and are not suitable for use in oil and vice versa. Plate XI. contributed by Messrs. ‘Reeves and Son will repay a careful study. Considering the large number of artists’ water colours on the market it is obvious that no artist would, as a rule, have them all at hand. Indeed, from one to two dozen colours are usually quite sufficient for the use in all ordinary water colour painting. It may be taken as a safe ruJe that, within reasonable limits, the more restricted a painter’s palette is, the better. By the kindness of Messrs. Madderton and Company, Ltd., of Loughton, Essex, manufacturers of artists’ and decorators’ colours, we reprint from “‘ Notes for Artists,” the palettes of several well known artists, and they may safely be taken as a guide. BELL, RoBERT ANNING, A.R.W.S.—Rose madder, pale cadmium, mid cadmium, deep cadmium, per- manent yellow, cobalt blue, French ultramarine, 186° PAINT AND COLOUR MIXING. cobalt green (light), oxide of chromium (viridian), oxide of chromium (opaque), permanent Chinese white, — Chinese vermilion, Venetian red (light red), golden ochre, raw sienna (light), trans. golden ochre, yellow ochre (Oxford ochre), terre verte, burnt umber, ivory black, raw umber, Turner brown, verona brown. MacIntTosu, J. M., R.B.A.—Light red, vermilion, rose doré, rose madder, purple madder, Venetian red, cobalt yellow (aureoline), pale cadmium, deep cadmium, lemon yellow, cobalt blue, French ultramarine, ivory black, sepia, yellow ochre, Roman ochre, raw umber. raw sienna, oxide of chromium (viridian), burnt sienna cobalt green, orange cadmium. | SEVERN, WALTER, R.C.A.—Indian yellow, orange cadmium, aureoline, yellow ochre, orange vermilion, scarlet vermilion, alizarine, crimson, violet mineral, rose madder, cobalt blue, cyanine blue, emerald green, brown madder, transparent brown (dark), Payne’s gray, ivory black. 2 SIR FRANcIS POWELL, P.R.S.W.—Pale lemor _yellow, aureoline, yellow ochre, transparent orange ochre, raw sienna, raw umber, transparent browr (light), burnt umber, brown madder, burnt sienna Chinese vermilion, rose madder, alizarine crimson and scarlet, cobalt violet, alizarine violet, cerulean blue, cobalt blue, ultramarine, cyanine blue, transparent green, oxide of chromium, emerald green, ivory black. LINTON, Sir JAMES D., R.I.—Brown madder purple madder, ruby madder, scarlet madder, pale cadmium, deep cadmium, orange cadmium, cerulean blue, cobalt blue, French ultramarine, oxide of chro- mium ‘(viridian), scarlet vermilion, burnt sienna. Venetian red (light red), raw sienna (light), Roman ochre, transparent golden ochre, yellow ochre (Oxford ochre), yellow ochre (light), Prussian blue, old terra verte, burnt umber, blue black, ivory black, raw imber, transparent brown (dark). ARTISTS’ WATER COLOURS. 187 » BAYLISS, SIR WyYkE, P.R.B.A.—Yellow ochre, lemon yellow, auteoline, raw sienna, light red, madder carmine, Chinese vermilion, cobalt blue, ultramarine, ash, Vandyke brown, sepia, burnt sienna, emerald green, ivory black, brown madder. The following water colour palettes are taken from “ The Chemistry of Paints and Painting,” by Prof. A. H. Church (Seeley). SIR JOHN GILBERT, R.A. (15 pigments).—Chinese _ white, yellow ochre, raw sienna, vermilion, light red, Venetian red, Indian lake, cobalt, ultramarine (arti- ficial), indigo, Prussian blue, Antwerp blue, pe sienna, Vandyke brown, and ivory black. ALFRED W. Hunt (17 pigments).—Lemon yellow, gamboge, ‘yellow ochre, raw sienna, vermilion, light red, Indian red, madder lake, terra verte, cobalt, ultramarine, ultramarine ash, smalt, madder brown, raw umber, burnt sienna, burnt umber. _A palette that is useful for flower painting for those not well versed in mixing colours is as follows : Raw sienna, burnt sienna, Chinese white, yellow ochre, gamboge, Indian yellow, lemon yellow, Prussian blue, French blue, cobalt, Naples yellow, emerald green, purple lake, crimson lake, pink madder, brown madder, brown pink, sepia, Vandyke brown, scarlet lake, scarlet vermilion, carmine, olive green. It will be readily understood that from these palettes nearly any colour or hue may be obtained so that the artist has at hand means for obtaining any effects desired. Occasionally it may be found desirable to buy a small tube of some special colour for a special purpose or to obtain a special effect. Although we have given below a few mixtures by which some colours can be imitated it is more impor- tant to the beginner in water colour painting to know the general effects of admixture and the purposes for which they may be employed. Mr. Frederick Oughton has copyrighted a colour chart for water 188 PAINT AND COLOUR MIXING colour painting which the author recommends strongly | to beginners for close study. It is published at 2s. 6d. by Messrs. Winsor and Newton, and consists of a sheet of cartridge paper divided into twenty-one numbered spaces. Upon each is given a wash of two or more colours, pure at the top and blended together imme- diately below, being lightened off by the addition of water as the colour reaches the bottom. The follow- ing colours are used: (1) Indigo, Vandyke brown, and alizarin crimson ; (2) French blue and brown madder ; (3) Cobalt, sepia, and alizarin crimson ; (4) Cobalt and — light red; (5) Cobalt rose madder and yellow ochre ; (6) Cobalt and raw sienna; (7) Cobalt, rose madder and aureolin ; (8) Cobalt and yellow ochre ; (9) Sepia and gamboge; (10) Indigo and yellow ochre; (11) Indigo and gamboge; (12) Indigo and sepia; (13) Prussian blue; (14) Prussian blue, burnt sienna and gamboge ; (15) Prussian blue and aurora yellow ; (16) Prussian blue and aureoline; (17) French blue and alizarin crimson ; (18) Cobalt and rose madder ; (19) Rose madder and yellow ochre ; (20) Vermilion and gamboge ; (21) Vermilion and yellow ochre. The chart indicates at a glance the different colours which are obtained by mixing the various pigments mentioned above after each number. The student might very well prepare for himself a number of such charts based either upon his individual fancies as to a palette, or by taking one or even several of those given above. It would be excellent practice to make a chart on every one of these palettes and to keep all the charts for constant study and inspec- tion as recommended under the head of “ How to Learn to Mix Colours,” How To IMITATE WATER COLOURS. It will be noted in the following list that white, which is so important an element in mixing oil colours is almost wholly omitted. The reasons for this are ARTISTES WATER COLOURS. 189g first, that the addition of water to water colours produces a thin wash or a tint in the same manner as pigmentary white in oil colour; next, that if white pigment is added in any quantity to a water colour a chalkiness results and the tone of the colour is destroyed, and third that the paper or ground in water colour painting being usually white this forms an element which must always be considered. More- over, crude white is very rarely employed in water colour painting excepting, perhaps, for small high lights and cloud effects. The following brief list gives the mixtures by which some of the colours named may be imitated. ALIZARIN GREEN.—Prussian blue and gamboge or aurora yellow. BLUE BLACK. Ein and sepia. BuRNT SIENNA.—A close imitation may be obtained by mixing madder carmine and cappagh or Caledonian brown. CapMIuM.—Chrome yellow with a very slight addition of burnt sienna. CADMIUM ORANGE.—Add a little vermilion to medium cadmium yellow. CoLOGNE EArtTH.—Prussian blue and sienna. Grays.—A large series of grays suitable for skies may be produced by mixing either of the fol/ow- ing colours with or without black as may be required : Lake and cobalt; lake and indigo; light red and cobalt; Indian red and cobalt; indigo, lake and burnt sienna; indigo, lake and gamboge. HooOKER’S GREEN.—Prussian blue and gamboge or aureolin. Inpico.—Dark ultramarine with black and add a very little veridian, or mix- Prussian blue, crimson lake and black. INDIAN: RED.—Tone vermilion with a very little yellow ochre and add madder carmine and ivory black until a match is made. 190 PAINT AND COLOUR MIXING. Licut ReEp.—Mix together yellow ochre, vermilion and cappagh or Caledonian brown. © MADDER Brown.—Vandyke brown and crimson. PrussiIAN BiuE.—Add black and a very little veridian to ultramarine. NEUTRAL ORANGE.—Cadmium and Venetian red. RAw SIENNA.—Mix aureolin, yellow ochre, with cappagh or Caledonian brown. RosE MAppDER.—Crimson lake with a little Van- dyke brown. SEPIA.—Vandyke brown and black. VANDYKE Brown.—Tint cappagh or Caledonian brown with madder carmine and sadden with a very little black. VENETIAN ReEp.—Mix together yellow ochre, vermilion and madder carmine and add a little cappagh or Caledonian brown. SUGGESTIONS FOR PAINTERS IN WATER COLOUR. Although the above list may be useful under some circumstances the beginner in water colour painting will be more interested in learning the mixtures which may be successfully employed in various parts of a picture and to such the following hints will be useful for study.” It must always be remembered that thin washes are, as a rule, intended. AUTUMNAL Tints (See also skies).—(a) Indian yellow ; (0) @rench blue and brown pink ; (c) Cobalt, Naples yellow, and rose madder ; (d) Gamboge and rose madder. a 3H Banks, EartTHy.—(a) Light red, yellow ochre, and Payne's grey ; (b) Gamboge and burnt sienna ; (c) Yellow ochre and Vandyke brown. BRACKEN.—Yellow tints, yellow ochre, French blue and Indian yellow. Green tints: French blue and yellow ochre. Red tints: cadmium, Venetian red and burnt sienna. . ARTISTS’ WATER COLOURS. 191 BRANCHES OF TREES.—(a) Vandyke brown; (0) Brown madder with or without a little French blue ; (c) French blue and brown madder ; (d) Rose madder and blue black ; (e) Sepia and brown madder. BACKGROUNDS.—It is almost useless to give mixtures for backgrounds, because to put it crudely anything will do for the purpose provided that it harmonises the picture itself or either throws in relief or acts as a foil as the case may require. The follow- ing are some useful backgrounds other than plain greys and grays which are so often employed. (a) Cobalt blue, Chinese white and emerald green ; (0) Cobalt and brown madder; (c) Cobalt and scarlet vermilion with a little emerald green. CLOUDS AND DISTANCES.—Mix thin washes, either of the following in varying proportions according to circumstances:. (a) Cobalt, yellow ochre, and rose madder; (b) The same, omitting the cobalt; (c) - Brown madder and cobalt ; (d) French blue, burnt sienna, and crimson lake ; (e) Indigo and blue black ; (f) Cobalt and light red; (g) French blue and blue black ; (A) cobalt, light red and rose madder; (2) Yellow ochre or Indian red with a little rose madder. CLoups (STORMy).—(a) Blue black and light red ; (b) French blue and blue black ; (c) French blue, light red, and blue black. FLOWERS AND FRuit.—It is obviously impossible within the limits of the present work to give anything like a complete list of the different colours used im painting fruit and flowers ; indeed, their number is infinite. A few of the most important, however, may be given. (a) Vermilion and gamboge (marigold] ; (0; Vermilion and yellow ochre; (c) French blue ana crimson ; (d) Rose madder and cobalt ; (e) Rose madder and yellow ochre; (/) scarlet lake and cobalt (Christmas rose) ; .(g) Madder and white or pink madder by itself (pink rose) ; (h) Scarlet lake and carmine (red rose) ; (2) Crimson lake and purple lake (dark parts 192° PAINT AND COLOUR MIXING, of cyclamen; (7) Crimson lake mixed with either purple lake, madder brown, Indian yellow or BOranSER : (carnation). = FOLIAGE, GRASS AND HERBAGE.—Clearly a wide range of greens, reds, and yellows may be employed forthese purposes. The following are some suggestions. (a) Veridian and French blue; (6) Gamboge and sepia; (c) French blue and emerald green; (d} Emerald green and gamboge ; (e) Indigo and gamboge ; (f) Indian yellow and burnt umber; (g) Indian yellow and French blue; (h). French blue, Indian yellow and burnt sienna ; (2) Yellow ochre and French blue ; (7) French blue, rose madder and yellow ochre ; (k) Indigo, light red and yellow ochre; (/) Gamboge, burnt sienna, and French blue; (m) Burnt sienna, Indian yellow and French blue; (m) Yellow ochre, gamboge, French blue, and burnt sienna. FOLIAGE AND HERBAGE (DISTANT).—(a) French blue and brown pink; (b) Yellow ochre ; (c) Brown pink mixed with French blue and either burnt sienna or Vandyke brown; (d) Naples yellow and cobalt ; (e) Cobalt and lemon yellow; (f) Naples yellow, yellow ochre, and cobalt. FOREGROUNDS.—(a) Brown pink, either by itself or mixed with burnt sienna, Vandyke brown or gam- boge ; (0) gamboge and yellow ochre; (c) Yellow ochre and cobalt, with or without a little light red. GrAss.—(a) French blue and gamboge; (0) In- digo and gamboge; (c) French blue mixed with gamboge and yellow ochre or Indian yellow; (d) French blue and yellow ochre. GRAYS, WARM AND CoL_p.—For clouds, hills and distant effects. To get these mix either of the follow- ing, depending upon the circumstances :—Mix cobalt with either (a) Light red; (6) Raw sienna; (c) Sepia and crimson ; (d) Rose madder and aureolin, or (e) Rose madder and yellow ochre. Mix indigo with Ahitol So aVALER -COLOURS: 193 crimson and Vandyke brown or mix French blue with brown madder. / Ivy.—(a) indigo and burnt sienna; (d) Yellow ochre, brown madder and French blue; (c) Brown madder, French blue, and a little cobalt. LEAVES AND STEMS OF FLOWERS.—Here again a very large variety of greens might be given, but the following list will be found to suit most requirements : (a) Naples yellew or gamboge mixed with a little emerald green ; (6) Cobalt or French blue mixed with carmine and Naples yellow ; (c) Prussian blue and gamboge; (d) French blue, gamboge, and yellow ochre; (e) French blue, raw sienna, and gamboge ; (/)} French blue, scarlet lake, anda little Naples yellow. NotE: This gives a delicate bluish mauve suitable for the under part of the leaves of the cyclamen ; (g) Indian yellow, gamboge and Prussian blue; (A) Olive green used alone or mixed with a little raw sienna, white or Prussian blue; (2) Prussian blue, sepia and raw sienna ; (j) Cobalt gamboge and yellow ochre. This list might be added to almost indefinitely, but inasmuch as several greens are usually to be found in the palettes of most painters further examples are not necessary. MountTAINS.—(a) Yellow ochre, cobalt and rose madder; (b) Either two of the three last mentioned ; (c) Cobalt, rose madder, and raw umber; (d) Light red, rose madder, and cobalt. RivErs.—The colours used will depend, of course, upon the state of the river. Ifitis calm raw sienna with a little Vandyke brown and cobalt will answer. If dark, Indian yellow, sepia, and lake may be used, or Vandyke brown, Indian yellow and lake. Roaps.—(a) Rose madder, burnt umber, and indigo; (b) Light red and blue black; (c) Yellow ochre ; (d) Yellow ochre, light red, and either Payne’s grey, or a little cobalt; (e) Yellow ochre and Van dyke brown. — 194 PAINT AND COLOUR MIXING. _ SEA.—(a) Cobalt mixed with either hght red, burnt sienna or lake, and yellow ochre, (b) Indigo, . yellow ochre, and rose madder ; (c) Raw sienna mixed with blue black or cobalt. ; SHADoOwsS.—The colour of shadows will, of course, always depend upon the colour of the object upon which they are thrown. The joo Nar mixtures are . among the most useful— (a) Brown pink, French blue and lake; (b) Lake and Indigo; (c) Blue black, lake and burt umber ; (d) Cobalt rose madder and yellow ochre. | SHADOWS, ESPECIALLY OVER FLESH COLOUR.— Mix cobalt and raw sienna. SHADOWS (FOREGROUND).—When a purple shadow is required use either (a) Cobalt mixed with rose madder; (b) French blue and crimson. SHADOWS (GENERAL).—Vary either of the follow- ing : (a) French blue, burnt sienna, crimson lake ; (6) Cobalt, raw and burnt sienna. SHADOWS (WARM AND COLD).—(a) Sepia, indigo, and crimson lake; (0b) Indigo and light red; (c) Crimson lake and blue black ; (d) Light red and blue black ; (e) Indigo and Indian red. SHips (HULL).—(a) Burnt sienna; (b) Lake and Vandyke brown; (c) Burnt sienna, brown madder and blue black. Satis: (a) Raw sienna; (b) Yellow ochre, and umber; (c) Roman ochre; (d) Brown madder and lhght red. SKIES.—Skies may vary from differently toned grays to pure cobalt: Under the head of grays on page rrowill be found a number of different mixtures most of which are suitable for sky work. The follow- ing are additional mixtures :— (a) Cobalt and rose madder; (0d) Indigo and Indian red; (c) Cobalt and a little Chinese white or (da) Cobalt by itself. ’ STONE WALLS.—(a) Rose madder and blue black ; (|) Yellow ochre and Vandyke brown ; (c) Blue black ARTISTS’ WATER COLOURS. 195 (zd) Indigo and sepia; (f) Yellow ochre and blue black ; (g) Yellow ochre, light red and blue black. SUNSET AND SUNRISE.—The same as Autumnal Tints, which see. TREES: DISTANCE AND MIDDLE DISTANCE.— Use either of the following: (a) Indigo and gamboge ; (0) Sepia and gamboge ; (c) Cobalt and yellow ochre ; (d) Indigo and yellow ochre; (e) Indigo and sepia ; (f) Cobalt, lake and yellow ochre; (g) Brown pink, indigo, and burnt sienna; (kh) Gamboge, light red, and indigo. TREES (IN THE FOREGROUND).—Either of the following mixtures will serve: (a) Prussian blue, gamboge, and burnt’sienna; (0) Prussian blue and aureolin; (c) Prussian blue and aurora yellow and Prussian blue and burnt sienna ; (d€) Gamboge, yellow ochre, and indigo; (e) Gamboge, burnt sienna, and indigo; (f) Naples yellow, Indian yellow, French blue, and a lit‘le burnt sienna. 196 PAINT AND COLOUR MIXING, CHAPTER “XXIE TESTING COLOURS. Although to accurately test the quality of a colour requires somewhat elaborate’ experiments, both > chemical and practical, yet there is no reason why the painter should not determine with a sufficient degree of accuracy for his purpose the quality of the colour he uses. Indeed, if this was done more generally, many of the grossly indifferent colours would be driven from the market, and none would rejoice more at such a result than the colour manufacturers themselves. The writer has no connection with, or interest in, these manufac- turers, but it is only fair to assert that they are as desirous that the trade should use pure colours as the painters can possibly be. Even the largest houses producecheap gradesof colours, and this they do almost under a protest and simply because they are compelled by painters demanding colours for certain low prices, far below that at which it would be possible to produce the pure article. As a rule such adulterated colours do not bear the name of the maker. Our advice to painters is: Make a careful comparison between pure colours and those you are using. At the same time, compare the prices and then see which is cheaper to use. IJfeven they come out at the same price, remem- ber that by using a pure colour you will have all the benefit of that purity of tone so necessary for the execution of good work. TESTING COLOURS. 197 The first thing to be done in testing any pagnt material is to have a standard. There must be no doubt about this. Unless we have in each case some- ching with which to compare the particular sample of colour that is being examined, we shall have no aseful information concerning it. Take, therefore, good decorators’ colours of well known make. If necessary purchase small tubes of the best colours, such as are put up for artists’ use. This will be rather a severe trial, but still it will afford a standard. Having such samples and going through the tests weare about to describe, the painter can, after some amount of trouble, arrive at results which are almost as accurate as those which could be deduced by a chemist. An expert on this question some years ago summarised the characteristics of colours which should be con- sidered in making the examination, under the following heads. :— 1. Purity of the material. | 2, Purity of the tone';~ brilliancy ; richness, which indicate the amount of care in selection. 3. Fineness of grinding or preparation ; this means the degree of the division of the particles and upon the completeness of such division the durability will ina great measure depend. ~4. Its spreading capacity. 5. Its body. This applies, of course, ic to opaque or semi-opaque colours. Body is opacity, and means capacity to conceal the surface to which the paint is applied, and must not be confused with spreading. It is an inherent quality. 6. Its staining power or tinting strength with white or colours. 7. The quality of purity of the tint obtained by mixing with white. 8. Ifa paste colour, the consistency of the paste. 9g. Transparency of transparent colours and the quality of the transparency. 198 PAINT AND. COLOUR MIXING. 10, Phe permanency of the colour. It will be observed that all of these tests wil] not necessarily be apphed to everycolour. -For instance, a transparent colour would be tested for its trans-. parency, but certainly not for its body. The one condition is the converse of the other. We will now consider the above-named qualities separately. | PURITY OF THE MATERIAL.—This is sometimes of considerable importance, as in the case of white lead, whilst in others—for example the earth colours—it can hardly be said that there is a standard of purity. As _ a rule a knowledge of practical chemistry 1s necessary in order to determine whether a sample of paint or colour is pure or not. The purity of white lead, hewever, can readily be ascertained by the painter who possesses no chemical knowledge, viz., by aid of the blow-pipe. Takea piece of flat charcoal and scoop out a hollow space from it into which place a small piece of white lead to be tested, about thesizeofapea. Nowdirect the flame ofa blow- pipe upon it, using an ordinary paraffin candle or a Bunsen burner, taking care that the blue portion of the flame bears upon the lead. Keep up a steady blow for a few minutes and the white lead will be converted into metallic lead, which will show in the form of a bright silver-like button. If the lead is adulterated the blowing will only have the result of making it appear like a cinder. To conduct this experiment successfully requires a little practice with the blow-pipe in order to obtain a steady flame. Another method of testing is to place a little white lead in a crucible and place this on a hot fire, when, if genuine, it will be converted into metallic lead. A form of blow-pipe that may be purchased at most ironmongers’ shops consists of a wooden handle and a container filled with cotton soaked in benzine. To this is attached a rubber tube with a mouthpiece. - PLATE XUIL. SPANISH MAHOGANY, GREEN. "WALNUT. PITCH PINE: OLD OAK. i acta aoe . bamsls of , * MATSINE” ” on Painted Surfacer TESTING. ‘COLOURS. 199 _. This blow-pipe is very easily used, and may be success fully employed in testing the purity of white lead in the manner indicated. PurRItTy OF TONE.—Some remarks on this subject will be given under the heads of the various groups of colours. Speaking generally, the richness of brilliancy of tone is easily discernible by placing the sample to be tested side by side with another of well known excellence. Insiennas, ochres and umbers the selection of crude material by which the richness of tone is assured is of great importance. FINENESS OF GRINDING.—The method of testing the fineness of a pigment usually employed by the painter is to rub a little on the finger nail; but this is a crude and unreliable method. If the pigment is dry and it is desired to compare it for fineness with a similar pigment or white lead, the following is as good a plan as any :— Take two tali vertical glass jars, place in them an equal amount of turpentine, ard then take a small quantity of the white lead to be tested. Place it in one jar, and an equal quantity of the pigment with which it is to be compared, in the other ; thoroughly stir up both and then note the time it takes the samples to settle. If graduated marks are made on the two jars the observations will be taken more readily. Another test is to weigh out equal quantities of the two leads, and then to take a very small quantity of the same colour, say black, and add to each sample, thoroughly mixing. The lead that is the lightest in colour will be the finest. The explanation of this is somewhat interesting. Suppose that we have a number of cubes of white lead each measuring one inch side. This will give us six superficial inches to be coloured. Now suppose that we break up these inch cubes into half inch cubes, which will give eight half inch cubes to each inch cube. Now as each half inch cube has six faces measuring half an inch by half ar N 200 PAINT AND COLOUR MIXING. inch, it has a superficial surface of three square inches ; and as there are eight of the half inch cubes, there are twenty-four superficial inches to be coloured against six intheinchcubes. It will beseen, therefore, that by increasing the fineness of a pigment a greater surface is presented to be coloured, and hence more colour is required. Another test for fineness is ‘to paint’ different samples thinned in turpentine on plate glass; when dry the two specimens may be compared, and the difference of fineness between them will soon be apparent. - | : Still another test, and one frequently used by painters, is to place a quantity of the colour ground in oil that 1s to be tested upon a level surface such as a piece of glass, and to run the blade of a spatula or palette knife over it, and then over another sample with which it is to be compared, noticing carefully the difference in appearance of the two samples. By these means the presence of grit is discovered. SPREADING CAPACITY OR COVERING POWER.— The spreading capacity of pigments and thei1 “‘ body ”’ are very nearly related, although of twc equal in body one may possess greater covering power or spreading capacity than the other. A practical method of testing covering power is tu mix a small quantity of a standard paint and an exactly similar quantity of the pigment to be tested, taking care to use precisely the same amount of oi] and thinners in each case. Then taking a clean brush for each of the paints, paint a door, or other surface that has been primed, on twc panels side by side, continuing to paint till all the pigment has been in each case used up. The one that goes farthest has the greater covering power. In comparing the two it will be well to notice whether the body is equal to both cases, as one may go farther but not cover so well. TESTING ~ COLOURS, 201 Bopy.—The word“ body,” as applied to pigments, is almost synonymous with opaqueness. It is the most important property of a pigment, and it is because white lead possesses the quality in an eminent degree that it is so much valued. _ Body is sometimes called “ covering power,” but this term is a little misleading, as some may suppose it to relate to the spreading capacity of the pigment. If two. different white leads ground in oil toan equal consistency be applied to different panels of a door, primed in the same manner, the one of the two leads that possesses the better body will be shown by it hiding the grain of the wood better. Some white leads, especially those that are manufactured by the new processes, lack this important quality of body, and three coats will only cover the work as well as about two of old process white lead., There are numbers of methods of practically testing the “‘ body ”’ of pigments, among the simplest being the following. Prime and paint a board with alternate black and white squares, like a chess- or draught-board. Takea sample of a pigment, similar to that to be tested, of which the body is known to be good, and paint a wide strip across the chess-board; then paint asmaller strip of the pigment to be tested. When both strips are dry, by comparing them one can tell almost at a glance which has the better body, the superior pigment covering or hiding the black squares better than the other. A second coat may afterward.be applied to each over a portion of the strip, if desired. It may be again mentioned that in all cases of practically testing paints the results are obtained by comparisons being made, and hence it is necessary in every case to have a standard with which to compare the sample to be tested as has already been explained. ~ The test of painting over squares of black and white may be varied by using~-stripes instead, The test 202 PAINT ;AND COLOUR “MIXING, answers equally well tor white lead, zinc, lithopone or any pigment of which the quality of body is of impor- tance, In some colours it is of little moment. TINTING OR STAINING STRENGTH.—We have already explained at length how greatly the tinting strength of different colours or stains varies. Any painter can test the tinting strength of any colour ‘-himselfin avery simple manner, All that is necessary is to have a pair of apothecaries’ scales, some blotting paper, a palette knife, some pieces of glass or a flat piece of marble and some pieces of waxed paper. First weigh out say eighty grains of dry white lead or dry. zinc. Any other white will answer equally well. Place these eighty grains on one side of the glass and the second eighty grains on the other. Now take the dry colour and weigh one grain and add that to one of the little piles of white, then weigh a grain of the standard colour and add that to the other pile. Next add to each pile a few drops of oil, taking care that the number of dropsisthesameineachcase. With the palette knife thoroughly mix until no streaks can be seen and the mixture is perfectly uniform. Then by comparing the two the difference in tinting strength will at once be apparent. The same result would have been produced had ordinary white lead ground in oil been used instead of dry lead or zinc. . If the colour is ground in oil a little difference in the method must be observed, the reason being that one colour might be ground much thinner than the other, in other words might contain much more oil than the other, and hence if equal weights of each were compared the result would be misleading. Take then each colour in oil— that is the standard and the colour with which it is to be compared—place on a small quantity of blotting paper and allow it to remain a few minutes so that the oil may be extracted. If it is thought necessary the sample can be washed with benzine, but for painters’ purposes the extraction of the oil by means of blotting TESTING COLOURS. 203 paper is sufficient for the purpose. 1ne two samples having remained on the blotting paper for a short time one grain of each is weighed out separately on little pieces of wax paper, this being used so that the colour shall not stick to the scale. Then each grain is mixed separately with the white and the result compared as before. It is not too much to say that every paintet should be prepared to make this test, because it informs him not only as to the tinting strength of the colour, but also gives valuable information as to the tone, etc. Of course the quantities may be varied if necessary, and a larger amount used instead of the single grains. It need hardly be pointed out that scrupulous cleanli- ness is necessary for successfully carrying out this test. The palette knife must be wiped between each operation and every care taken to do justice to both samples. If the reader will turn to Plate I, in this work he will see a number of colours given in their full strength, and also when reduced with certain parts of white, as marked upon the sheets. The colours used in the preparation of this sheet were of excellent quality, and it will prove interesting no doubt to the student to mix the colour he has been in the habit of using in the same proportion with white, and to note whether the results come out above or below those shown by our samples. THE PERMANENCE OF CoLours.—It must be admitted that it is very disappointing to a painter to find, after taking pains to produce the exact colour required, that : “ flies’”’ or fades after a little exposure to the weather. The tests for the permanence ofa colour when exposed to light are simple enough, and are to mix a little of the colours to be tested in oil and to spread them on different slips of paper, cut the paper in half, number each half with corresponding figures or letters, expose one half to a strong light for as long as may be deemed desirable and put the other half away 204 PAINT AND COLOUR MIXING into’a safe place where the light does not penetrate. Waxed paper is the best, as it will not absorb the - thinners or, better still, glass may be used, this being cut across with a diamond after the paint has been applied. ‘It need hardly be said that the permanence of water colours is entirely different from that of oil colours. Some very useful experiments were made several years ago by Captain Abney on the permanence of water colours, and these were published in the form of a blue book. In the lists of colours which are given in the preceding chapters, the quality of permanence or non-permanence unter various con- ditions is given in each case. COLOURS’ FAST" 10> Liar Some colours fly or fade very quickly, while others are perfectly permanent. In the lists of mixtures under the head of ‘“‘ Reds,’’ “‘ Blues,’’ etc., in this book, will be found a list of all the colours on the market and a note is made in each case whether the colour is permanent when exposed to light or not, The method of ascertaining whether a pigment is fast to hight is recommended by GEorcE H. Hurst in his admirable book, ‘‘ Painters’ Colours, Oil and Varnishes,’ and is as follows. Probably the simplest method (which is a very good one) of testing the durability of colours, is to pro- vide a sheet of unglazed cardboard; that known as Bristol board will do very well. Itmust haveso slight an absorbent property that if any coat of paint is placed on the surface it will remain there, and not soak into the substance of the cardboard. This sheet of board is ruled into squares or rectangles measuring about 3.In, by 3'In.jor 2)in “po yees ie A little of the colour to be tested is ground up v.th a little gum water into a smooth paste, and a portion of one of the ruled spaces on the cardboard painted withit. Itis advisable to rule and prepare two TESTING COLOURS, 205 sheets at the same time. The name of the colour can be written either underneath the patch of colour in the square, or in a corresponding position on the back of the card. It is also advisable to grind a little of the pigment with oi], so that the relative durability as a water colour and as an oil colour can be tested. One of the prepared cards is hung in a place where it is exposed to as much sunlight and air as possible, while the other card is placed in a drawer away from any such influence. After a week or two of exposure the cards can be compared to see if any changes have occurred ; they can then be replaced in their respective _ positions, and from time to time compared together. Any change which may have been brought about by the action of sunlight and air on the exposed card will be observable ; some colours will be changed in a few weeks’ exposure, other colours require months of exposure to produce any effect. By placing a card painted in the manner described, with different pigments in a closed cupboard, in which is placed a vessel containing some ferrous sulphide and diluted sulphuric acid, the action of sulphuretted hydrogen on the colours can be tested; if any are affected by this test it is certain that they will be similarly affected when exposed to the action of impure ware ess Wemay now take each colour separately, following the order taken by the late Mr. W. C. Wilson, whe arranged the above quoted table in conjunction with the author. CHROME GREEN.—This colour is often made by the addition of a base such as barytes, but the pre- sence of this material is not necessary. A number of different shades of chrome green are sold, usually designated pale, mid (middle or medium) and deep. The tinting strength should be tested by mixing one part of green to, say, a hundred parts of white lead or zinc, as explained elsewhere, or twenty-five parts of 206x PAINT AND‘ COLOUR MIXING, lead may be used to one part of green. Ifit is desirec to find out the relative strength for tinting purposes of the green, it can be done very simply in the follow- ing manner, but the painter must have a pair of apothecaries’ scales, in order to weigh the different quantities. Take first the same quantity of the green which is being tested as that of the standard. ‘If the colour is not so deep add more green each time, and more and more until the two samples are exactly the same tint. By comparing the weights the experimenter will have acctrately the relative value of the two greens for colouring purposes. The test for body of the green is performed in almost exactly the same way as that already. described for white lead. Prime a board thoroughly so that there may be no absorption, paint across the centre of it a stripe of white and by its side a stripe of black. When thisis thoroughly dry take the two greens; that is, the standard and the one being tested. Then mix both with exactly the same amount of oil and turpentirce. Take a clean brush for each and paint over the black and white stripes. The one which has the greatest body will, of course, hide the stripes better than the other one. The experiment is simple, and is very useful as a body tint. BRONZE GREEN.—This colour is usually mixed by the painter and not bought ready made, although all manufacturers make’ bronze greens. Quaker green is practically the same thing. The mixture usually employed is ochre, lamp black and a little yellow. The chrome should be either yellow or orange, but not lemon. Bronze greens may be made in a large variety by varying the quantities of the colours mixed and by introducing sienna, umber or Indian red in small quantities as may be required. The colour is very rich, and many cheap bronze greens consist of a considerable quantity of adulteration. EMERALD GREEN.—This is a very brilliant green almost identical with spectrum green. It is TESTING COLOURS 207 sometimes used where brightness is required. When ground in oil the test for purity is to dissolve it with benzine and when the dry powder is obtained to treat it with strong ammonia. It will thus entirely dissolve if pure, giving a deep blue colour. VENETIAN, INDIAN AND Tuscan Reps, Etc.— These colours may be classed as the iron colours, consisting largely of oxide of iron. It should be remembered that ochres and umbers also receive their colouring fromiron. Analysis gives but little informa- tion concerning the value of this group of colours. They form economical paints, especially as they spread well. The proportion of oxide of iron contained is often considered to be an indication of quality, but this refers particularly to cases where paint is to be used on iron. The tests of value to the painter are body and fineness of grinding, which may be tested in the. usual way.’ Oxide paints are usually sold as such in three shades. A Venetian red is lighter than an Indian red, which, in comparison, should have a purplish tint. It must be remembered in this class of colours that a comparison of the same shades must be made if any useful result is to be obtained. Tuscan Red is a mixture of Indian red with some sort of lake colour in order to secure brilliancy. This briluancy forms an important feature of the test. Body should also be ascertained, and fineness of grinding is also important.. A Tuscan red, which is coarse, may lose its richness when ground fine. | INDIAN ReEp.—This is shown by analysis to consist almost wholly of oxide of iron. The paler Indian red is, the greater is its tinting strength, and the rosier is the tint obtained from it by mixing it with white. Indian red should be always tested for _ fineness and tint. VERMILION AND VERMILIONETTES.—Many of the imitation vermilions consist of orange red, that is, a superior red lead coloured with eosine, which is the 208 PAINT AND COLOUR MIXING. name of one of the coal tar colours. Speaking gener ally, the scarlet colours are more permanent than those having a crimson tinge. It is important tg know that the tinting strength for many vermilionettes is no indication of their quality, or rather, perhaps it should be said that within reasonable limits the better stainers © they are, the worse colours they will prove to be. This is because barytes or some other mineral may be substituted for the orange red and then the eosine will go farther in staining. Rep LEAD.—Every painter knows that the great objection to the use of red lead is that it will harden quickly. We recommend that on large jobs arrange- ments should be made with a manufacturer to supply a sufficient quantity for two or three days. It should be well ground to a thin paste in the proportion of, say, about one pound of oil to five pounds of red lead. The usual manner of painting iron, etc , in red lead is. to first give a priming coat of pure lead and then a second coat of any colour desired. An excellent second coat is formed of equal parts by weight of red lead and good iron oxide. Any finishing coat may be applied. | CHROMES. There are many shades of chrome yellows sold, the most usual being lemon, medium and orange chromes, sometimes called I, 2, and 3. The other shades are sold under various names, depending upon the manufacturer. It is advisable that the painter | should always have on hand the lighter shades, as although it might appear at first sight that on mixing the deeper shades with white he would get the same result, as a matter of fact there is a considerable difference. As noted elsewhere, chromes must not be mixed with ultramarine. The pale chromes change colour quicker than the darker shades. Pale chrome should never be used on fresh plaster, although orange chromes may. In the deeper shades of chrome orange SPEOlInG -COLOURS, 209 red is sometimes used as an admixture or adulterant, but this is not a good stainer. The test for a chrome is tinting strength, taking care to make a comparison with the same grade of colours, that is, light, medium or orange chrome. Fineness is another important test. Placing a small quantity on glass and passing a palette knife over it and pressing firmly will detect grit if present. In the lighter chromes it is well to look for the greyness of tone which is objectionable. Chromes mix well with white lead and are strong in body. OcHRES.—Analysis is of no value in determining the value of an ochre. Sometimes chrome yellow is used totoneitup. /Thecolouris an important feature, as is also the fineness. 7 BLACKS There are a number of blacks on the market, drop black, ivory black, blue black, vegetable black, carbon black, etc. The subject of their tests is a somewhat intricate one, but its tinting strength can be readily ascertained by mixing with white lead or zinc in the manner already described. They are frequently adul- terated with barytes. BLUES. Prussian blue must be very finely ground or it is likely to settle out. A pure Prussian blue has a rich bronze appearance when looked at from certain points of view. The tint made by mixing with white should be clear and free from any leaden or gray appearance. Some Prussian blues have a certain red or purplish cast which cannot be removed. These should beavoided, as if a purple is required it is a simple matter to adda little red to the blue to produce the desired colours. One part in a hundred of good Prussian blue gives a distinct sky blue. ULTRAMARINE.—AS explained elsewhere, this cofour cannot be mixed with white lead. Where it 210 PAINT AND COLOUR MIXING, -is necessary to make a tint, zinc white should be - employed in preference. UMBERS AND SIENNAS, The colour should be a rich brown rather than a red cast. In siennas prepared for grainers’ use, itis important that they be transparent rather than opaque. Richness and quality of tint should be considered rather than the body. Those who are interested in testing colours are advised to purchase ‘“‘ Simple Methods for Testing Painters’ Materials,’ by A. C. Wricut, M.A., B.Sc. The price is 5s., and the publishers are Messrs. SCOTT, GREENWOOD AND SON, 19, Ludgate Hill, London, E.C. It is a thoroughly reliable work which gives simple tests for all the principal materials used by the painter. NOTES ON COLOUR HARMONY. 211 CHAPTER XXIII. NOTES ON COLOUR HARMONY. Perhaps the most difficult subject with which the decorator has to deal is that of colour harmony, In other words, how to use different colours in decoration in such a manner as to produce a perfectly harmonious and pleasing result. The subjectis a difficult and com- prehensive one, and it would be impossible within the limits of this book to do justice toit. A few general hints, however, will no doubt be of service. It should be first recognised that there are distinct rules and laws regulating harmony in colour. Just as some people have.an ear quick to recognise the slightest discord, so some are fortunate enough to possess an inherent talent for recognising colour harmony. It is to be feared that while the musical ear, so to speak, is fairly common, the ability to har- monise coloursis muchrarer. Speaking generally, ladies have more natural talent in matters concerning colour than men have. Possibly the reason is that they are called upon more frequently to choose and determine upon matters relating to colourin connection with their dress. It is true that if one is inclined to be satirical one might suggest that some ladies, judging by the extraordinary combination of colours they wear, must be colour blind. It has been proved by statistics that one person in ten is colour blind, but this does not mean wholly | devoid o: the ability to distinguish one colour from 212 PAINT’ AND (jOLOUR MIXING. another, but simply that there are certain colours which the person who is colour blind cannot dis- tinguish from others. In almost everyday work the painter is called upon to mix colours that shall harmonise, as, for instance, to paint the woodwork of a room in colours that will harmonise with the wall-paper. 7 ~MATCHING THE WALL-PAPER —The simplest plan, and therefore the one which is usually followed, is to take the prevailing colour of the wall and to use it, usually much lightened, or: the woodwork. Other colours which occur in the paper may be introduced as may be thought to be judicious. For example, if the room is a bed-chamber and the paper has-a cream ground with a floral pattern printed in green ~ with a pink flower, the stiles and rails of the doors might be painted a light green, the panels cream, -and the mouldings, or a portion of them, pink. The same plan may be followed successfully with many papers, but on the other hand much more pleasing and artistic results may often be obtained by using a distinct, but harmonising contrast. A single example will suffice. The writer has before him a striped wall- paper, printed in brilliant sealing-wax red, which might cause wonderment in the eyes of a novice as to how it could possibly be used successfully in an ordinaty room. The excessive brilliancy might at first sight appear to be certain to produce an effect too glaring to make a comfortable living-room. Yetsucha paper used in a room very soberly furnished say, with old dark oak, ebony or black walnut, would look very handsome, or in a more modern room the doors, skirting, in fact the whole of the woodwork, might be finished in white enamel, and the effect would also be very good. CONTRASTING HARMONIES.—From this single example it can readily be seen that contrasting colours often give the very best results. A wall painted green - .NOTES ON COLOUR HARMONY. 213 may look very monotonous, but if a frieze, having some bright red used liberally in it, is used in conjunction, there will be a vast difference in the appearance of the apartment. The following suggestions for intercon colour schemes are by Mr. William Fourniss. SUGGESTIONS FOR COLOUR SCHEMES. For A Rep Wari.—Red may graduate from Indian red to what would practically be a warm gray. Any colour going with a selected tone or tint needs to be modified so as to harmonise withit. If awallhasa . paper coloured in light red and gold, and it is desirable that the woodwork should be red too, it must differ from the colour of the wall in tone and in intensity. A CRIMSON WALL may have amber woodwork with cream coloured mouldings, or they may be heliotrope for contrast, or the woodwork may be white. A SCARLET WALL may have light snuff brown, or a sage green, for the woodwork, with. yellow green mouldings, or they may be white. ‘A YELLOW RED WALL, in which scarlet has been tempered with an excess of chrome, will bear a raw umber tone of brown for the woodwork, with ivory or white mouldings. A Pink ToneEp WALL.—With this the woodwork may be a yellowish green, with or without straw coloured mouldings, or two shades of citrine, with pearl grey for contrast in the mouldings. For A Dark RED, inclining to purple, the wood- work may be.a sage or myrtle green, with amber mouldings. A Poppy REp,—Grey green, lavender and black may be used for this. All warm tones and shades of green or gray may be used with red, provided they get their hues by contrast with the red. Any blue associated with red must be slatey or purple in tone. If the colour of a 214. PAINT AND COLOUR MIXING, ~ ne wall-paper is heliotrope, inclined to red, the woodwork may be cream. If the heliotrope inclines o yellow, straw colour should be adopted. BLUE. A BiuE WALL OF A PURPLE TONE.—With this yellowish orange, amber, salmon pink or terra cotta will harmonise according to the ‘‘value’’ of the wall colour. A Peacock TONE OF BLUE WALL.—This calls for orange red, deep amber, warm brown, cool brown, or both. A SAPPHIRE BLUE WALL.—Chocolate woodwork in two tones, with amber mouldings. Pearl grey and cream will go with this colour. | A WALL OF AN ULTRAMARINE ToNE.—Light warm grey and cool yellow brown go happily with this. A NEUTRAL BLUE WALL will unite with citron and chocolate, or a warm grey green, or a blue green grey, and salmon. A SLATE COLOURED WALL OF A BLUE TONE.— For this there is plum colour and lavender, puce and orange to choose from. +>? YELLow. This colour ranges from a rich sienna to a lemon tone ;. from citrine to a cream. A YELLOW WALL.—Plum colour, slate, brown, or citrine may be used with this. A GOLD COLOURED WALL.—The woodwork may be in two tones of lavender, with citrine mouldings. AN ORANGE COLOURED WALL.—The colour for the wood may be a purple tone of red, with maroon mould- ings, or if ight mouldings be required, citrine would serve. A CANARY COLOURED WALL.—Vellum colour, with deep ivory mouldings, may be adopted for the wood- work. A DerEep TERRA CoTTA WALL.—A selection from buff, sage green, Indian red, vermilion, white and black SPECIMENS OF iroor © NEWTONS ARTISTS’ WATER COLOURS. ; 1 | | | i || | \| i] | | || 1 | || | ' | || | BROWN RAW | YELLOW | YELLOW LEMON | .uReOLiN AURORA | DEEP | CADMIUM OCHRE. | SIENNA, |. OCHRE. | LAKE. | YELLOW, / | YELLOW, | CADMIUM, | ORANGE. i “ae Mea Pen SORE UE ese Patek Peet ea j } ; | if | ! | | | | | | | j | | 1! 1 | ADA LIGHT | SURNT NEUTRAL RUBENS’ | ROSE ROSE SCARLET | eMiLION. |. eoeRee! RED, | SIENNA, |. ORANGE, MADDER., MADDER,. | DORE. LAKE | ; *| VERMILION. § i PRUSSIAN TERRE | OXIDE SAP EMERALD | ANTWERP P i 1 . } | | VIRIDIAN, | OOBALT. HETae | @REEN, VERTE. | CHROMIUM | GREEN, GREEN. } re YD | } BLUE. | | ae van 20 ESS eS a pee ie | a : | | Bet SS i} } . ;= — = — | SEPIA VANDYKE | BROWN | PURPLE | BURNT i BROWN CYPRUS : BROWN. MADDER, | MADDER. i UMBER,. UMBER, PINK, UMBER,. igs pe NOTES ON COLOUR HARMONY. 215 either or any, may be selected, the strong colours in the small parts. A PRIMROSE TONE OF WALL.—Tones of snuff brown, medium yellow green, and lavender may be selected. A NEUTRAL oR DraB WALL.—Shades of olive green, Venetian red, and lilac go well together. BROWN. This colour is perhaps the best wearing colour for woodwork. There are infinite tints and shades, from sober to rich, from cool to warm. Blue agrees especially with brown. Deep brown, fieht blue, and gold go well together. LigHT PurPLE TONE oF Brown WALL.—The woodwork may be yellow red, with cream mouldings. A Brown INGRAIN WALL.—The woodwork may be in two tones, made from indigo blue, with amber. mouldings. A GoLp CoroureD Brown WALL would unite with woodwork of a red tone of purple, with plum coloured mouldings, or a warm grey may be used. Burnt SIENNA Brown ToNE oF WALL.—With this, salmon and myrtle harmonise. GREEN, This colour, so extensive in Nature, will agree with all colours, provided they are toned to suit each other, warm or cold, neutral or bright, etc. | AN OLIVE GREEN WALL will agree with maroon woodwork with a crimson lake, straw or pe poe for the mouldings. A MEDIUM GREEN COLOURED Watt.—If two tones of red, a crimson tone and a yellow tone be adopted, the mouldings, if desired, ney be a salmon buff. A GREY GREEN WALL may have a primrose tone - of woodwork, with a scarlet tone for mouldings. 8) 216 PAINT AND COLOUR MIXING. = “A Moss GREEN ToNE oF WALL will associate well with citrine woodwork, and salmon coloured panels or mouldings. A Pra or LEAF GREEN Wave goes well with a chocolate and a lavender. GREY. This neutral colour agrees with and helps every other colour. : A WarM Gray WALL.—With this the woodwork may well be a tawny leather colour, with either buff or cream in the mouldings. A quiet red would also suit. | A SILVER GREY WALL sympathises with a salmon colour, as well as with a deep blue. Should there be blue and red in the pattern on the paper, the styles of the woodwork could then be a delicate raw umber tone of brown. The mouldings the same brown, with burnt sienna added toit. The panel may be a cameo pink. A snuff coloured brown would also come well. A DraB Tone oF WALL, having an ornament upon it, low in tone, a citrine for instance, would need some force in the woodwork. A rich burnt sienna brown suggests itself for this, with a reddish brown for the mouldings. Of course, these schemes of colour can be reversed. Should the general tone of the wall-paper be that tone suggested here for the woodwork, it takes then the colour of the paper. COLOUR COMBINATIONS FOR Doors. Excellent results may be obtained in painting front and other doors in rich contrasting colours or in self-colours, 2.e., a dark colour for the frame. of the door and a tint of the same colour for the panels. The following combinations are recommended as producing very good effects. They were carried out _ : é NOTES ON COLOUR HARMONY. 217 in doors prepared by Messrs. Lewis Berger and Co., Pid: tor some of the conventions ot Master spare Denar: and Decorators. FRAME. Yellow, Bronze and Golden Ochre. Homerton Red. Mid. Japan Brown. Vienna Lake and Pompeian Red Mid, Japan Brown. (reduced ,4). Verona Blue. Coronation Brown. White Japan. Deep Japan Brown (reduced). Emerald Tint S. Purple Maroon Brown. White Japan. Cream. Hedge Sparrow Egg Tint. Japanner’s Brown Mid. 37. Japanner’s Brown Mid. Purple. Homerton Red. Homerton Green. Verona Blue. MOULDING. Carriage Green. Carriage Green. Maroon Brown, _ Maroon Brown and Black. Deep Japan Brown. ‘Maroon Brown. Deep Japan Brown. Olive. Maroon Brown. Homerton Red. Gold Lined. Green. Stone Colour. Same Brown Deep Shade Maroon Brown. Pompeian Red (reduced.) ‘ Homerton Red. Yellow Bronze Green. PANEL. Yellow, Pale Bronze. Maroon Brown. Deep Japan Brown, © Coronation Red. Mid. Japan Brown. Vernon Blue and White Coronation Orange. 9) 99 Berger’s Purple. Emerald Tint W. Homerton Red. White Japan. White. Old Gold, Japanner’s Brown, : Mid. 37. . Japanner’s Brown,- deep. Pompeian Red, permanent, Maroon Brown. Homerton Green. Verona Blue (reduced). Verona Blue (further reduced. 218 PA/JNI AND COLOUR MIXING. CHAPTER XXIV. THE PROPORTIONS OF MATERIALS, NOTES, ETc. A little consideration will make it quite clear that it is impossible to give exact proportions of materials necessary to produce a paint that will suit every job. These proportions are determined by the condition of the work. A new door of good sound pine will be treated differently to one made of an inferior wood, which is knotty and somewhat sappy. Again, a door that has been exposed to the weather for some years, and from which the paint has, perhaps, almost wholly departed, will require a different mixture to a front door from which the accumulation of old paint, extending perhaps, to over one hundred years, has been burnt off. Precisely in the same way as patent medicines cannot be safely used for any and every complaint, so it is impossible to have paints that will suit any and every purpose. In one case the doctor is consulted and he takes into Jonsideration every symptom and every condition and acts upon his diagnosis or scrutiny of symptoms. In like manner the decorator takes note of every condition of his work, and prepares his paint accordingly. Again, iron would not be painted with the same mixture as wood. Still, if we cannot give exact pro- portions, we can, at least, give some information on the subject, which will form a guide and give some data for the reader to work upon. These we will give under separate heads & PROPORTIONS OF MATERIALS. 219 PRIMING FOR [ron.—The usual plan is to use red lead mixed with linseed oil, the proportion required being about fourteen pounds of linseed oil to every hundredweight of lead. The second coat should be equal proportions of red and white lead mixed to a proper consistency with linseed oil. Sometimes oxide of iron paint is used instead of red lead. PAINTING ON STucco.—The priming must contain a considerable quantity of oil because of the absorbent nature of the stucco, andit should havea big proportion also of turpentine. Four gallons of boiled oil to a hundredweight of red lead and three quarts of turpentine will usually answer. The second coaf should be an equal mixture of red and white lead with a smaller proportion of turpentine and oil. PRIMING FOR DEAL OR PINE (INSIDE). —With white lead use three-quarter ounces of driers and the same quantity of red lead toevery pound of lead. Thin with three-quarter gallon of raw linseed oil to 14 Ib. of lead. SECOND CoAT (INSIDE).—Use about half an ounce of driers and one ounce of red lead to every pound of white lead; 14 lb. of lead will require half gallon raw linseed oil and quarter gallon turpentine. SECOND CoAT (OUTSIDE).—Use about one ounce of patent driers to every pound of white lead, with the addition of about the same quantity of red lead. TuirD Coat.—Use to 14 lb. of lead, quarter gallon each of raw linseed oil and turpentine and quarter pound driers. TABLE OF MATERIALS REQUIRED. The following table is extracted from a more elaborate one to be found in the “ Painters’ Pocket Book,”’ by Peter Matthews, published at 3s. nett by John Heywood, Ltd., Deansgate, Manchester. On absorbent surface, such as new plaster and stone. Based on the assumption that Io lb. of white 220 PAINT AND COLOUR MIXING. lead mixed with driers and thinners will- cover 40 square yards. | White Lead. Patent Driers. Linseed Oil. ‘Turpentine. : Sq. yde) Cwte “qr, Jb; Ib. oz. gal.) sgt.) /pt-aieone gal. eqt-\< pi. ue presale: it i ig 23 44 24 2 20 5 8} 1 of it 50 [2294 ee se bc :0 wee 34 100 25 2 114 2-2 TU 1 2g 500 1 egotLTs 13. 8% a. 21 pod 390, 14 1000 2. 0,326 27ow le 7h oe ee Me My ee TABLE : When ro Ib. of white lead with driers and thinners will cover 60 square yards (as on old painted work, or after second coat on new work). White Lead. Patent Driers. Linseed Oil. Turpentine. Sq. yd. cwt. qr. Ib. oz. Ib. oz. gales (gti sp ipta Pst fit. pty); gk 5 133 14 3 73 10 I 104 24 3 4 20 3. 54 4a: 1} t 50 8 54 12 ho ae If 100 16. 16a" sees Yo Sie 23 500 Ziv FORM Rober ets Spee FE f° 932 1000 Pid) 26.108 14h a ee ee 2:7 Sia EGGSHELL GLoss.—To every pound of white lead add quarter of an ounce of copal varnish and to same euantity of goid size with half the quantity of boiled oil. These will serve the purpose of binding the materials together and causing them to dry. The thinners should consist of turpentine used in the proportion of about three-quarters of a pint to every 7 lb. of white lead. | ‘ OXIDE oF ZiINc.—In mixing oxide of zinc it is necessary, as already mentioned, to use, a special drier free from lead. Special zine driers may be purchased ready made. They consist for the most part of borate of manganese. OUTSIDE Woopwork.—To every hundredweight (x12 lb.) of zinc oxide ground in oil as usually supplied use 19 lb. of refined boiled linseed oil, 54 1b. of tur- pentine, and 5 |b. of zinc driers, A smaller quantity of driers will frequently suffice, PROPORTIONS QE MATERIALS. 221 INSIDE Woopwork.—Use rather more refined beiled oil and a little more driers. These mixtures may be employed in varying proportions of oil and driers on stone, plaster and iron, and the quantity of turpentine will rarely require to be changed. PIGMENTS. SoME USEFUL TABLES. PIGMENTS LIABLE TO CHANGE UNDER THE INFLUENCE OF SULPHURETTED HYDROGEN, AIR, AND MOISTURE: Yellow.—Chrome yellow, mineral yellow, Naples yellow. White-—Chremnitz white, flake white, pear! white. Red.—Red. lead, purple red, iodine scarlet. Green.—Verdigris, Scheele’s green, emerald green mountain green. Blue.—Prussian blue, Antwerp blue, Ovange.—Orange chrome. PIGMENTS LITTLE LIABLE TO CHANGE UNDER THE INFLUENCE OF SULPHURETTED HYDROGEN, , ~ AIR AND MOISTURE: White.—Zinc white, constant white, tin white. Red.—Vermilion, red ochre, Indian red, madder lakes. - Yellow.— Yellow ochre, barium chromate, zinc chromate, aureolin, raw sienna. | Green.—Chrome green, cobalt green. Blue.—Ultramarine, smalt, Thenard’s blue. Brown.—Vandyke brown, raw umber, burnt umber, manganese brown, sepia. Black.—Ivory black, lamp black, Indian ink, graphite. Ovange.—Orange vermilion, burnt sienna. 222 PAINT AND COLOUR Mi XING. PIGMENTS LWBLE TO DETERIORATION WHEN IN Con- TACT WITH WHITE LEAD, CHROME OR OTHER LEAD PIGMENT: Yellow.— Yellow orpiment, king’s yellow, Indian - yellow, gamboge. Red.—Iodine scarlet, cochineal, carmine. Ovange.—Golden antimony sulphide, orange orpi- ment. Green.—Sap green. Blue.—Ultramarine. PIGMENTS WHICH ARE LITTLE AFFECTED BY HEAT, AND WHICH MAY BE EMPLOYED WHEN THE MATERIAL HAS TO STAND FIRE: W iite.—Tin white, barium white, zinc white. Red.—Red ochre, Venetian red, Indian red. Naples yellow, antimony yellow. Blue.—Smalt and royal blue, ultramarine, Green.—Chrome green, cobalt green. Ovange.—Burnt sienna, burnt ochre. Brown.—Burnt umber, manganese brown. Black.—Graphite, mineral black. COLOURS THAT MAY BE USED wiTH LIME: White.—Permanent white, 7.e., baryta Sie gypsum, zinc white. Red.—The vermilions, light red, Venetian red, Indian red, madder lakes. Ovange.—Cadmium, orange chrome, Mars orange, burnt sienna, burnt Roman ochre, light red. Yellow.—Aureolin, cadmium yellow, lemon yellow, Naples yellow, Mars’ yellow, raw sienna, yellow ochre, Roman ochre, transparent gold ochre, brown ochre, Indian yellow, Oxford ochre. Green.—Oxide of chromium, transparent oxide of chromium, viridian, emerald green, malachite green, verdigris, terra verte, cobalt green, chrome green. | PROPORTIONS OF MATERIALS. = 223 Blue.—Genuine ultramarine, artificial ultramarine, new blue, permanent blue, cobalt blue, cerulean blue, smalt. Purple.—Purple madder, Mars’ violet. Brown.—Bone brown, bistre, Prussian brown, burnt umber, Vienna brown, Vandyke brown, Cologne earth, asphaltum, Cassel earth, manganese brown. Citrine.—Raw umber, Mars’ brown. Blacks.—Ivory black, lamp black, blue black, | charcoal black, cork black, Indian ink, black lead, drop black, plumbago. BrusHES.—We include here some information concerning brushes, but may first givea brief description of the way in which they are made, taking the firm of G. B. Kent and Sons, Ltd., as an example, as the author had the pleasure of going over their factory some time since. The following is his account written for the Decorator's Magazine. 3 A superficial observer may be inclined to think there is no particular advantage to the painter and decorator in possessing a knowledge as to how the tools he uses are made. Yet such a knowledge may help him considerably in judging as to the quality of those tools, and it will be at once acknowledged that an ability to discriminate in this respect is of considerable value. For brushes vary greatly in quality, far more so, perhaps, than our readers may imagine possible. Everyone knows that there are good brushes that cost more than a trifle, and rubbishy goods, chiefly of foreign make, that can be bought for, perhaps, halfthe amount. Probably there is not a reader who does not fully understand that it is far better in the end to buy the best quality brushes, that is, that it is cheaper to pay a higher price, because the work with such brushes can be done quicker and better than it can by the inferior ones, and also because the superior quality lasts much longer. Those things are well understood 224 PAINT AND COLOUR MIXING, among most painters, and even if some of them wzl/ -use cheap stainers and lose money in consequence, they have, at least, learned a lesson of the necessity. of using only best quality tools. - But itis not a comparison between high grade and low grade brushes that we now want to make, it is rather to direct attention to the difference that exists in the actual quality of so-called first class tools of different makes. It is this difference that can best be understood after inspecting the process of brush- making, and it must be acknowledged that adultera- tion can be carried on in the manufacture of brushes to a considerable extent. Take a common ground brush as an example. The actual brush part should consist wholly of hog’s bristles, for there is nothing yet discovered that gives better results. Yet there are on the market many brushes marked “ pure bristle,” which really contain more or less a large proportion of horsehair or other material which makes a poor substitute, but which cannot be easily detected, in fact, itis the difficulty of detection which has probably _ given rise to the objectionable adulteration referred to. The objection to horsehair in a painter's brush is that it is flabby and without spring, but its presence in adulterating brushes can be understood when it is said that approximately the price of horsehair is 1s. gd. to 2s. 2d., and bristles 8s. to gs. per pound. It certainly requires an expert to state positively whether horsehair is included or not, but there are certain signs that with care, will determine the matter, at least to a certain extent. The real bristle has its end split— called a “‘ flag ’’’ end—the root end is considerably larger and cannot be mistaken. The spring or elasticity is another indication of the bristle. The horsehair, on the other hand, is the same both ends, and has no flag end ; if the suspected bristles be viewed under a strong reading glass the difference can be told without a great deal of difficulty. PROPORTIONS OF MATERIALS. 225 At the works of Messrs. G. B. Kent and Sons, Ltd., the author was shown how suspected brushes sent out had been dissected and the various parts divided up, and it was surprising to see how much _ horsehair could be included in a brush without giving it any out-of-the-way appearance. There were little piles of horsehair of different lengths, while the bristles were all sorted into other piles, each of different lengths. Photographs of the brushes that have been dissected in this way proved of use in showing painters that _ adulteration in brushes is carried on to almost as great an extent as it is in paint materials. No adulteration whatever in painting brushes is permitted in the standard quality of G. B. Kent and Sons, Ltd. Certainly the brush department in any brush manufactory which is of the most importance is the bristle room, and it was to this that the author was first taken. There were bristles of many different kinds, most of them tied up into neat bundles ready to be afterwards dealt with. _ For instance, Siberian Okatka, and perhaps most important to my readers because they make the best paint brushes, having an excellent spring and being stiff.. They are very costly, and are rarely used by themselves, nor is it necessary because other varieties of bristles may be mixed in, and it is this mixing or blending that constitutes so important a part in the brush manufacturer’s art. Indeed, the purchase and blending take years of careful study to learn. One class of bristle is intro- duced into the mixing to give strength,another straight- ness, another solidity, another colour, and it is the judicious blending, the knowledge of which is acquired only by much experience, which makes a first class brush for first class work, and having the requisite spring and durability and the band of which will not burst. The process of dividing the bristles into uniform lengthsis termed ‘“‘ dragging,’’ a very interesting process 226 PAINT AND COLOUR MIXING. -which requires considerable expertness on the part of the operator. A handful of bristles, after being mixed, is placed against a gauge, and the operator, grasping firmly those bristles which project beyond a mark which indicates the required length, withdraws them with his thumb and finger and places them aside. The ‘vhole bundle having been gone over in this way, a second dragging to the next mark is made, and so on until the bristles are arranged in little piles of uniform lengths. d The operation of “‘ mixing” is also interesting. This is done in order to obtain a uniform colour and quality in the bristles. First, all the bristles of different colours are piled on the top of one another, varying considerably in colour in the different layers, from top to bottom. Perhaps there will be one layer nearly white and another nearly black. If these were all mixed up indiscriminately to make a brush, the result would be a very patchy appearance that would not be liked. The object, therefore, is to have an equal admixture of black and white throughout. A workman takes in his hand a portion of the bristles from top to bottom, cutting through all at once. These he holds in his two hands and “ jabs ’’—for the want of a better word—through a steel comb which is fixed upright before him. This mixes the different coloured bristles and at the same time pulls out inferior or woolly parts that may have been left in. As each handful of bristles is dressed in this way it is laid aside, and when the whole is completed, the second dressing is gone through in the same way as the first, the result being that the admixture is perfect, and the appearance of any one part of the pile is exactly the same as that of the other. It is essential also that all the bristles should lie the same way, and, as in the rough an uncertain small proportion of the bristles arrive with their heads the wrong way, to extract them, another small comb, termed an “ engine,’’ with PROPORTIONS OF MATERIALS. 227 teeth very close together, is used ; the “ flag’ end of the handful is combed over this, and the roots of ae “turned ”’ hairs catch in the comb. It will be unnecessary to describe in detail how every brush is made, but an ordinary ground brush will serve as an example. The actual manufacture is not difficult. First, the bristles are carefully weighed out so that every brush of the same grade has exactly the same quantity of bristle in it as a corresponding brush ; great care being taken not to disturb the way in which the bristles lie. They must all point one way, and naturally they have a certain bend. The outside of the brush is usually made of white bristles, while the inside is grey and yellow. This is almosta universal rule, for although the inside bristles are of equal spring to those outside, still trade demands white bristles outside and has them. The reader will understand that the bristles that are to form the ground brush about to be made are lying on the scale, these having been weighed they are taken off, the white bristles being underneath, so as to form the outside of the brush. The workman takes all the bristles care- fully, but firmly, in both hands, and turns the bristle round his thumb in such a way that the bend of the bristles all turn inward towards the centre, and the. white bristles or “‘ cappings ”’ lie in an even rim round the rest, and the “ knot’’ is then tied round with string. The knots are then dipped in hot cement and kept warm, standing upon a hot plate. The next process is ‘‘ driving,’ which consists in forcing the handle through the bristles, which has been previously inserted in its binding, and this tightens the brush by compression. ° Varnish brushes, as a rule, are aeped: in a manner somewhat similar to the method of making artists’ pencils, that is to say, the wedge shape is produced by placing the bristles into a small circular box, the bottom of which is concave. Hence, it will be seen 228 PAINT AND COLOUR MIXING. that the bristles, if even they are all of the same length — have the necessary chisel edge for a varnish brush. After the brush is made, the bristles are thoroughly scoured on a stone with soap and water. After the brush is finished, the bleaching chambers are reached where, by means of sulphurous fumes, the bristles are bleached to the required degree of whiteness. THE CARE OF BrusHES.—However good a brush may be it will soon be ruined unless it is properly treated when out of use. The following hints will suffice as a guide in this respect :— Writing Penctls, etc.—Wash in turpentine until quite clean, and if they are not to be used for some time, dip in olive oil and smooth from heel to point. Stipplers.—Wash thoroughly in pure soap and hot water, rinsing with cold water. Place point downward to dry. Varnish Brushes.—The best method of keeping varnish brushes, in the opinion of the author, is to suspend them in the same description of varnish as that they are used for. As this is not always possible, boiled oil may be used instead. Paint Brushes.—Mr. Ernest N. Kent gives, the following instructions in “ Specifications ’’ :— Brushes made for Use in Colour should first be soaked well in water to swell the bristle in the binding. This applies also to whitewash brushes which are bound either by wire or leather. A Brush after use should be thoroughly cleansed out in turps or soap and water. If left in water any length of time they are liable to twist, and the bristles lose their elasticity. | A Brush made for Paint should not be used in varnish, the spirit of which dissolves the cement with which it is set, and loosens the bristles. When a ground brush has been well worn down in COlOay it may, however, be used in varnish. PROPORTIONS OF’ MATERIALS. 229 Varnish Brushes when not in use should be sus-, pended in either varnish or oil, the brush not resting on the bristles. No brushes-should on any account - be kept in turpentine. Stippling Brushes should be well cleansed and dried after use, the bristle being carefully kept from crushing ;_ a box in which they can be slid, allowing the bristle to hang downwards is recommended. Should a Brush become guite hard with Paint it should be soaked for twenty-four hours in raw linseed oil, after which time in hot turpentine. THE TINTOMETER.—Many attempts have been made to devise an instrument by which records of colours can be registered with accuracy. The nearest approach to success in this direction is the tintometer, which is described as an instrument for the analysis of accurate measuring and recording of-all colours. It is an invention of Mr. J. W. Lovibond, of Salisbury, _ and is largely used not only by colour and dye manu- facturers, but in many other industries. By its use a colour manufacturer can dispense with kecping a sample of every colour he makes. Provided that the customer possesses a Tintometer, and the colour manufacturer one also, it is the simplest matter for ‘an order to be sent simply by numbers which will ensure complete accuracy of shades. The instrument consists of a double tube, ending in an eye-piece at one end, and in equal apertures for viewing the colour to be measured, and the glasses which are used as measures at the other end. These glasses are coloured in various degrees of intensity, and in even gradations ranging from almost white to strong colours in red, yellow and blue respectively. In the whole 465 coloured glasses are supplied with the instrument, but it is so very rare indeed that so large a number is required, ‘and, as a rule forty or fifty glasses or even many less will answer all purposes. It will be under- stood that the colour which is to be measured or 230 PAINT AND COLOUR $ MIXING. recorded is placed on one side of the double tube, on the other side is put one, two or three glasses which | are changed until a perfect match is obtained. A note of the numbers of the glasses thus records the matched colour. The instrument is a great success, and permits of the colour analysis of pigments. Fig. 38 shows the arrangement for measuring colour in opaque objects. The optical instrument B fits into the shoe at A, the bottom of which is com- manded by both tubes of one instrument. Under one side at F is placed the opaque substance to be measured, and under the other the standard white, for reflecting the beam of white light, which 1s then dissected at J by the suitable standard glasses, as already described for transparent colours. COLOURED OIL VARNISHES.—Spirit varnishes made in various colours are familiar enough to decorators, but they are not very durable. A series of coloured oil varnishes are manufactured by Messrs. Lefranc and Cie., of Paris (London office, 27, Fetter Lane, E.C.), which are very useful for various purposes. For example, they may be used on such woods as bird’s eye maple, ‘chestnut, etc., with excellent effect, as the beautiful lights in the wood show up to advantage through the varnish. They are also used for glazing. PROPORTIONS OF MATERIALS. 231 especially the red colour, which on a ground of bright coloured oxide, shows up well and does away with the necessity for using fugitive crimson lake. OxIpES.—The oxide of iron paints which are so useful and economical for the use of house painters depend to some extent for their durability upon the proportion of ferric oxide which they contain. Even more important is the fineness of the pigment and the colour or tone. The writer has examined some Indian reds and a special Turkey red made by the Derby- Oxide and Colour Co., Ltd., Rugeley, Staffs, which may be taken as typical oxides of a high quality. tf j 232 PAINT AND COLOUR MIXING. . 2 ae, DESCRIPTION OF COLOURED PLATES. Pe ae : : PLATE I. Ree Ay 2 The only really sound objection to the use of high. grade ‘“‘prepared’’ paints by the decorator has been, the. undoubted fact. that no prepared paint can possibly be equally suitable—as it comes from the can—for. all: surfaces, all conditions and all ‘coats. ; wane Paint should be amenable to the anita ad ‘he the craftsman to suit-the needs of his job. The attractive range of colours on Plate I shows “‘M.P.P.’’ (Master Painters’ Paint), a material that embodies all the good points of the highest grade of prepared decorators’ paint, with none of its drawbacks. “‘M.P.P.’’ is a semi-paste paint in 7lb. and r4lb. tins, and is guaranteed ‘‘Genuine Lead, Pure Zinc Oxide, Refined Linseed Oil, Genuine American Turpentine, necessary colouring matter and Drier.’’ It is ready for the painter to thin down as the job requires. Nothing need be added but turpentine for first coat, and linseed oil for finishing coats. It is, therefore, adaptable to all surfaces and conditions—undercoat or finishing work. It is made in a range of standardised colours, which are easily reducible with white to match any desired shade. Plate I. shows graphically what colours the painter will get by mixing the ‘‘M.P.P.’’ stock colours with varying proportions of white. It is obvious that with such a material the painter can effect considerable reduction in the stock carried—-without in the least reducing his ability to give clients exactly what they want. The colours shewn on Plate I are painted out on paper from the actual paint—-both stock colours and redyctions. DESCRIPTION: OF _COLOURED: PLATES. 233 ‘PLATE Il. | | _ This Plate illustrates a selection of colours, of “ oe Tpadees ot 62 Ms 701e MENTO) RCTS |S ea a A 62 Artists’ Water Colours and How to Mix COTGTD) —..) Sap en ele ASH see ccc 1 SERS EO eee eee 144 PATE COMMING ote cis's oS .scee syace 4 ots i Wbseteeaiete 81 PRAM EV EONOW. 9 . 0c ccc vie cece sis even ss so 81 JSPECREITTENAY 4 S10) A ne eo 190 PA ZUUCPE UCT MEE Se eL hig «is access ccs. cs ow oe 74 POAC RONGUNU Ge cits aera ¢ bicle wind Vis cee 191 DBI US: VOD TT Se eee eh ee 190 ETA ES “atin Sn a ae rn . 150 ICEOD IAM Aa eiarasc ata c chtacts 24-8 6 AD abe 63 lai Sa hysyci 3} 1a ae ey era 74 ST Our eens cate sic a to a aca asaceieceare:s 91 ISTO) INS Se Ai oe 144 145 Bird’s Eye Maple BR act y stereriaee hota a 145, 146 PseGilet OlOUL > fis ns le ss 82 RSH RUPEOW DI ts vl ko nthe eke 102 [STR iy Ori ORE eee ae ae 102 SEGUE OM MUON Me es Soot eis See ace thud 0 0's 102 OS ee 63 Biot PLO TMOMCSes acai. s diss. scein ope a ie-ecs ah es 15 Beacks sence or 3c eee eee 209 Blue Pigments. ssc. 6. is: E rbath hile catecueus 153 TEs 2 ead eR Se ea eR 209. 214 Blues and How to Mix PLM OT ise petstaca sere 74 iNet. lok SR ae 201 VEYRENE TSS th gens Sites ph Nee cee ee a 190 SPOMICUE ISIE fe cs yo serie es cseidos 9,4 8 een. 74 TEINS 2 SS RECe eee 63 ISSH YET ScRin Ceh ge 5, 2. Wa 63 BTEC ZOMESIG MMP ee et cists scsle co o.0.0 6.eie o7.cctne 74 TEN Zara Ae) CSE ie aa 92, 206 PLORUZEMS EVOW siete ste. tio. p sisiais ee. 6 «bare e.e 82 IBFOWIMOICHEC! oh) caine vice 6 Nigpetoun Cane a 103 IS} RCMIEL oa Gis oi. eR Oe 215 Brown, Madder 5 SARS St ER RTO os 63 Browns and How to Mix Them: ....'...... 101 IBEIENS WACK AGPEPIA sb. cise sce ce ies vines 92 PSPEEIS UIC EES FICS trctie ounce o.ccase onc eect * 75 PSUS CSI foie SF scclecicie. 46s * as'ere 226 POEMS OER er ckciae a ec ccs, die tae. 82 Burnt Carmine and Burnt Lake ........ 63 SPIER POCATC ISS cca sigicists i ¢ 6 oprasic sia syoue tes 64 PEM TIA STOWE AM Ate clara ss sic es es, e! vier sveysrare 103 BS Pan Tbe ATE GIO crore sib cievers aos ec0's «70,0 015 Pee. eo KO! 241 PAGE Gadmintnis Yellow = ssc. tn wtva.01 ate Pate am 82 Caledonian Browiiciinia. sas Gane ere 103 Cappagh Brown ci). oct cam os ecalraidea tee 103 Gareofs Brushes. os es scene aig esac a tees 228 Gartnines satis sect ie raiart eae ere re eae 64 Carmine lted.gs kos kacccoetein oot eee ee Rs 64 Garna tion ROG! i ke oncync Sout Seek eet eee 64 Cassell Earthy sccm la scint cnet 103 Charcoal Gray +. )<.koen oe ee ee 1i1 GREP yihire rote aana eit inel oredeen sitesi ge eae acl State 146 Chesinutlssicer cs ciwkes lets acheive eeoenreners 146 Chinese (Bluest ior en ae a ee Waiters 75 Chinese. Orange sy... asaticee les rar Sracein aa 83 Chinese Vermilion ......... ecevatejade aber Go OF Choice of Names for Colours ............ 39 Choice ofia Stainer sce see ce week 2O Chromeiy Greens, «daca shot ain cereckat Hae 92, 205 Chrome Yellow .......... SMe eee 84 CHROMECS Ata te os. kaceen ewes ane eee Saat, Shalets 208 Chromium Oxide ........ i sihinist ti stegrunotaente 92 Pe OMNY CMOWi esc cerns ales tne lee ote yoo) She GAT et Betas atti olntets oretancelaetake ant Sereae aaa 64 +GlondsS:and- Distances: 2 sis: a. cscace notre 191 Cobalienw pico or tetas olee sine ae 4D CODaIT GLEE Soa. oasten tenn coe ecw. fa tease eecgee a 92 Cobalte¥ellow ott ares nest eh aneuer o.atb orate 83 COCEUJCUIID S.-vorerencs Wheetiite St laisecaets oholat cienele 75 Cold?Water Paintst.ern ce dcierceta ear 181 Colopne Barthea soccer a os pola mee 104 Colour Combinations for Doors......... . 216 Colour “Mixing ss... vai. os. e wateriee sauce ee Colour Schemes, Suggestions for ........ 213 Coloured Oils Varnishesi.. ces a aes 230 Coloured Plates, Description of,.......... 231 Colours Fast:to Light.) J. .5,< acre eee 204 Colours Made with Black Japan ........ 135 Colours or Stainers ........ BES Te a eA 25 Colours, Permanence of.......-.2-+.. - 203 Colours which are Fast to Lime.......... 182 Colour Nomenclature............- ARSioe ee Combining all Stainers First............ Common*Distemper sac sites unirees 180 Composition Ofcas Raint, 25. elrieneeaneas 1 Composition: of PUtty. =... spac sect eee siete 132 Contrasting JHarmonies. nic mt cena eine a ue ChAT Starter sidecases jn) eitelotene cists ls Cee ae 3 crimson Madder (Permanent) Aree ges are 65 Crimson Dake’ cs spore erect e sie eeurene €5 Cyanine *BIler ria sc ctetsereraierst ores oe. eee 75 Gypris-OMbere samerteg arise « eaten ath 104 Dattotil Yellows so. aaaa. coe Sater Bianece 84 Darks Oak tee scare oiere agetehavern ancient nerens 144 Danthenay’s Classifieation............ 44 PAV YS GREY is ais saieret oie, oes orto arerecoteaene 1h1 {S Decorators MIX€Dr sc 0.10 dee See eee 15 Deal; Priming fot rc s.s1;< ca wnninioig Sieh ee x 319 242 INDEX PAGE PAGE Deep Cream \. eee s sen acn e 3 ri ecatstarecsealees 84 Linseed Oil, Quantity Required in Distemper and Whitewash ............ 180 Grinding |. 3.40./s0-3 smigiens ine ee 154 Distempers and Water Paints .......... 127 Liquid Prepared Water. Colour: <2h eae. 182 Dragon’s. Blood ie suis trem osateutietaas Sere 65 : Dutch Pink $30 nr See hae ets 105 Machinery and Plant used in Paint Grinding >... Aken Se RE ee cee 156 Sarees of Using Good Colours........ 32 Madder “Green. (8) cis aia teat ase ene 106 f Ses gE eye Pee yg ea nets, aT iel oro scree sic 84 Madder Laké’..2. 2): cule isteen eee 67 Pggshell Glossir ig en ongtdig wi iets erats ots 220 Mahogany -%.s0 + « smite tenascin 146 Emerald “Greenies, 25 ok real ahs, ote 93, 206 Mahogany; ‘Dark ian suaeeietasies teenies 143 Malachite che ornare eetsaeeate (ge Green Pigments. "eso. wen sis dete sine ayare 153 Mineral: Gray 17 AND COLOUR MIXING. PAGE Strontitim Wellosea aunt ee, cata feet 89 SEACCO sain bin oars ce nh are ceeceiee 219 UMEla: Greens at sys cacaehe ek ae ene 99 Suggestions for Colour Schemes ...... 213 Suggestion for Painters in Water Colours 190 Sunlight 2Reds 56 eiys actin mt eles ee ee 72 SUBSE ANd SUNTISOR: ules bk aioe 195 Table of Linseed Oil required in Grinding Pigments Swi! e200 e 06) 'e) @ 6) 'v: w ohaitelia elle) s) avahiel ms! Tables of Materials required ............% 219 Tables, Some Useful ............... AEA WRerEar. ROSA. cae cr bar fickacetent canes vac Meneame eae 72 SECIEC EV CELO UP one. cataie cee ee eee ae 99 Testing: Colours... 2ees ene eee 196 eLheory of COlOUI yo sock © oc eee 49 PEDTAN OLS ors nonee hale eG ste, Sothns oe ee aE 7 ‘Bbminers' and Piement= <>... 0 snoses ie 4 Mine. Tite and ShaGd@swhtst.ic ati oe 33 Tinting or Staining Strength ........ 202 hintometen ayn Seo verona See he eee 229 SET ECSen ein a ilo. os oyna cists RE cee de 195 BDU Ke ya Wn Delay cee cehctot. (2/5 o) archer os colts toe 109 FLUEPCH LING pitiry teeth races arenas cto ae & al PETV eye h ial bYs1G Lenn Pe = enn a 72, 207 WITramarine sates oc cbitae ee Sen 209 Ultramarines(Artiticial)i je. see oo ee 79 Ultrantarine> Asha s arse sonics a ans 80, 114 Wmibersxand> sienivesesrs. oe wee aoe ee 210 Vand ykes Brown. brane. asics rot nem errlate 109 Varnish Bauisnes wi. ci5 cc Wis oie aie eee 228 Varnishes, Coloured Oil)... . 33.05.40 230 Venehiaaiarcent tag. sates s eect eee cok 99 Venetian, Indian and Tuscan Reds .... 207 Venetian Red ; Viera TOI. aw eerayaia ret see ai aa veas 12: 208 Verona Blue Sh SEN ae et SE 80 WV CEODE PIS EO WIL terre. c lore a tel echo tins ae ener 109 Veronese: Greencuieo. 4c a eee 99 Mini ati ner eetcretrs Rien anemic amaeneenee - 99 Weainscot= Oaktt aaah. ct akin 145, 146 Wallpaper, Matching the. .....5.3./.. 212 WalliESSuction. S1Z6e. strasc: wana smierttes 179 WaShable Distemper.................. 181 Water Colours, How to Imitate ...... 188 Water Paints and Distempers ...... ies Pa Weather Whitewash ~ 2 i. a. satensre 5 ee, LOL Whitewash and Distemper ......... + 180 Wihitesscand Blacks Sos ch cr nccancenteaee 115 Wirttine or; pPanis/ Whites. «s,..4steaen se 151 WViltree Colotity pee 2 Sr erot danke osteo seteae tenes 73 Writing -Pencsicrir aus octet vote ara oh ote tata ats 228 Yellows and How to Mix them ........ 81 pV ellowsCAarmine: ia. .fe ic cokes oul ee ees 73 BY Ello wear ane oi ts fee aeaitane es tie 73, 89 - SVCLOW: WMaAdCer io neceonisty patcusetiaee steatveters PY ello UME OChrew ti riata daca stoner ec elon rarer eee Vellow) Pigments portant care 152 Yellow Ultramarine... cee Sete 90 TVG OWS tants ola SbCe yee ree ie Cero 214 ZINC GLECD Fest rare ete sata = oe Sa ae 100 Lin’ Oxide: 5 ete eee ee 5 Zinc Yellow Bae Wood Preserving Stall HAS THREE IMPORTANT PROPERTIES : It preserves wood indefinitely, It stains it in rich artistic colours, It is antiseptic and disinfectant. Wood treated with SOLIGNUM lasts many times longer than untreated wood. Dry rot and allied fungi cannot attack or live in wood mie has been solignumed. SOLIGNUM is not any old thing in preservatives, but stains in rich colours, of which there is a choice of 13—and colours so rich, soft - and pleasing that it opens up a new era in wood decoration—at one third the cost of painting ; at the same time it preserves the wood. There are two grades of SOLIGNUM, Exterior and Interior (which dries more quickly), and 13 colours in each. 3 Please write for Colour Sheet to Major & Company, Lrp., 205, Hicu StreeT, Boroucu, London, S.E.1., mentioning Dine and Colour Mixing.” MAJOR & COMPANY, , Lea. (es WNovles & fFioare : LIMITED. j CORNWALL ROAD, STAMFORD STREET, \ \ | a LONDON, S.E. —— Telegrams: Nosres WatTLoo, Telephone: Hop. 1302. VARNISHES For every requirement in House Painting & Decorating. ENAMELS ALBAGLOSS for _ outside. FIRST COATING WHITE. i for inside. ALBAMATTE for inside only. “- a y For GRINDING, SIFTING and MIXING all classes of DRY COLOURS, DISTEMPERS, PAINTS, ETC., use GARDNER’S Patent ‘*‘RAPID’’ SIFTING & MIXING MACHINES Will perfectly blend 1 oz. of any colour with any larger quantity. Fine Powder Colour Dressers, Grinding Mills, etc. = Catalogues from Wm. Gardner & Sons (Gloucester) Ltd.., National Telephone: No. 117. ENGINEERS, Telegrams and Cables: ‘‘Gardner, Gioucester.’’ G L.©O U Cc = ST E R : COLOUR MEASUREMENTS | | By Lowibondad’s Method. The TINTOMETER, Ltd. Supply Apparatus for determining the Colour and Tint of all Materials used in Decorative Work. They make Colour Standards for com- mercial purposes and report on the Colour Composition of pigments, varnishes, paper, etc. Catalogues of Apparatus and full particalars forwarded on application to: MANAGER, THE COLOUR LABORATORIES, SALISBURY. FREE ON APPLICATION. Catalogue of Books FOR THE House Painter, Artist s:: and Decorator. :: Painters’ and Decorators’ Work, Graining and Marbling, Stencils and Stencilling, Wood Finishing, Motor and Carriage Painting, Colour and Colour Decoration, Sign Painting, Lettering and Illuminating, Design, Orna- ment and Artistic Painting, Painters’ Pig- ments, Paints, Oils Varnishes, etc., The Manufacture and Properties of Chemistry, Recipes and Formule, Price Books, Esti- mating, Miscellaneous, Mechanical Painting. WRITE TO-DAY TO The Trade Papers Publishing Co., Ltd. 326, Bank Chambers, 329, High Holborn, London, W.C. ——____—______ ORR 2 penne : RESINATES and LINOLEATES Of Copatt, Leap AND MaAnGANESE, ETC., of Guaranteed Strength. HIGH GRADE ESTER GUMS For the manufacture of the Finest Waterproof Varnishes. VARNISH GUM PREPARATIONS (Concentrated Varnishes in Paste Form). Pe factuyed by: GRIN DLEY & Co., Ltd., 4 POPLAR, LONDON, E.14. The Oldest Manufacturers in Great Britain. Established 1868. os The Four Gems “SUNLIGHT ENAMEL” Reca. GLOSSY & FLAT, FOR FINEST RESULTS. A GREAT FAVOURITE. | “LAGOLINE PAINTS” Resa. ARE GLOSSY *& DURABLE. READY MIXED FOR USE, IN ALL SHADES. | Le of: PINTOFF’” Regd. PAINT, VARNISH & FRENCH POLISH REMOVER. FINEST REMOVER ON THE MARKET. “SILVERETTE ” Resa. METALLIC PAINT. READY FOR USE. Tue Most Sitvery ALumMiINuM Paint Propucep. For Terms etc. apply— The Sunlight Enamel & Paint Co. Ltd, Head Office—Guildhall Chambers, } NEWCASTLE-ON-TYNE. Works—Felling-on-Tyne, Branches at LONDON, GLASGOW, MANCHESTER, LIVERPOOL & CARDIFF. _ [OISLIg ‘UONIG “PYT ‘SUOg | JOULLIO], A | YAXIIA LNIVd « YOLVHOOSd>» 3HL ‘Hou tig = = eis siieBg «= “E9018 uoyeS 2U0 -/09 8ZIS UOTIUs JIPH "0u9F = - OZIS "S]iRS 1% "ysee -/p, - SJOUIV}JUOD BA}XY LX ,0€ -~ = 99edg 100] 3 *JMO-TL - - - JUSIOM “8 x wok re eo AGUIv}UND «FORT HD9N FHM AHL. ae bo Sx s xg 5 ae Oe: He LITTLE: M4 ‘SsopnUIME MOJ @ UL asNn JAOJ Apvoi uIed Surxiw Al[YsSnoi0y} I0J SaHaXIN LINIVd GidVua SSV'1D-H9IH TELEPHONE: NORTH 2999. - PRINTERS - : | Were) Mel el: MOUNTERS {if a PATTERN CARD DESIGNERS & COMPILERS | _, OF ADVERTISING MATTER . - FOR. PAINT. VARNISH &: -NAMEL.. MANUFACTURERS A dm eh, Sandall Works, Sandall Road, London, N.W., 5, have prepared most of the SPECIMEN CoLouR PLATES in this work. Their Telephone Numf er is NORTH® = == oe Suggestions for all k'nds of : PAINT & COLOUR - ADVERTISING - - submitted, -~ - ~- showing ORIGINALITY of ideas, designs and order getting qualities. COMPILING, PRINTING & COLOUR-MATCHING of Colour Pattern Books, Catalogues and Colour Cards, in Distemper, Flat-oil- Paints, Enamels, and Stains, prepared with accuracy and despatch, with own or customers materials. EY ‘EFFICIENCY FIRST.” Managing Director: F. Scott Mitchell. ne ——eEEEE——eEeee 1 ASE ONLY Water Paints & ithe bas ORR'S | ZINC WHITE Which is specially Manufactured | for the Bios 4 British Invention made by | British Labour & British Capital. | ane ENT & SONS, LTD. INTING BRUSHES. — ‘ NT & SONS.” ARE ONE QUALITY ONLY. “(THE BEST.” BEST BRITISH BRUSHES. ae OF “Tre Paint Peopie”’ | Of W, Lame Street, = ISA CC Paint and Colour Mixing Simplified.| _ ral oe anything be simpler than to stock 12 semi-paste colours and white—reduce the colours with white to match any desired shade (as shown on plate)—thin the semi paste with oil or turps to suit the job (either undercoat or finishing coat). § “« My. Berger”’ made Fine Colours in London in 1760 a9 ° e —and equally fine Varnish ‘““M.P.P.” Master Painters semi- in the following century. paste paint equips you fully for all coats, all finishes (flat, oil or var- nished) and practically all shades— with a stock of only 12 colours and white. Write for full colour chart. Lewis Berger & Sons, Ltd., Makers of Colours, Paints and Varnishes, HOMERTON, LONDON, E. 9. AND RHODES, SYDNEY, NEW SOUTH WALES, Branches: Liverpool, Paris, Brussels, Durban, Cape Town, Bombay, Calcutta, Shanghai, Buenos Ayres, Rio de Janeiro. <—_______. Berger’s S f, ce i”) Ore? ae Ae j ' “p} f ti a pea) a gq i) ed = i; if ne. : wt rt ’ ’ a | 4/1) ww? , | b | . a eS ee oe 2 é a = Higpoatieat + cme i ee Beg a tT i Sa nen i we a rn Lt eo pay en es EE <, "aa pot Me pees Aes of DAN? ‘ Sook: '