“she MIXING. 
 “CG |O R SA AND Pi a N IS 
 
 
 
 _ VANE DERWALKER 
 

 
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 RESEARCH LIBRARY 
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 JOHN MOORE ANDREAS COLOR CHEMISTRY LIBRARY FOUNDATION 
 

 
. 
 
 ‘4 Pak Pee fa 
 
 “a 
 
 
 

 

 
 
 
 The Mixing of Colors 
 and Paints. 
 
 Description, Properties, Theory, Harmony 
 and Management of Colors 
 
 The Mixing and Use of Colors and Paints for 
 Interior Decorating, House Painting, Arts 
 and Crafts, Furniture and Polychrome 
 Finishing. 
 
 BY 
 F, N. VANDERWALKER 
 
 Graduate in Commerce, Northwestern University 
 
 Editor, American Painter & Decorator 
 
 SSA SD EE NTE RE EEE ER ESS EGIL IO STIS I TENS SR OT i I BI IIIS SIL TE SBE ELE LIN, BELLE LDL OLA ITE, 
 
 
 
 Author of “Automobile Painting’; “Estimates, Costs 
 and Profits’; “New Stencils and Their Use,” ete. 
 ILLUSTRATED 
 CHICAGO 
 FREDERICK J. DRAKE & CO. 
 PUBLISHERS 
 
 
 
 
 

 
 
 
 CopyricHt, 1924 
 
 BY 
 FREDERICK J. DRAKE & Co. — 
 
 in 
 
 Printed 
 
PREFACE 
 
 A strict interpretation of the title of this book would 
 eall for the presentation of only such information as 
 pertains to the mixing of colors, paints and printing 
 inks; but the possession of skill in mixing is only a 
 means to an end, and that end is a more tasteful and 
 effective use of colors. 
 
 To select the principles of the science of color essen- 
 tial to a better understanding and use of color by stu- 
 dents, apprentices, journeymen, printers, interior dec- 
 orators and master house painters, and to reduce the 
 statement of such principles to the most simple terms— 
 these are the attainments aimed at in the writing of this 
 work. 
 
 The mixing of colors and paints by painters, deco- 
 rators and others is intimately related to effective and 
 tasteful color use. Consequently, it seemed essential 
 that all such kindred subject matter as is in any way 
 related to better taste in color use should be included to 
 promote the primary, if indirect, purpose of this book. 
 
 The difficulties of the task were many, since the sub- 
 ject of color is involved and can be confusingly tech- 
 nical and scientific. Yet it must be stated simply, if 
 a working knowledge of color use is to be contributed 
 to those whose daily work in decorating, painting and 
 printing does not permit them the time to pursue the 
 study at length. © 
 
 It is hoped that in this writing the simple interpre- 
 tation of this fascinating study will lay the foundation 
 for better and more tasteful use of color. 
 
 F. N. VANDERWALKER. 
 

 
CONTENTS 
 
 PAGE 
 
 CHAPTER I 
 
 CoLtor AND LigHtT:—The Spectrum—Prism—Primary Col- 
 ors—Secondary Colors—Intermediate Colors 
 
 cee ee eee eee e@ 
 
 CHAPTER II 
 
 DESCRIPTION OF CoLoR PIGMENTS:—The Earth Colors— 
 Chemical—Aniline Coal Tar—Lake—Vegetable-Animal— 
 Metal Bronze—Artists’ and Decorators’ Colors 
 
 CHAPTER III 
 PROPERTIES OF CoLoR PIGMENTS:—Opaque—Transparent— 
 Fading—Chemical Reactions—Bleeding—Slow Drying.. 
 CHAPTER IV 
 How Cotors ARE PREPARED FOR THE TRADE:—Tinting Colors 
 Decorators’ Oil Colors—Decorators’ Glaze Colors— Dis- 
 temper Water Colors—Artists’ Colors—Japan Colors— 
 
 Dry Colors—Bronze Colors—Color Varnish—Color Lac- 
 quers 
 
 eer ee cee eo 
 
 CHAPTER V 
 
 Basic Paint PIGMENTS:—White Lead—Flake White—Zinc 
 Oxide — Titanium Oxide — Lithopone — Whiting — Silica 
 (Silex) — Barytes — Asbestine — Red Lead — Graphite— 
 Bronze Powders—Painter-Made Ready Mixed Paints.... 
 
 CHAPTER VI 
 
 Paint O1Ls:—Linseed—Perilla—China-Wood (Tung)—Soya 
 Bean—Menhaden—Kerosene and Petroleum—Creosote— 
 Flattinge—Flat Mixing Varnish—Floor Oil—Gloss Oil— 
 Polishing and Rubbing—Megilp—Bronzing Liquids 
 
 CHAPTER VII 
 
 VoLATILE THINNERS AND DriersS:—Turpentine—Turpentine 
 Substitutes—Mineral Spirits—Benzine—Benzol—Solvent 
 Naptha—Amyl Acetate—Alcohol—Vinegar—Driers 
 
 CHAPTER VIII 
 
 GENERAL Paint Mrxtna Meruops:—Tools—Ready-Mixed 
 Paints—White Lead—Lead and Zinc—Quantities of Ma- 
 terials—Covering Capacity of Paint—Number of Gal- 
 lons—Standard Formulas—Flatting Oil—Exterior Metal 
 —Brick, Stucco, Concrete—Glue Size—Varnish Size—Oil 
 and Glue Size—Sugar Size—White Enamel-—Using Paint 
 
 es eee ee, cola Serko < doe wipin eb meee s tems otlein le eins 1 
 
 i 
 
 42 
 
 49 
 
 65 
 
 80 
 
 95 
 
CONT EN'L'S 
 
 PAGE 
 
 CHAPTER [X 
 
 Coton THEORY, PRINCIPLES AND Use:—Color Pigments to — 
 
 Match Spectrum Colors—Primary—Secondary—Tertiary 
 —Complementary Colors—Terms—Color Card Chart— 
 
 The New Color Theory. :. 2... ../s 0.5 5 ge seus eeneee n 142 
 
 CHAPTER X 
 
 COLORED PAINT MIxInG METHODS:—Experimental Mixing— 
 Choice of Tinting Colors—Matching Color Samples— 
 Watch Crystal Test—Matching Liquid Samples—Match- 
 in a Dry Color Sample—Matching Gloss to Flat—Match- 
 ing Flat to Gloss—One Color to Match Several—Match- 
 ing Rough and Smooth Surfaces—Matching Fabric Color 
 
 Samples . ic. cc ccs cc 6s te ace a wee'hro 5 os) tie ete tenets Eien 157 
 
 CHAPTER XI 
 MIXING SPECIAL PURPOSE MATERIALS:—Undercoat Colors— 
 Window Glass Putty—Knifing Putty—Swedish Putty— 
 Quick-Setting Putty—Plaster of Paris Putty—Floor 
 Paints—Floor Fillers—White and Colored Enamels— 
 
 Color Varnish—Aluminum Paint..... bie 6 else ag ee 179 
 
 CHAPTER XII 
 
 Cotok HARMONY AND MANAGEMENT:—Descriptive Terms— 
 Contrast of Values—Contrast of Hue—Contrast of In- 
 tensity—Tones of One Color—Related Colors, Analogy— 
 Complementary Colors—Stippled Pure Colors—Neutraliz- 
 ing and Greying Colors—The Law of Simultaneous Con- 
 trast—Colors Influence Life—Artificial Light........... 
 
 CHAPTER XIII 
 
 _ SELECTING CoLoR ScHEMES:—Climaxes and Centers of In- 
 terest—Appropriateness—Balancing Living Room—Din- 
 ing Room—Kitchens—Library and Private Offices—Bed 
 Rooms—Hall—School, Church and Bank—Color Schemes 
 for Children—Large Rooms—Small Rooms—North Ex- 
 posure—South Exposure—Light and Dark Rooms—Wood 
 Trim—Ceiling Colorings—Floor Colors and Designs— 
 
 Pictures, Frames, Mats—Drapes and Window Shades— 
 
 Panels and Stripes—Colors in Harmony—Color Mixing 
 FOTMUIAS | 6's sv nin ovat Side la ate she iais ase sia woe aucnbene/ meee 
 
 CHAPTER XIV 
 
 PRINTING INKS:—History—Color Pigments and Dyes—Oils 
 and Varnishes—Waxes—Ink Driers—Characteristies of 
 TK 9. bcd 0 oe eos 0 0-0 wiereletsie ao sivie cle) 60a nie hele siteCl =i oa 
 
THE MIXING OF COLORS 
 AND PAINTS 
 
 CHAPTER I 
 COLOR AND LIGHT 
 
 Sunlight is the source of all color as well as of heat 
 and light. With the setting sun all colors disappear 
 from the earth. If it were not for artificial light our 
 nights would be devoid of colors, relieved only by a con- 
 trast of moonlight and shadows. 
 
 Color is the property of light rays which causes visual 
 action on the retina of the eye. 
 
 The Spectrum.—In the rainbow we see an array of 
 colors. The image is called the sun spectrum. The 
 spectrum is caused by the reflection of light rays from 
 the sun. The same array of colors, or spectrum, you 
 will notice when a ray of light passes through a raindrop | 
 or through a piece of three-sided plate glass, or a glass 
 prism. 
 
 Prism.—A solid glass body of triangular shape. 
 
 A more formal definititon of a.spectrum is :—an image 
 formed by rays of light passing through a glass prism 
 in which the parts of light are arranged according to 
 their wave lengths, forming a band displaying the colors 
 of the rainbow. <A beam of light from any source, such 
 
 as the sun or ignited vapors (gas), passing through a 
 
 elass prism is reflected and separated into colored light 
 rays; these projected upon a surface constitute the spec- 
 
 trum. Red is red to the eye because it is composed of 
 a | 
 
8 THE MIXING OF COLORS AND PAINTS 
 
 light ray vibrations of one wave length; blue is caused 
 by a different wave length; yellow is vibrations of a still 
 different wave length. 
 
 The array of colors called the spectrum is identically 
 the same in character, and in the order of their arrange- 
 ment, whether seen in the rainbow, a raindrop or a glass 
 prism. 
 
 Primary Colors.——The strongest colors noted in the 
 spectrum are red, blue and yellow. These are called 
 the primary colors. In eolor theory all other colors are 
 mixed from red, yellow and blue. 
 
 Secondary Colors—Between these primary colors (red, 
 blue, yellow) in the spectrum will be noticed violet, 
 ereen and orange. These are called the secondary colors. 
 
 Intermediate Colors——In the spectrum, again, be- 
 tween the primary colors and secondary colors there are 
 six intermediate colors. They are violet-red, blue-violet, 
 blue-green, yellow-green, orange-yellow, orange-red. 
 
 The order in which the colors of the spectrum are 
 arranged is illustrated in Plate I. 
 
 In nature color is lavished in over a thousand (actually 
 eounted) delicate tints and shades on wild flowers, fish, 
 birds, butterflies and other insects, or rocks, earth for- 
 mations and elsewhere. And all of these colors are 
 simply gradations of the primary, secondary and inter- 
 mediate colors of the spectrum seen in the rainbow, the - 
 raindrop and the glass prism through light reflections. 
 
 Before passing on it is an excellent idea to study the 
 spectrum. Since neither a rainbow nor a raindrop are 
 likely to be handy when you want them, secure a glass 
 prism or a piece of thick plate glass. Lay the glass flat 
 on a desk or some dark surface in such away as to cause 
 the direct rays of the sun to pass through the glass at 
 an angle of about 45 degrees. It is easiest to do this 
 with a late afternoon sun. . 
 
 When we come to the subjects of ecclor mixing, color 
 
COLOR AND LIGHT 
 
 Weird dT 
 let (MN s 
 [voteebive id 
 
 
 
 lyellow-green sd green J 
 
 YELLOW 
 
 
 
 ——, 
 orenge (NIU 
 a 
 
 Plate 1.—Spectrum Order of Colors: Primary, Secondary 
 and Intermediate Colors 
 
10 THE MIXING OF COLORS AND PAINTS 
 
 harmony and color use, later on in this book, more will 
 be included about the practical use of primary, second- 
 ary and intermediate colors. So it is well for the student 
 to keep these divisions of the spectrum in mind, and, par- 
 ticularly, that they are given to us through the laws of 
 nature and the science of man. Man had nothing to do 
 with the creation of the spectrum, but simply named it, 
 classified its colors, and noted how they exist throughout 
 the world. 
 
 It is interesting to note that objects do not possess 
 eolors of their own, but depend for color upon light 
 reflected from their surface. By way of illustration, 
 surfaces which are capable of reflecting all color rays 
 appear red in red light, blue in blue light and white in 
 daylight. In daylight all the color waves are present. 
 Some surfaces are capable of absorbing all the light rays 
 and reflect none ;—these surfaces appear black, no matter 
 what colored light falls upon them. 
 
 When part of all the light color rays is reflected and 
 part absorbed, the surface appears gray. 
 
 In the case of leaves on plants, they appear green 
 because they reflect green rays and absorb all other ecol- 
 ored light rays. If, however, a leaf is taken out of the 
 sunlight and flooded with red light it will appear black, — 
 because there are no green rays in the red light to be 
 reflected by the leaf to the eye. 
 
 Flowers are red, yellow or blue, depending upon their 
 ability to absorb some colors and refiect others ;—that is 
 true of all opaque objects. 
 
 In the case of transparent surfaces, they are colored 
 by their ability to sereen out certain light rays. Glass 
 is red when only red rays pass through it. A glass or 
 other surface which transmits all colors equally well, as 
 does pure water in small amounts, is considered to be 
 colorless. 
 
CHAPTER II 
 DESCRIPTIONS OF COLOR PIGMENTS 
 
 We cannot paint and decorate with light rays and 
 eolor reflections from the spectrum of the rainbow, rain- 
 drops or a glass prism, as deseribed in Chapter I. 
 
 Man has therefore searched out material substances 
 from the soil, mines and vegetation, through his inge- 
 nuity in manufacturing and chemistry, to match the 
 colors he sees in the spectrum. What these color sub- 
 stances are should next concern one who is anxious to 
 become skilled in color mixing and use. 
 
 The number of shades of a single color found upon 
 the market today is legion ;—the siennas, umbers, vene-' 
 tian and Indian reds, chrome yellows and ochres varying 
 in shades depending upon what part of the world they 
 come from, upon manufacturing, chemical, grading and 
 toning processes employed in their production. 
 
 These differences also have a bearing on _ prices 
 charged for colors. The matter of price is always rela- 
 tive as to colors; care must be exercised in buying and 
 in using them. Each grade of colors is made for cer- 
 tain purposes and it is wasteful or disappointing to 
 use them indiscriminately; for instance, the use of a 
 low-priced grade of tinting colors for rough barn paint- 
 ing may prove satisfactory and economical, but such 
 colors certainly would prove disappointing if used on 
 fine interior decorating. And the use of decorators’ 
 or artists’ colors for rough work would certainly prove 
 
 expensive and wasteful. 
 ets 11 
 
12 THE MIXING OF COLORS AND PAINTS 
 
 THE EARTH COLORS 
 
 Among the first color pigments used by man in the 
 early stages of civilization and, indeed, during the 
 Savage ages, were colors which were nothing more than 
 natural deposits of colored earth found in many parts 
 of the world. The colors of these earth pigments are 
 due to their content of more or less oxide of iron and 
 other mineral substances. As a class they are perma- 
 nent in color, durable and economical. 
 
 The principal earth colors are raw umber, raw sienna, 
 yellow ochre, mineral browns, venetian red and Indian 
 red—the last two are now made by chemical processes. 
 These are used just as they are dug out of the ground 
 after washing and screening to eliminate roots, stones, 
 ete. They are dried and ground to make them fine 
 and are classified according to shades of color. Next 
 they are mixed or ground in linseed oil or water, or 
 Japan to make them ready for the painter. 
 
 The earth colors are also burned, or calcined, to 
 change their colors. Raw umber which is a dull, gray- 
 ish brown, becomes a deep chocolate brown when eal- 
 cined and is called burnt umber. Raw sienna, a rather 
 dull yellow, becomes a cherry red in the burning pro- 
 cess and is then called burnt sienna. 
 
 Raw Sienna.—One of our most valuable colors, an 
 earth pigment, named after the city of Sienna, Italy, 
 near which natural deposits of an especially bright and 
 clear yellow raw sienna earth were found. These were 
 very fine, rich and transparent colors of great beauty 
 and permanence. When mixed with a white base, 
 clear and delicate tints result. 
 
 Sienna earth is found in pockets surrounded by earth 
 of a different character. It owes its color to hydrated 
 silicate of iron, probably precipitated from ponds and 
 bogs containing a solution of iron and silica. There 
 are great variations between different deposits as to 
 
DESCRIPTIONS OF COLOR PIGMENTS 13 
 
 brightness of color, texture, fineness and freedom from 
 sand and stone. High quality raw sienna is essentially 
 a yellow ochre of great purity as to color. It is not 
 only brighter in color but has greater tinting strength 
 than yellow ochre and so produces clearer tints when 
 mixed with a white base. It is not muddy, or cloudy 
 like yellow ochre, but quite transparent, which makes 
 it valuable for mixing stains, graining and glazing 
 -ecolors. Both raw and burnt sienna are in the group 
 of most permanent colors known and have been used 
 for hundreds of years. 
 
 Burnt Sienna.—Made by roasting raw sienna, which 
 process changes the yellow color to rich brownish red. 
 Burnt sienna, when properly roasted, possesses sub- 
 stantially the same qualities as the raw sienna from 
 which it is made, and is used for the same purposes in 
 decorating and tinting where clear reds and pinks are 
 wanted. 
 
 Raw Umber.—ltaly claims the origin of umber as 
 well as sienna. The color takes its name from Umbria, 
 Italy. However, in modern times the island of Cypress, 
 in the Mediterranean Sea, appears to be in possession 
 of more deposits of this drab earth color. It has been 
 marketed through Constantinople and so gained the 
 name of Turkey umber. 
 
 The characteristics and history of umber are much 
 like sienna. The difference in color is due to its con- 
 tent of a large percentage of manganese in addition to 
 oxide of iron. This possession of manganese makes the 
 umbers very good drying colors—raw umber, in fact, 
 is used in the manufacture of liquid driers. 
 
 Raw umber in color’is a dark, greenish brown. It is 
 almost transparent, has great tinting strength and pro- 
 duces clear tints when mixed with white. 
 
 Raw umber is very durable, permanent to light and 
 invaluable for mixing dark greens, olive greens and . 
 
14 THE MIXING OF COLORS AND PAINTS 
 
 cold drabs which are more permanent in strong light 
 than those mixed from chrome green alone. Some of 
 the umbers possess a reddish rather than a greenish 
 tone and, of course, are not cold, but warm colors not 
 so suitable in the mixing of greens. 
 
 Burnt Umber.—Substantially the same as raw umber 
 except for color. The calcining or roasting of raw um- 
 ber changes its color from a greenish brown to a deep 
 chocolate brown. This warm brown makes burnt umber 
 a valuable color for tinting a white base to tan and 
 many other useful colors in paints. It is a quite trans- 
 parent color and so is extensively used for mixing stains, 
 for glazing color and for graining. 
 
 Yellow Ochre.—In this color we have another earth 
 pigment. And it is doubtful if any color is found on 
 the market having greater variations of quality. The 
 name yellow ochre on a product may mean any one of 
 several materials or grades. 
 
 Deposits of yellow earth are found broadly distributed 
 over the earth’s surface in the form of sand or clay. 
 Not many of them have any real value as a color or 
 paint pigment. 
 
 In France deposits of the best quality yellow ochre 
 are found and they are very similar to raw sienna. High 
 grade French yellow ochre is clear and bright, as to 
 color, but cannot be used as a glaze, stain or graining 
 color. It is durable and permanent in strong light. 
 Domestic and some other foreign yellow ochres are 
 muddy and dull in color; they have not the tinting 
 strength of French ochre and have but little in com- 
 mon as a color, paint or tinter with French ochre. 
 
 Correctly made yellow ochre is one of the most use- 
 ful tinting colors, but unusual care must be shown by 
 manufacturers in washing, floating and separating to 
 eliminate coarse sand, if a color with good tinting 
 strength is to be produced. 
 
DESCRIPTIONS OF COLOR PIGMENTS 15 
 
 Yellow ochre is the body, the solid opaque yellow of 
 nature, while raw sienna is the transparent yellow which 
 ean be used as a glazing color and a stain. 
 
 For the mixing of yellow tints—tans, creams, buffs 
 and olive green—good French yellow ochre has no su- 
 ‘ perior; it is durable, fast to light and economical. 
 
 Vandyke Brown.—An earth pigment of a rich, deep 
 brown similar to but richer than burnt umber. It takes 
 - its name from the old Dutch master, Vandyke, who 
 used the color with remarkable effect. It is of bog 
 origin and contains iron and bitumin. As made today 
 Vandyke brown is quite permanent, is an excellent tint- 
 ing color and so transparent that it is invaluable as a 
 glazing and graining color where a richer brown than 
 burnt umber is needed. It is unsurpassed for glazing 
 old bronze effects and for staining to imitate old Eng- 
 lish, antique and bog oaks. Used to color a white base, 
 the tints have a lavender tinge to them. 
 
 CHEMICAL COLORS 
 
 The chief chemical colors commonly used are Pras- 
 sian blue, ultramarine blue, cobalt blue, black oxide of 
 iron, black lead sulphide, graphite, manganese black, 
 chrome green and chrome yellow. Chrome yellow is 
 made in orange, medium and lemon. The vermilions 
 —American, Chinese and English—are chemical colors, 
 as are also Venetian red and Indian red. 
 
 Such chemical colors as Prussian blue, chrome yellow 
 and green are manufactured by mixing together cer- 
 tain chemical solutions. The reaction which then occurs 
 causes a precipitation, or throwing down, of a very fine 
 colored pigment. When the chemical action has spent 
 itself the water is drawn off the top of the tubs and 
 the wet pigment is put into filter presses which squeeze 
 out the balance of the water. 
 
 These chemically pure colors are very strong and it 
 
16 THE MIXING OF COLORS AND PAINTS 
 
 would be wasteful, as well as expensive, to use them in 
 the pure state; so they are ground in linseed oil, water 
 (distemper) or Japan and at the same time inert white 
 pigments are added as extenders to make the paste 
 tinting colors such as the painting trade uses. These 
 colors, like the earth pigments, are sold also in the dry 
 powder form, principally for mixing caleimine. 
 
 Lampblack.—A paint pigment of rather ancient origin 
 and well known to all. It has great opacity and is an 
 excellent pigment both for solid color and tinting pur- 
 poses. A slow drying color which requires the addition 
 of more than the usual amount of Japan drier. 
 
 Lampblack is made in many ways and from many ma- 
 terials which will burn with a slow, smoky flame. It 
 is made from dead oil resulting from coal tar distilla- 
 tion, also from rosin and tallow. 
 
 The smoke from burning these oils is colsctad in 
 chambers or bags attached to flues. The burning must 
 be controlled by the amount of air admitted. Too much 
 air makes grayish blacks and not enough air adds oil 
 or volatile acid to the lampblack. In fact, much skill 
 is required in the manufacture of lampblacks. Time 
 must be allowed; if the burning is forced too rapidly 
 an inferior black is produced which contains both oil 
 and acid sufficient to cause spontaneous combustion. 
 Thus a dangerous dry pigment to handle results and 
 one which is slow to dry and likely to corrode metal be- 
 cause of the acid content. Such a black paint destroys 
 metal surfaces it is supposed to protect. Lampblack 
 made of rosin is especially likely to do this and it is 
 difficult to detect from other blacks. 
 
 Gas and carbon blacks often added to high quality 
 earbon black with the intention of giving greater tint- 
 ing strength are really detrimental because they cause 
 jet blacks to take on a brownish tone and also cause the 
 pigment to separate from oil with which it is ground 
 
DESCRIPTIONS OF COLOR PIGMENTS se 
 
 or mixed—uneven, streaky black paint and muddy gray 
 tints are so produced. 
 
 A high quality lampblack, then, is clear, jet black, 
 of good tinting strength with white bases, one free from 
 dangerous oils and acids and a black which will dry 
 within a reasonable time without using an excess of 
 drier. 
 
 Drop Black—The name comes from the fact that 
 when first marketed this pigment was sold in the form 
 _ of small drops or lumps. It is no longer marketed that 
 way. 
 
 Drop black consisted of mixtures of animal and vege- 
 table blacks ground to a very fine pigment in water, oil 
 or Japan. The bulk of this black manufactured is used 
 by sign, carriage and automobile painters. 
 
 As now made drop black is a very fine quality of 
 pigment resulting from burning animal bones to make 
 charcoal, which is then ground, first in water, and then 
 reground in oil, Japan or water and glue or gums for 
 binders. 
 
 For the manufacture of the finest ivory drop black 
 only the hardest animal bones are used such as teeth 
 and shinbones. The bones are crushed and roasted in 
 erucibles to make the charcoal. Soft bones make blacks 
 which have a brownish tone and which lack clearness. 
 Such blacks are, obviously, much less valuable. 
 
 Cheap bone blacks, called sugarhouse blacks, are made 
 from the bone charcoal used in sugar refineries to bleach 
 the sugar. When this charcoal has become saturated 
 with color matter it is re-burned and ground for a cheap 
 paint pigment. It lacks the beauty and clearness of 
 ivory drop black. 
 
 High quality drop black makes a beautiful pigment 
 both for solid colors and tints and shades with a white 
 base. Pearl grays, rich warm olives and bronze greens 
 of pure and lively tone are mixed with it. 
 
18 THE MIXING OF COLORS AND PAINTS 
 
 Drop black takes less oil than lampblack and is a 
 slow drying pigment. It has greater density and opacity 
 than lampblack. 
 
 Ivory Black,—While a limited amount of ivory black 
 is made from ivory chips and turnings, the bulk of 
 this pigment is made from selected hard animal bones, 
 the choice bones which are also valuable for making 
 buttons and knife handles. 
 
 This is a very clear, jet black particularly valuable 
 as a solid color. It is not so strong for tinting pur- 
 poses as some other blacks. 
 
 Ivory black is made, like drop black, from bone char- 
 coal and is also called ivory drop black. 
 
 Indian Red.—One of the original colors extensively 
 used and at first it was strictly an earth pigment. It 
 was an especially bright oxide of iron earth found as 
 a natural deposit near the Persian Gulf. 
 
 As manufactured today Indian Red is really classed 
 with the chemical color group. In steel mills certain 
 acid liquors are used to remove scale from iron and 
 steel. After such use these liquors were dumped as 
 waste in years past and were very destructive of fish 
 in the lakes and streams into which this waste was run. 
 
 Today this waste acid containing iron scale is evapo- 
 rated and from it sulphate of iron (copperas) is erys- 
 tallized out. When this copperas is roasted a pure 
 oxide of iron powder is recovered and the acid is again 
 used to remove more scale. 
 
 This oxide of iron is Indian red. Its quality, shade 
 and strength vary according to the care and ability 
 shown by its manufacturers in roasting the copperas, 
 in freeing it from acid and in grinding it. If the acid 
 is not eliminated completely it will start an iron or tin 
 roof to rusting, instead of protecting such surfaces as 
 a paint should. Consequently, this Indian red must be 
 made by able chemists and manufacturers. 
 
DESCRIPTIONS OF COLOR PIGMENTS 1g! 
 
 High quality Indian red, then, must be pure oxide 
 of iron, free from corrosive acids, have a deep, rich red 
 eolor with a purple tinge to it, have a non-fading qual- 
 ity and possess good tinting strength. 
 
 Venetian Red.—Originally an earth pigment, vene- 
 tian red is made by substantially the same process as 
 Indian red and should therefore be classed with the 
 group of chemical colors. 
 
 Venetian red is an oxide of iron red made by par- 
 tially neutralizing the acid liquors used in removing 
 mill scale from iron and steel as described under the 
 section on Indian Red. 
 
 In making venetian red the acid liquors are > mixed 
 with lime. What is precipitated is sulphate of lime and 
 hydrated oxide of iron. When this precipitate is roasted 
 the acid is eliminated at a lower temperature than is 
 needed in recovering Indian red and so venetian red 
 is hg¢hter and brighter in color. 
 
 Some of the cheap venetian reds used for box cars 
 and rough barn work are recovered by crude processes 
 and on a coarse, cheap base. While they are useful for 
 some rough work, they do not compare favorably in 
 value with venetian red made by highly efficient pro- 
 eesses and better materials. 
 
 The cheaper venetian reds are not suitable ae use as 
 tinting colors and are not as good even for solid red 
 paints. High class venetian red produces bright, lively 
 tints and shades and is clear enough for delicate pink. 
 
 Carefully selected venetian red ground to a fine pig- 
 ment in linseed oil makes about the most durable red 
 paint known today. 
 
 Ultramarine Blue.—A most pleasing and valuable 
 eolor made originally from a precious stone called Lapis 
 Lazuli. It is a deep sky blue to a greenish blue in color. 
 Made by a chemical process of burning in crucibles, 
 such substances as China clay, carbonate of soda, sul- 
 
20 THE MIXING OF COLORS AND PAINTS 
 
 phate of soda, sulphur, quartz, infusorial earth, char- 
 coal and rosin. 
 
 It is interesting to note that in this process, dis- 
 covered in 1828 by Guimet, a French chemist, the hot 
 mass changes first to a beautiful rich brown- which takes 
 fire and burns in defiance of many efforts to hold it 
 as a color pigment. Next the mass turns green and 
 this eolor also disappears in flames on exposure to the 
 air. Blue appears next, but if heated too long, it turns 
 to violet, then to red and finally to white. After the 
 mass cools off, if the fire is extinguished at the right 
 time, the top layer is a clear bright blue. The bottom 
 layer is a greenish blue of a lower grade. 
 
 Ultramarine blue is a combination of silica, alumina, 
 sulphur and soda. The sulphur content of this color 
 makes it an unsatisfactory blue to use with white lead, 
 since sulphur turns white lead carbonate to lead sul- 
 phide, which is black. Traces of sulphur and sulphide 
 in ultramarine blue discolor many pigments but not zine 
 oxide. It is not safe to use this blue with white lead. 
 
 The deep, rich color of ultramarine blue with its 
 purple tinge is far more pleasing than Prussian blue, 
 which has a greenish cast to it. Ultramarine blue is 
 an excellent tinting color and glazing color; it is perma- 
 nent in light (except with white lead) and durable on 
 exposure to weather. 
 
 Ultramarine blue may be used on new plaster or 
 cement walls, since lime, soda and alkali do not affect 
 this blue. Fading and spotting occur when Prussian 
 blue is used on such surfaces. 
 
 Cobalt Blue.—This is a color which is substantially 
 the same as ultramarine blue—it is the purest and 
 lightest blue so made, having neither the purple tone 
 of most ultramarine from the top of the crucible nor 
 the greenish cast of the bottom layer. 
 
 Cobalt is a most beautiful color pigment deserving 
 
DESCRIPTIONS OF COLOR PIGMENTS 21 
 
 of wider use by painters and decorators for delicate 
 azure tints, using zine oxide as the white base. White 
 lead should not be used, unless in small proportions 
 with zine, since the sulphur content of cobalt blue may 
 discolor the white lead, changing it to lead sulphide. 
 
 For the mixing of clear, ight greens with zine, or 
 compounds where zine predominates, cobalt is very fine. 
 It is strong in tinting strength, durable and permanent 
 in strong heht. Hot lime and alkali spots in new 
 plaster or cement walls do not spot and fade this blue 
 as with Prussian blue. 
 
 Real cobalt blue is a combination of oxide of cobalt 
 metal with alumina. It is so made for use as artists’ 
 water colors. It isn’t so good as an oil color. The high 
 eost of real cobalt blue prevents its general use in 
 quantities. 
 
 Prussian Blue.—The best known and most extensively 
 used of the blue pigments. Varying shades of Prussian 
 blue are marketed under such names as Berlin, Chinese 
 and Milori blue. 
 
 This is a chemical color discovered by accident. In 
 the year 1700 a Berlin colormaker learned that when 
 ox-blood and wood were burned together, the ashes 
 yielded a yellow solution which could be precipitated by 
 iron as a brilliant blue color pigment. This yellow so- 
 lution was yellow prussiate of potash or ferrocyanide of 
 potassium. | 
 
 The chemical process used in making Prussian blues 
 now has, of course, been perfected far beyond its crude 
 beginning. As done today yellow prussiate of potash 
 is mixed with sulphate of iron (copperas) and the re- 
 sult is that a fine white pigment is precipitated. On 
 being exposed to the air this white substance oxidizes 
 into blue. 
 
 The blue color may have a purple, bronze or green 
 east to it or it may be quite a pure blue, depending 
 
22 THE MIXING OF COLORS AND PAINTS 
 
 upon the manipulation during the chemical process of 
 formation. 
 
 Lime, soda, white wash, hot spots in new plaster and 
 cement walls cause Prussian blue to fade and tints made 
 with it to become spotty. 
 
 Prussian blues are rather fugitive in sunlight and 
 are not used on exterior painting. They are among 
 the strongest tinting colors and produce bright and 
 clear tints on any white base. Prussian blue is used 
 cons*derably as a glazing color. 
 
 Chrome Yellow.—Chromium is a metal remarkable for 
 the beautiful colors it compounds. The precious stone 
 called emerald has wonderous beauty because it con- 
 tains chromium. 
 
 Chromium combined with lead produces a series of 
 yellows which is most valuable. These yellows range 
 from pale canary, citron or lemon yellows, through 
 medium shades of yellows to orange chrome and finally 
 to orange, red and scarlet. 
 
 These beautiful colors are made by the mixture of 
 chemical solutions. Solutions of bichromate of potash, 
 or soda, are mixed with solutions of nitrate or acetate 
 of lead; from this a yellow pigment is precipitated. 
 The water is drawn off, the pigment is put through a 
 filter press to remove more moisture and is then ground 
 in oil for the market. 
 
 Manipulations of the chemicals and other elements in 
 the process enable the manufacturer to make the many 
 yellows in this group: Canary, Lemon, Light Medium, 
 Medium, Light Orange, Orange and red-orange chrome 
 yellows. 
 
 Chrome yellows are bright, clear and opaque colors 
 with great tinting strength. Because they are not trans- 
 parent they are not suitable for glazing colors, stains 
 or graining. They are very durable as protective coat- 
 ings and quite permanent as to color in strong light. 
 
DESCRIPTIONS OF COLOR PIGMENTS 23 
 
 If not well made they are easily affected by gases of 
 the atmosphere and strong light, which cause them to | 
 fade, get spotty and dingy. 
 
 Chrome Green.—The combination of Prussian blue 
 and lemon chrome yellow makes chrome green. The 
 combination is made intimately at the time the two 
 color pigments are precipitated from the solutions. 
 
 This intimate mixture is very important; that is, the 
 time when the blue and yellow are mixed. When each 
 eolor is made separately (a yellow and a blue) and 
 mixed later to make green a separation may occur and 
 fading is pronounced. For this reason it is much bet- 
 ter for painters to mix tints and shades of green by 
 adding chrome green to white or a color than by add- 
 ing blue and yellow to white or a color. When the 
 medium chrome green is used the paint will not fade 
 so soon as when blue and yellow are used to make green. 
 In one ease it is an intimate chemical mixture, while in 
 the other purely a mechanical mixture, and so the two 
 eolors are more likely to separate and fade in the me- 
 chanical mixture. | 
 
 Chrome greens, except the very dark colors, made 
 largely of raw umber, are not permanent in sunlight. 
 They are excellent tinting colors, and are bright and 
 elear. They are used for. glazing colors and may be 
 used for stains. 
 
 Chinese and English Vermilions.—A chemical color, 
 a sulphide of murecury, which is quite a permanent, 
 brilliant red. English vermilion is practically the 
 same as Chinese, but American vermilion is quite a dif- 
 ferent pigment. Though its color is brilliant, too, the 
 latter is permanent in strong light. 
 
 The Chinese and English vermilions should not be 
 used with white lead, chrome yellows, chrome greens, 
 any of the copper colors or emerald green. UntfaYor- 
 able chemical reactions result. 
 
24 THE MIXING OF COLORS AND PAINTS 
 
 American Vermilion.—A basic chromate of lead, 
 brilliant red, made by the same chemical process as are 
 the chrome yellows. It is fine in texture, has a clear 
 color, is a strong tinting color and has remarkable cover- 
 ing capacity. 
 
 ANILINE AND COAL TAR COLORS 
 
 These, too, are chemical colors, but they are taking 
 such an important part in painters’ materials that 
 special mention is due them. Anilines are made from 
 coal tar products, the by-products of coke ovens. Thou- 
 sands of products come from the coal tar derivatives, 
 but the aniline colors—dye stuffs—interest the painter 
 chiefly. 
 
 The anilines resulting from chemical processes are 
 very fine pigments in texture and have great coloring 
 strength. These colors are precipitated upon inert 
 base pigments like barytes and are sold as dry stain 
 colors, as tinting colors, and for many other purposes. 
 Some of the dull earth pigments, venetian red, ochre 
 and others are toned or brightened by adding aniline 
 colors to them. 
 
 The transparent and semi-transparent colors used by 
 artists and decorators are such as have good staining and 
 tinting ability but have little or no opacity, no ability 
 to hide a surface. 
 
 The lakes are used as glaze coats or stain coats by 
 mixing them with oils, varnishes and volatile liquids. 
 The surface is first painted in opaque pigments for cor- 
 rect ground colors and the glaze coat is then put on as 
 a finish to give depth of tone; to be wiped-out or high- 
 hghted in places. ) 
 
 Furniture and polychrome finishers use glaze colors 
 over burnished gold and silver leaf or bronze covered 
 surfaces. The auto and carriage painter uses them on 
 fine body finishing to produce deep, lustrous colors. 
 
DESCRIPTIONS OF COLOR PIGMENTS 25 
 
 The artist uses lakes for floral and other hand decora- 
 tions. 
 
 At first lake colors were made from natural vegetable 
 and earth products. Few are so made today. Most lake 
 colors used today are made from artificial substances, 
 principally from coal tar dyes. They consist of every 
 possible color, shade, tone and degree of permaneney. 
 
 Aniline lake colors are used in much greater quantity 
 by the printing ink industry and dye manufacturers 
 than by the paint industry. 
 
 The first artificial aniline dyes called mauve and 
 magenta were made by Perkins from coal tar in 1865. 
 From that beginning a tremendous development has 
 taken place. Now all the dyestuffs are of artificial 
 aniline origin with but one or two exceptions. Natural 
 madder lake and even natural indigo have been largely 
 displaced. 
 
 The dyestuffs derived from coal tar. products are 
 legion. In the paint industry we hear most about aniline, 
 alizarine red, nigrosene black, para red, chinolin and 
 eoal tar indigo, but there are many more. 
 
 The coal tar dyes come to the painter in dry powder 
 form for use in mixing wood stains. Some are soluble 
 in water, some in alcohol and some in oil. Many of the 
 colors now used are toned with these aniline and other 
 eoal tar dyes. 
 
 LAKE COLORS 
 
 Painters and decorators in the building trades do 
 not have occasion to use many of the lake colors ex- 
 eept for decorating in the fine arts, although rose lake, 
 rose pink and Dutch pink, lake colors, are rather gen- 
 erally known. Automobile and carriage painters use 
 lakes extensively for high class work, and decorative 
 artists also use-them. 
 
 ‘Lakes are made by a variety of manufacturing 
 
26 THE MIXING OF COLORS AND PAINTS 
 
 processes. Generally speaking, they consist of organic 
 color united with metallic and mineral bases as defi- 
 nite compounds. The name—lakes—is rather odd and 
 not at all descriptive, but it probably just happened 
 from the practice of artists and craftsmen hundreds of 
 years ago who used the dried scum skimmed off the 
 top of ‘‘lac’’ dye vats. 
 
 Natural dyes extracted from woods and vegetation 
 of various kinds at first constituted the organic portion 
 of lake pigments—Brazil wood, sapanwood, parnambuc, 
 oak bark, quercitron, fustic, lac and ecochineal from in- 
 sects were commonly used. The modern manufacturing 
 processes use aniline colors from coal tar principally 
 for the organic part of lake colors, although some dyes 
 of vegetable origin are still in use to some extent. 
 
 The mineral or metallic bases for lake colors are 
 alumina, tin, lead and chromium in solution. 
 
 By way of illustration, rose lake, rose pink and 
 Vienna lake are made by cutting into chips the wood and 
 bark of Brazilwood, sapanwood or parnambue from 
 South America. These woods contain, when fresh, a 
 dye substance called brazilein. The chips are permitted 
 to dry out thoroughly and by this oxidizing the dye color 
 is made available. The chips are next placed in large 
 steel cylinders and subjected to the action of steam un- 
 der pressure. The colored liquor thus extracted is al- 
 lowed to stand so all sediment and foreign particles may 
 be taken out by settlement and by filtering. 
 
 The clear liquor is mixed with alum or tin. Carbonate 
 of lime is used in making cheaper lakes. From this 
 -mixture a clear, fine transparent and rich wine-colored 
 pigment is precipitated. The color is then separated 
 from the liquid by filtering and drying. When ground 
 with oil, Japan or water it is ready for the trade. 
 
 This group of lakes is valuable principally to artists, 
 decorators, furniture finishers and automobile painters. 
 
DESCRIPTIONS OF COLOR PIGMENTS 27 
 
 They must be protected by varnish or other transparent 
 coatings, as they are too fugitive for outside exposure. 
 It is difficult to find anything to equal them for rich 
 wine, maroon and pink tints. 
 
 Dutch pink isn’t pink at all, but a transparent yellow 
 lake. It is made of the extract from oak bark or querci- 
 tron precipitated,by alum on a base of carbonate of lime. 
 The peeuliar quality of Dutch pink is that it retains 
 its yellow tone at night even when subjected to gas heht. 
 It produces greens and olives which also retain their 
 tones in artificial light. 
 
 The more expensive lakes of this group—Carmine 
 and madder—cost too much to be used in quantity, 
 or for any except decorative purposes where small 
 amounts are needed. 
 
 VEGETABLE COLORS 
 
 Before the advent of chemical and aniline colors, 
 vegetable colors were extensively used, especially for 
 stains and dyes. Some were made from decayed vege- 
 tation found in swamps—Vandyke brown was one of 
 these. Brunswick black is a vegetable color made from 
 charcoal secured by burning twigs and vines. Walnut 
 hulls, oak tree bark (tan bark) and some of the trans- 
 parent lake colors used by automobile painters are of 
 vegetable origin. 
 
 ANIMAL COLORS 
 
 Bone black, ivory drop black and some of the ear- 
 riage or coach blacks are made from burned bones of 
 animals. The charcoal obtained is ground fine in ln- 
 seed oil, turpentine, Japan or water (distemper). 
 
 Carmine is an insect color, since it is secured from 
 cochineal, a scarlet dyestuff consisting of the dried 
 bodies of certain insects gathered from the cactus plants 
 of Mexico and from the West Indies. 
 
28 THE MIXING OF COLORS AND PAINTS 
 
 METAL BRONZE COLORS 
 
 In addition to the bronze powder and paints com- 
 monly used for painting steam and hot water radiators 
 in homes in gold and aluminum, there are other grades 
 and colors used extensively by artists, interior deco- 
 rators and furniture finishers. 
 
 These bronzes come in dry powder form in one-ounce 
 papers and one-pound cans. The bronze color pigments 
 are made of real metals. By rolling and beating them 
 into very thin sheets and grinding them exceedingly 
 fine, very serviceable pigments are made. 
 
 ARTISTS’ AND DECORATORS’ COLORS 
 
 Such color pigments as are commonly used for interior 
 decoration, furniture finishing, polychrome finishing 
 and, by artists for pictorial painting constitute quite a 
 different class from colors made for exterior house 
 painting. 
 
 While many of the principal colors, like the umbers 
 and siennas, used for exterior paints are also made in 
 clearer, brighter and more select grades for use by 
 artists and decorators, many of the color pigments in 
 the artists’ and decorators’ palette are too fugitive and 
 expensive to use for exterior paints. 
 
 Descriptions of colors used for exterior paints will be 
 found in Chapters IJ, III and IV. 
 
 The following brief descriptions of colors in com- 
 mon use will help to identify them in the students’ 
 mind: 
 
 REDS 
 
 Vermilions.—Above in this chapter American ver- 
 milion is described. It is a basic chromate of lead and 
 is quite a different color from English, French and Chi- 
 nese vermilions, which are made of sulphur and mer- 
 cury. These colors are found naturally in large quan- 
 
DESCRIPTIONS OF COLOR PIGMENTS 29 
 
 tities as the mineral cinnabar. The natural cinnabar is 
 not brilliant enough in color, however. Most of the 
 English vermilion is made by chemical process. 
 
 American vermilion is used mostly in the commercial 
 arts, while English, French and Chinese vermilions are 
 used in the fine arts and are more expensive. The lat- 
 ter colors seriously retard the drying of oil and also 
 tend to turn black on exposure to the air. 
 
 American Vermilion is commonly used where a bril- 
 liant red is needed, although a durable red of even 
 greater brilliance for some decorative purposes can be 
 made by toning alizarine crimson with cadmium orange. 
 
 All of the sulphide of mercury vermilions—(except 
 American, which is a lead chromate color)—should not 
 be mixed with white lead or such lead colors as light, 
 lemon, medium and orange chrome yellows nor with 
 American vermilion. The sulphur of the mercury colors 
 eauses the lead colors to darken. The mercury ver- 
 milions also cause unfavorable chemical reactions on 
 colors from a copper base such as emerald, verdigris 
 and malachite greens. 
 
 American vermilion was very extensively used a few 
 years ago for painting farm machinery, but it has been 
 displaced by the more brilliant artificial para reds made 
 from coal tar dye and which are less expensive. 
 
 American vermilion is superior to most pigments as 
 a protective coating for iron. It is very heavy and too 
 expensive for general use in this manner. 
 
 Vermilionette.—Made from the coal tar dye eosine as 
 the coloring matter for tinting an inert base like 
 barytes. The colors range from rather pale pink to 
 deep scarlet. These colors have been much used in 
 automobile and carriage paints. Vermilionettes fade 
 in sunlight. 
 
 Tuscan Red—Rather a bright red made by toning 
 to brighten the color of oxide of iron red—reds like 
 
30 THE MIXING OF COLORS AND PAINTS 
 
 Venetian and Indian—with alizarine red, which is a 
 coal tar red. As made today it is permanent as to 
 color, stable chemically and doesn’t bleed. 
 
 Harrison Red—A permanent bright red coal tar 
 product. Not so brilliant as vermilion but used in place 
 of it at times. It is more transparent than vermilion 
 and is quite stable, mixing well with madder lakes and 
 cadmium yellows. <A slow drying pigment. 
 
 Inght Red—A very permanent red which has great 
 tinting strength and good drying qualities. Stable 
 chemically and mixes well with all colors. Made by 
 roasting yellow ochre. 
 
 Magenta (Mauve).—A purple red made from coal tar 
 dyes on an alumina base. Brilliant and beautiful but 
 very fugitive to hght. Used only for temporary work. 
 
 Mars Red.—An oxide of iron pigment similar to the 
 ochres. Rather slow drying, Permanent in color and 
 may be mixed with all mineral colors, but not with gen- 
 uine or natural lake colors. 
 
 Scarlet Vermilion.—A sulphide of mereury vermilion 
 similar to English, French and Chinese vermilions. 
 
 Terre Rosa—A natural earth pigment which drys 
 well and is permanent in color. It is stable and mixes 
 with other colors. Chemically it is sesquioxide of iron 
 and clay. 
 
 Scarlet Lake-—Genuine natural madder lake. 
 
 Geranium Lake—A coal tar lake color made from 
 eosine., | 
 
 Crimson Madder.—A deep red of transparent char- 
 acter. Genuine madder is made from madder root. Per- 
 manent when used with good judgment only as a glaze 
 color. Not stable when mixed with chemical colors or 
 ochres. 
 
 Carmine.—The lake color called French ecarmine is 
 made by extracting coloring matter from cochineal in- 
 sects. Vast quantities of these insects are secured from 
 
DESCRIPTIONS OF COLOR PIGMENTS 31 
 
 Mexico and South America. Carmine is transparent, 
 rather a slow drying color and not permanent for long 
 in strong light, though a most brilliant red. The insect 
 bodies are dried, the color is extracted by boiling them 
 in water and then precipitated on an alumina clay 
 base. Carmine lake has been made over 200 years, This, 
 like all lake colors, must be used over correct ground 
 colors, since it is too transparent to hide the surface. 
 They are strong in tinting and staining power, but have 
 little opacity. 
 
 Pink Madder.—Similar to genuine madder lake or 
 alizarine lake, but a lighter color. 
 
 Alizarine Crimson Lake——One of the coal tar lakes. 
 Transparent, permanent in color and a good drying 
 color. A purple-red in color. Genuine or natural crim- 
 son lake is made from the same cochineal insects and in 
 largely the same way as carmine. 
 
 Alizarine Lake-—A. transparent aniline lake color of 
 ereat tinting and staining ability. Quite similar to sear- 
 let and carmine in color. Alizarine is used extensively 
 for making fast mahogany stains and also for a glaz- 
 ing color by decorators in place of natural madder lake. 
 Its greatest use is for brightening oxide of iron in mak~ 
 ing permanent Tuscan reds. 
 
 Alizarine Red.—A coal tar dye color of brillant hue. 
 Permanent in color and stable. 
 
 Eosine Red—A coal tar dye used with orange min- 
 eral to make vermilions. It is fugitive to strong light. 
 
 Para Red.—One of the most extensively used of the 
 coal tar reds. It is used alone and also mixed with 
 orange mineral for vermilions. This para nitranaline. 
 red has remarkable opacity. One pound of it in a gal- 
 lon of varnish will cover solidly in one coat and hide 
 black. Its opacity is so great that it is commonly sold 
 in the proportion of only 10% to 12% of color on a 
 white inert base like barytes or whiting. And certain 
 
32 THE MIXING OF COLORS AND PAINTS 
 
 farm implement manufacturers specify this red to be’ 
 made with 5% color, 10% zine and 85% barytes. 
 
 The weakness of para red is its tendency to ‘‘bleed.’’ 
 It is soluble in oil and works its way up through var- 
 nish, enamel and paint. Sometimes shellac will seal it 
 up and sometimes aluminum paint will seal it. 
 
 Tolwidine Red.—A coal tar aniline color similar to 
 para red but lighter in color. It does not bleed like 
 para red and is the fastest known organic color, being 
 quite remarkable in permanence. It is greatly used as 
 a sign painter’s red. Because its cost is much greater 
 than that of para red, it is not used in the implement 
 manufacturing industry. 
 
 Rose Pink.—A lake color made from hypernic. Trans- 
 parent but has an agreeable red color, good staining and 
 tinting ability. Made quite like scarlet lake, using am- 
 anarth and acid rubine. 
 
 Rose Lake—Similar to rose pink in manufacture but 
 slightly different in color hue. 
 
 Rubens Madder.—Genuine natural madder lake. 
 
 Rose Dore.—Genuine natural madder lake. 
 
 Rose Carthame.—Made at first from the flowers of the 
 earthamus plant. Now made from eosine dye, a coal 
 tar product. Not permanent as to color. 
 
 Rose Madder.—Genuine natural madder lake. 
 
 Scarlet Madder.—Genuine natural madder lake. 
 
 Madder Lake.—Made from madder root and is econ- 
 sequently of vegetable origin. A beautiful, transpar- 
 ent lake which is extensively used by artists and decora- 
 tors. A deep red in color useful only for glazing. Gen- 
 uine madder is quite permanent when so used. 
 
 The vegetable madder lake has been almost entirely 
 superseded today by a color made artificially and known 
 as alizarine lake. 
 
 Nopal Red.—This is an aniline color which is fugi- 
 
DESCRIPTIONS OF COLOR PIGMENTS 33 
 
 tive in strong light. Nopal. orange has the same char- 
 acteristics. | 
 
 Orange Vermilion.—A yellow red similar to English, 
 French and Chinese vermilions. <A sulphide of mercury 
 color. 
 
 Scarlet Lake.—A different color from scarlet ver- 
 milion. Scarlet lake is quite like carmine as to color. 
 Made from scarlet acid, barium chloride, blane fixe and 
 soda sulphate or sulphuric acid. 
 
 BLUES 
 
 Among the blues used extensively by artists and dec- 
 orators probably ultramarine, called French blue some- 
 times, is most popular. French blue is really ultrama- 
 rine blue and is the most carefully prepared pigment 
 of that series. It contains less sulphur than other ultra- 
 marines. French blue is especially valued for use with 
 alizarine crimson to mix purples, having great plastic 
 qualities. 
 
 Cobalt Bluwe.—Oxide of cobalt metal. It is very val- 
 uable since it possesses the most extensive utility among 
 the sulphur blues. It is chemically stable and may be 
 mixed with nearly all colors and white bases. When 
 well made it has but a very small sulphur content. 
 New blue has about the same appearance of purity of 
 tone and is a less expensive cobalt blue. Cobalt blue 
 is used extensively in ceramic manufacturing, for pot- 
 tery, dishes and many other articles of merchandise. 
 In the past its cost has been a bit higher than that of 
 Prussian blue. 
 
 Cerulean Blue.—Related to cobalt blue and when 
 made from the oxides of cobalt, zine and chromium it 
 is permanent and stable for mixing with other colors. 
 It is sometimes gritty and hard to manage; also it pos- 
 sesses a tendency to turn to a greenish hue with age. 
 
34 THE MIXING OF COLORS AND PAINTS 
 
 Cobalt Violet (cobalt purple).—A good pigment for 
 use with ultramarine in mixing violets, making brilliant 
 colors. Cobalt violet (or purple) ‘is an excellent dry- 
 ing pigment which doesn’t have much tinting strength, 
 but is a good base for use with rose madder and others 
 of the lake pigment class. 
 
 Prussian Blue—Has a greater tendency to fade in 
 strong light than other blues, but when used with other 
 colors which form agreeable chemical combinations it is 
 a valuable blue which is permanent. Faded Prussian 
 blue regains its full color when placed in absolute dark- 
 ness. Artists and decorators usually mix a Prussian 
 blue color by adding emeraude green to ultramarine blue 
 and a color permanent to light results. 
 
 Antwerp Blue.—A Prussian blue to which alumina 
 hydrate has been added. The latter pigment is re- 
 sponsible for the translucency of Antwerp blue. Rather 
 a permanent color except when mixed with lead colors 
 ‘like chrome yellows and American vermilion; it is 
 likely to turn to a greenish hue when mixed with these 
 colors. Antwerp blue is mixed by artists and decorators 
 from ultramarine blue and emeraude green when a per- 
 manent color is needed. 
 
 Chinese Blue.—A Prussian blue of a slightly different 
 hue. 
 
 Verditer Blue—A light blue made from sulphate of 
 copper; color used extensively at one time by the wall 
 paper industry. 
 
 Mars Violet.—A selected and specially prepared form 
 of yellow chrome which owes its color to oxide of iron. 
 Rather slow to dry but permanent as to color and in 
 mixtures except that it must not be mixed with lake 
 colors. 
 
 Purple Lake.-—Same as crimson lake with a variation 
 of color. 
 
DESCRIPTIONS OF COLOR PIGMENTS 35 
 
 YELLOWS 
 
 In the artists and decorators’ palette cadmium lemon 
 or pale yellow, cadmium yellow, cadmium deep yellow 
 and cadmium orange are sulphide colors and should not 
 be mixed with white lead or light, lemon, medium or 
 orange chrome yellow, nor with American vermilion. 
 Mixing such colors together releases sulphur and causes 
 detrimental discoloration—darkening the mixture. 
 
 Cadnuum Yellow—The cadmium yellows—pale, lem- 
 on, deep and orange—are artists’ and decorators’ colors 
 of considerable value. Prices for these colors are appar- 
 ently high, but they are economical because they have 
 great tinting strength. Cadmium lemon yellow, even 
 though it- has somewhat of a warm hue, transmits an 
 exceptional amount of green staining strength when 
 mixed with blue—and likewise makes strong and clear 
 orange colors when mixed with red. 
 
 Cadmium yellows as a class are quite permanent for 
 interior decoration, furniture finishing and_ pictorial 
 painting—orange cadmium is especially permanent. It 
 ought not to be mixed with white lead, chrome yellows, 
 American vermilion nor with any of the colors made 
 from a copper base. 
 
 Lemon Zinc Yellow.—Mixed with blue black produces 
 warm durable greens of great value in landscape paint- 
 ing. Zine yellow is balanced in color exactly between 
 Chinese vermilion and emeraude green. Zine yellow, 
 alizarine scarlet and cobalt blue constitute a palette of 
 permanent colors for artists and interior decorators 
 which meets nearly every demand in color mixing. A 
 chromate of zine which changes to a greenish hue when 
 exposed to strong light and remains fixed with that color, 
 A permanent color after changing to greenish yellow. 
 
 Cobalt Yellow (aureolin). —A yellow which has good 
 transparency for glazing. A good drying color and one 
 which is fairly permanent to light except when mixed 
 
36 THE MIXING OF COLORS AND PAINTS 
 
 with certain lake colors. Used as a glazing color, it is 
 serviceable over any. color. For making lght yellow 
 tints from this yellow, zine oxide should be used. Chem- 
 ically cobalt yellow is a double nitrate of cobalt: and 
 potassium. 
 
 Citron Yellow.—A chromate of zine pigment which is 
 fairly permanent to ight. What fading does oceur in 
 time is toward a greenish hue, where it remains perma- 
 nently fixed. <A stable color, chemically, which mixes 
 well with other colors. Varnishing retards the fading 
 of this color. 
 
 Naples Yellow.—A useful color mixed from cadmium 
 orange and zine oxide. Permanent and a good drying 
 pigment. 
 
 Indian Yellow.—A useful color which is rather per- 
 manent except when placed so the direct rays of the 
 sun strike it. When faded it regains its color in dark- 
 ness. Indian yellow is a good drying pigment which 
 is stable chemically and mixes satisfactorily with other 
 colors. 
 
 Mars Yellow.—This color, together with Mars Orange, 
 Mars Brown, Mars Violet and Mars Red, belongs to the 
 ochre class and owes its color to oxide of iron. Slow 
 drying colors which are permanent and which may be 
 mixed with other colors of a mineral nature. They 
 should not be mixed with lake colors. 
 
 Permanent Yellow—A color made of chromate of 
 barium and zine oxide. Permanent to light and stable 
 chemically for mixing with other colors. It should not 
 be mixed with raw ochres. 
 
 Lemon Yellow (Perfect Yellow).—A chromate of 
 barium color. Permanent to light. Generally a stable 
 color, but should not be mixed with madders because of 
 unfavorable reactions. 
 
 Strontian Yellow—A fairly permanent yellow of a 
 neutral hue. Made of chromate of strontium. 
 
DESCRIPTIONS OF COLOR PIGMENTS 37 
 
 Golden Ochre.—Raw sienna. 
 
 Dutch Pink.—A yellow color made from quercitron, 
 the bark from trees. Not a really permanent color. Has 
 good transparency but is superseded by more permanent 
 vellows. 
 
 Yellow Lake-—Made from quercitron bark, as are also 
 Duteh pink and brown pink. A fugitive yellow trans- 
 parent color as made originally, but coal tar yellow lakes 
 now made are more nearly permanent. 
 
 Gamboge.—A yellow gum resin of natural origin. Has 
 the same transparent nature as lake pigments, but is 
 not permanent in color. Of little value for permanent 
 decoration. 
 
 Italian Pink.—A transparent lake nearer yellow than 
 pink in color. Made from aniline color and is perma- 
 nent. It is stable chemically and dries well. 
 
 BROWNS 
 
 Asphaltum (bitumen).—A transparent mineral pitch 
 used to some extent as a stain when thinned with ben- 
 zine, and for a glazing color with other colors added 
 to it. 
 
 Brown Ochre.—Similar to yellow ochre but having a 
 brown color. It is a native earth pigment. 
 
 Caledonian Brown.—Not a color pigment but made 
 by mixing burnt sienna and Vandyke brown. A good 
 drying and permanent color. 
 
 Mars Brown.—See mars red and mars yellow for same 
 deseription except as to color. 
 
 Sepia.—Made of coloring matter from the cuttle fish. 
 Not permanent to light. Sepia color is commonly mixed 
 from other colors which are permanent. 
 
 Vandyke Brown.—See Chapter IT. 
 
 Bone Brown.—Made from charred bone dust. A fugi- 
 tive color of no value for permanent decoration. Ivory 
 black toned with raw umber will reproduce the color of 
 this pigment and give you a permanent, stable color. 
 
38 THE MIXING OF COLORS AND PAINTS 
 
 Brown Madder.—Made from the natural madder root 
 the same as genuine madder lake, but of a brownish hue. 
 Fairly permanent in color, but in time fades to a yellow 
 hue. 
 
 Brown Pink—A warm brown lake color made from 
 quereitron bark. It is a fugitive color of little value for 
 permanent decoration. 
 
 GREENS 
 
 There is an abundance of valuable green pigments 
 uscful for interior decorating, furniture finishing and 
 general decorative purposes which are not commonly 
 used for tinting exterior paints. Emeraude green 
 (called veridine green), cobalt green and oxide of chro- 
 mium are all dependable greens where brilliance and 
 clear tones are needed. 
 
 Beautiful olive green tints and shades may be mixed 
 from emeraude green and raw sienna toned with zine 
 yellow. 
 
 Cobalt Green is a semi-transparent color and is per- 
 manent and stable for intermixture with other colors. 
 Mixed with zine it makes beautiful green tints. 
 
 Permanent Green.—The colors ealled permanent 
 greens are less expensive than emeraude and veridine 
 greens and serve many purposes quite as well. They 
 are chemically the same, but are extended with alumina 
 hydrate. 
 
 Emerald (Paris) Green.—An aceto-arsenite of cop- 
 per color and the most brilliant of all greens. It has 
 little strength as a tinting color. Used alone it is 
 opaque. It is not a good color to mix with other colors, 
 being not chemically agreeable. Green tints and shades 
 quite as useful can be mixed from emeraude green and 
 lemon cadmium yellow. Being a compound of copper 
 and arsenic, emerald green is very poisonous and is 
 used much more as an insecticide than as paint. 
 
DESCRIPTIONS OF COLOR PIGMENTS 39 
 
 Emeraude (viridian) Green.—A brilliant color and 
 the most permanent to light. Completely stable chem- 
 ically and may be mixed with all other colors. Chem- 
 ically it is hydrate sesquioxide of chromium. 
 
 Malachite Green.—Made from a copper base and has 
 little tinting strength. It is especially fugitive in the 
 presence of sulphuretted hydrogen gas from stagnant 
 water. Chemically it is hydrated carbonate of copper. 
 Its color can be matched with emeraude green, zine oxide 
 and raw sienna. 
 
 Verdigris Green.—Used alone for glazing to a limited 
 extent, but rather fugitive to light and especially af- 
 fected by sulphur gasses. Must not be used with lake 
 eolors, which it destroys. Chemically it is acetate of 
 copper. 
 
 Brunswick Green.—Also called Bremen green. <A 
 variation of chrome green. 
 
 Chrome Oxide Green.—An oxide of the metal chro- 
 mium. A very useful green permanent in light. Stable 
 chemically and may be mixed with all other colors. It 
 is opaque and drys well. It is not the same as ordinary 
 chrome green made by precipitating Prussian blue and 
 chrome yellow together. Chrome oxide green ranges in 
 eolor from dull olive to bluish green. It hasn’t much 
 tinting streneth for mixture with white, but it is very 
 fast in color. It doesn’t fade in strong light and is little 
 affected by acid or alkali. 
 
 Inme Proof Green.—Used for calcimine and cement 
 tinting purposes. Made from a natural earth called terre 
 verte or green earth which absorbs Emerald (Paris) 
 ereen crystals and auramine yellow, an aniline basic 
 color. These greens are not changed by alkali and are 
 much improved in their- permanence of color in strong 
 light. 
 
 Sap Green.—A rather permanent color made from 
 coal tar dye. 
 
40 THE MIXING OF COLORS AND PAINTS 
 
 Zinc Chromate—Bright yellowish green of a deep 
 lemon yellow color. 
 
 BLACKS 
 
 Blue Black—A black pigment made from charcoal 
 secured by burning vines and twigs. A carbon black 
 which is permanent and of good drying character. 
 
 Indigo.—A natural color extensively used by the dye 
 industry. It is an extract from the indigo plant. A 
 blue-black pigment which drys slowly and fades in sun- 
 light. It should not be mixed with lead or lead colors. 
 The blue tone of indigo can be duplicated by mixing 
 ivory black, ultramarine blue and a bit of emeraude 
 ereen. This makes a permanent and good drying black. 
 
 Indigo is now made from coal tar dye and is widely 
 used. 
 
 WHITE AND GREY 
 
 Blanc de Laque—A transparent white pigment. 
 Alumina hydrates called white lake and used by mix- 
 ing with opaque colors to add translucency. 
 
 Paynes Grey.—A mixture of ultramarine blue, ivory 
 black and a bit of yellow ochre. 
 
 Artists’ and Decorators’ Palette—Colors which are 
 permanent and may be intermixed by artists and dec- 
 orators for interior building and furniture decoration, 
 but not for exterior paints, are these: 
 
 Alizarin* Madders Permanent Blue 
 Genuine Madders Cobalt Blue 
 Cadmium Yellow Cobalt Violet 
 Cadmium Orange Cerulean Blue 
 Lemon Yellow (Barium Indian Red 
 Chromate) Light Red 
 Emeraude’ Green Burnt Sienna 
 Viridine Green Burnt Umber 
 
 Oxide of Chromium Green Vandyke Brown 
 
DESCRIPTIONS OF COLOR PIGMENTS 41 
 
 Ivory Black Transparent Gold Ochre 
 Blue Black Yellow Ochre 
 Lamp Black The Mars Colors 
 Vermilion, American Raw Sienna 
 Vermilion, Mereury, (with Raw Umber 
 
 zine, not lead) Venetian Red 
 
 Ultramarine (with zine, Lead Whites 
 not lead) Zine White 
 
CHAPTER III 
 PROPERTIES OF COLOR PIGMENTS 
 
 Opaque Colors——These are such as hide the surface 
 more or less completely. 
 
 The blacks are the most conspicuous, of course, in this 
 group. 
 
 In the red group of tinting colors for house paints 
 all cover well; venetian red, Indian red and American 
 vermilion hide the surface very well. 
 
 Among the blue pigments all are quite opaque, except. 
 when mixed thin for glazing and staining. 
 
 Of the yellows, the chrome yellows being made on a 
 white lead base, are the most opaque. In fact, the other 
 yellows are commonly used as glaze colors because they 
 possess a degree of transparency. Yellow ochre, except 
 in the high grades of French ochre, is rather opaque and 
 too muddy, as the decorator puts it, to be used for glaz- 
 ing or mixing stains. 
 
 Greens are all opaque, yet they are transparent 
 enough in most grades to be used for glazing when mixed 
 ‘thin. 
 
 Browns are also fairly opaque when finely ground and 
 used in a thick film, but all are excellent glaze colors, 
 because of their degree of transparency when mixed 
 thin. 
 
 White pigments which are really opaque are limited 
 in number. White lead has held first place in the mat- 
 ter of opacity for hundreds of years and its many vir- 
 tues may keep it in first place indefinitely. 
 
 Of recent years titanium oxide has made claim to 
 
 honors as the most opaque white pigment, but its case 
 42 
 
PROPERTIES OF COLOR PIGMENTS 43 
 
 has not yet been fully substantiated as an all-around 
 equal to white lead. 
 
 Zine Oxide has held second place for opacity among 
 white pigments suitable for outside painting and it has 
 held first place in the matter of fineness for years. It is 
 not as opaque as white lead, however. 
 
 Then, considering only the quality of opaqueness and 
 not general utility as a paint pigment, china clay and 
 whiting, silica and barytes are less opaque white pig- 
 ments, but are very useful for some purposes in interior 
 decorating, 
 
 For interior wall paints, window-shade paints and 
 enamel undercoaters, lithopone has first claim to popu- 
 larity, because of its very great opacity and moderate 
 eost. It is not suitable for exterior paints, however. 
 It is quite likely that titanium oxide will find its greatest 
 field in the manufacture of interior flat wall paints be- 
 cause it is a very opaque pigment. 
 
 Transparent Colors-——These are not really trans- 
 parent in the sense that glass is transparent, but they 
 are semi-transparent when mixed thin. The glaze colors 
 listed in’ Chapter IT, and especially the lake colors and 
 aniline colors are the best examples of the transparent 
 class, but even the commonly good grades of tinting 
 colors for house paints are satisfactorily transparent for 
 some jobs of glazing, mottling, blending and Tiffany 
 finish. 
 
 For mixing stains, only the transparent colors are 
 suitable. The aniline colors, being especially trans- 
 parent, are very fine for both staining and glazing. 
 
 The Fading of Colors—Among all the colors used 
 some are very permanent, some fairly permanent and 
 others are quite fu: itive when placed in strong light or 
 subjected to the el ments on exterior surfaces. And it 
 should also be remembered that many colors which 
 prove quite fugitive and unsatisfactory when used for 
 
44 THE MIXING OF COLORS AND PAINTS 
 
 the wrong purpose are really suitable and satisfactory 
 when used for the purpose for which they were matu- 
 factured. For instance, the beautiful lake colors made 
 for superfine automobile painting and to be protected 
 by many coats of varnish, would not give satisfactory 
 service if used to tint outside paint. Bright colors 
 made with Prussian blue, chrome green and certain 
 anilines will not hold their colors long in direct sun- 
 light, yet there are no more permanent colors of their 
 kind to take their place. If judgment is shown about 
 using fugitive colors, placing them out of strong light 
 or on interior surfaces, they are completely satisfactory. 
 
 Earth colors such as venetian red, raw and burnt 
 umber, raw and burnt sienna, yellow ochre, and some 
 few others are, generally speaking, more permanent 
 than chemical colors like Prussian blue, chrome green 
 and chrome yellow; but, as stated, the latter are suffi- 
 cently permanent for the purpose of house decorating, 
 and there are no others to take their place. If blues 
 and greens are to be used for exterior exposure, mix 
 them with earth colors to increase their permanency; 
 that will dim their brightness, but when added to white 
 or black, pleasing tints and shades are secured. 
 
 Following is a tabulation of colors arranged according 
 to their permanence in light: 
 
 NON-FADING 
 Raw Sienna Venetian Red 
 Burnt Sienna Chromium Oxide Green 
 Lamp Black Toluidine Red 
 Ivory Drop Black Yellow Ochre 
 Carbon Black Tuscan Red 
 Black Oxide of Iron Vermilion 
 Indian Red Ultranarine Blue 
 Raw Umber eon 
 Burnt Umber Cobalt Blue 
 
 Vandyke Brown 
 
PROPERTIES OF COLOR PIGMENTS 45 
 FAIRLY PERMANENT 
 
 Chrome Green, Light © Chrome Green, Dark 
 Chrome Yellow, Light Chrome Yellow, Orange 
 Chrome Green, Medium Cadmium Yellow 
 Chrome Yellow, Medium Para Red (aniline) 
 
 FUGITIVE 
 
 Prussian Blue Yellow Lake 
 Antwerp Blue Carmine 
 Chinese Blue ; Crimson Lake 
 Dutch Pink Searlet Lake 
 Red Lead Purple Madder 
 Aniline Reds Madder Lake 
 
 (except Toluidine) Rose Madder 
 Indigo Purple Carmine 
 Indian Yellow Violet Carmine 
 
 Chemical Reaction of Some Colors.—Certain .combi- 
 nations of colors and pigments result unfavorably 
 because they set up chemical reaction which should be 
 avoided. The principal ones which a decorator is likely 
 to encounter are the use of ultramarine blue, cobalt 
 blue, English vermilion and Chinese vermilion, with 
 white lead. In the making of ultramarine blue and 
 _ cobalt blue, sulphur enters the process and this reacts 
 unfavorably upon the white lead, turning it from lead 
 carbonate, which is white, to lead sulphide, which is 
 black. When you cannot produce the blue tints or 
 shades wanted without using ultramarine blue, use oxide 
 zine for the white pigment instead of white lead. Prus- 
 sian blue, Antwerp blue, and in fact all blues except 
 ultramarine and cobalt, may be used satisfactorily with 
 white lead. 
 
 Ultramarine and cobalt blues, however, possess the 
 valuable trait of being proof against active lime, soda 
 
46 THE MIXING OF COLORS AND PAINTS 
 
 and alkali in new cement and plaster walls. Conse- 
 quently, tints and shades made with these blues do 
 not fade and spot as do tints and shades made from 
 Prussian blue when used on new plaster and cement 
 surfaces. 
 
 Until such surfaces have aged, which requires a mat- 
 ter of months, their caustic properties are still active, 
 and will cause these colors to change to a spotty appear- 
 ance and fade out in places. A new surface of this kind 
 can be chemically aged by brushing on a solution con- 
 sisting of ten or twenty parts zine sulphate to eighty 
 or ninety parts water. 
 
 English, French and Chinese vermilions being com- 
 pounds of mercury and sulphur should not be mixed 
 with white lead, chrome yellow, orange chrome or 
 American vermilion. Such vermilions have a tendency 
 to turn black when mixed with lead and lead colors. 
 
 Mercury vermilions should not be mixed with copper 
 eolors like Emerald green (Paris), verdigris green and 
 malachite green if unfavorable chemical reactions are to 
 be avoided. American vermilion is a basic chromate 
 of lead resulting from the same process, generally 
 speaking, as chrome yellow, and it may therefore be 
 used where Chinese and English vermilions are not 
 advisable. 
 
 Indian red as made today is a chemical color produced 
 from iron and steel scales removed by the use of certain 
 acid: liquors in the mills. If the acid is not completely 
 eliminated, paint made from Indian red for use on iron 
 and tin surfaces will cause rusting instead of protecting 
 such surfaces, for which purpose the paint is used. Care- 
 ful manufacture, however, completely eliminates or 
 neutralizes the acid. Venetian red, being manufactured 
 in substantially the same way, is likely to possess the 
 same characteristics. 
 
 Bleeding Colors—In past years rather large quan- 
 tities of aniline red stains have been used for producing 
 
PROPERTIES OF COLOR PIGMENTS 47 
 
 mahogany finished wood trim in homes and for furni- 
 ture finishing in mahogany. Some of these mahogany 
 stains were of the para red class of anilines, which have 
 exceptional penetrating ability. As long as the finish 
 of the wood remained mahogany no difficulty occurred, 
 but when the finish is changed to white paint, white 
 enamel or light tints in paint or enamel, these para red 
 anilines soon penetrate the new finish and turn it to a 
 clouded pink color. 
 
 In some of the simpler cases the aniline can be sealed 
 up by brushing on a coat or two of shellac. In some 
 eases a coat of flat black mixed from coach or ivory 
 black ground in Japan and turpentine will stop the 
 bleeding. In the most radical cases nothing but a coat 
 of aluminum bronze paint has been found effective. The 
 enamel or painted finish, of course, is produced on top 
 of the. bronze coat. In some eases decorators have 
 stripped off the old finish down to the bare wood and 
 washed the wood thoroughly with alcohol, and later 
 with liquid varnish remover, in order to remove all of 
 the original stain possible from the pores of the wood. 
 After this stripping-off process the new finish is built 
 up on top of a coat or two of shellac. 
 
 Slow-Drying Colors.—In the use of certain color pig- 
 ments it is well to keep in mind that some dry more 
 slowly than others. For instance, the principal slow- 
 drying colors are lampblack, chrome yellow, yellow 
 ochre, chrome green, and the oil soluble aniline colors. 
 
 In using slow-drying colors, where only a small quan- 
 tity is added to a white paint to make light tints, you 
 will experience no difficulty with slow-drying or tacky 
 paint, but where these colors constitute a rather large 
 proportion of the paint mixture it is wise to increase 
 the amount of Japan drier and turpentine in the paint, 
 especially for hot, humid or cold wet weather. 
 
 Madder Lake (not alizarine Madder) should not be. 
 
48 THE MIXING OF COLORS AND PAINTS 
 
 mixed with Mars yellow, Mars red, Mars violet or golden 
 ochre. This to avoid unfavorable chemical reactions. 
 
 Cadmium yellow ought not to be mixed with any of 
 the lead colors, chrome yellow, orange chrome or Ameri- 
 can vermilion, or with copper colors hike Emerald green, 
 verdigris green or malachite green as unfavorable 
 chemical reactions result. 
 
 Zine yellow when exposed to strong light changes to 
 a green hue but after such a change it remains a per- 
 manent lght green valuable for lemon and greenish 
 yellow tints. 
 
 Cerulean blue has a tendency to turn to a greenish 
 hue with age. 
 
 Verdigris. green must not be mixed with lake colors. 
 It violently attacks them and is quite fugitive in light 
 itself. 
 
 Antwerp blue and raw sienna should not be mixed . 
 together. The sienna destroys the blue color rather 
 rapidly. 
 
CHAPTER IV 
 HOW COLORS ARE PREPARED FOR THE TRADE 
 
 The colors made for tinting white paint for outside 
 house painting are ground in linseed oil to a thick 
 paste. They are put up in one-pound and five-pound 
 eans and 1214-pound and 25-pound pails. Larger pack- 
 ages can be had for special purposes. 
 
 There are several grades of tinting colors. It will 
 pay to buy the best grade, because such colors are 
 brighter, clearer and have greater tinting strength. A 
 lesser quantity of high grade tinting color is required 
 to tint a white paint to a desired color. -Cheaper grades 
 of tinting colors not only lack tinting strength, but are 
 apt to be cloudy, or muddy. 
 
 There are some variations in names of tinting colors 
 since some manufacturers give special names to certain 
 grades of standard colors, but the principal colors 
 ground in oil for tinting house paints are these: 
 
 TINTING COLORS GROUND IN OIL 
 
 REDS 
 Indian Red Searlet Vermilion 
 Tuscan Red Unfading Vermilion 
 Turkey Red English Vermilion 
 Venetian Red Permanent Red 
 BLUES 
 Chinese Blue Prussian Blue 
 Cobalt Blue Ultramarine Blue 
 
 49 
 
50 THE MIXING OF COLORS AND PAINTS 
 
 YELLOWS 
 . Light or Canary Chrome Dutch Pink 
 Yellow Golden Ochre 
 
 Medium Chrome Yellow Yellow Ochre 
 Orange Chrome Yellow French Yellow Ochre 
 
 BLACKS 
 Coach Black Lamp Black 
 English Blue Black Carbon Black 
 Ivory Drop Black Black Iron Oxide 
 GREENS 
 Light Chrome Green Forest Green, light, me- 
 Medium Chrome Green dium and dark 
 Bottle Green Emerald Green 
 Bronze Green Olive Green 
 BROWNS 
 Raw Sienna Burnt Umber 
 Burnt Sienna Vandyke Brown’ 
 Raw Umber Brunswick Brown 
 
 DECORATORS’ OIL COLORS 
 
 For the use of decorators, artists and furniture fin- 
 ishers, a finer ground, brighter and clearer toned grade 
 of color is ground in oil. They are used for all manner 
 of decorating jobs such as on wall and furniture sten- 
 ceils, polychrome finishing and painting of pictorial and 
 mural subjects on theatre scenes, signs, banners and 
 wherever high class oil colors are needed. 
 
 Following are the colors of this class, ground in oil 
 and put up in tubes and one-pound press-top cans: 
 
 REDS 
 Decorators’ Red Tusean Red 
 Indian Red Venetian Red 
 Permanent Red American Vermilion 
 Rose Pink English Vermilion 
 
 Turkey Red 
 
HOW COLORS ARE PREPARED FOR THE TRADE 
 
 BLUES 
 Antwerp Blue Prussian Blue 
 Cobalt Blue Ultramarine 
 YELLOWS 
 
 Chrome Yellow, Lemon Dutch Pink 
 
 Chrome Yellow, Light Golden Ochre 
 Chrome Yellow, Medium Yellow Ochre, French 
 Chrome Yellow, Orange 
 
 GREENS 
 Chrome Green, Light Sap Green 
 Chrome Green, Medium Zinnobar Green 
 Chrome Green, Dark Ultramarine Green 
 
 BLACKS 
 Ivory Black Lettering Black 
 Lamp Black 
 
 BROWNS 
 Burnt Sienna Raw Umber 
 Raw Sienna Vandyke Brown 
 Burnt Umber 
 
 LAKES 
 Alizarine Lake Mauve Lake 
 Blue Lake Olive Lake 
 Carmine Lake Orange Lake 
 Crimson Lake — Rose Lake 
 Geranium. Lake Searlet Lake 
 Green Lake, Light Yellow Lake 
 Green Lake, Dark 
 
 WHITE 
 
 Flake White (white lead) Cremnitz White (white 
 
 Zine White (zine oxide) lead) 
 
 51 
 
52 THE MIXING OF COLORS AND PAINTS 
 
 DECORATORS’ GLAZE COLORS 
 For high class glazing, mottling, blending, Tiffany 
 and other special wall finishes, colors are needed which 
 are not alone brilliant and clear, but also quite trans- 
 parent. These are called glaze colors. The following 
 list of glaze colors is quite complete. They are ground 
 in oil and put up in tubes and one-pound cans: 
 
 YELLOW | 
 Brown Pink Yellow Lake, Light 
 Gamboge Yellow Lake, Deep 
 Italian Pink Royal Golden Lake 
 Indian Yellow Raw Sienna 
 Orange Lake 
 
 GREEN 
 Alizarine Green, Light Malachite Green 
 Alizarine Green, Deep Sap Green 
 Blue-Green Vert Emeraude 
 Emerald Green Verdigris 
 Green Lake, permanent 
 
 BLUE 
 Cobalt Blue Steel Blue 
 Chinese Blue Verditer Blue 
 Italian Blue ~ Ultramarine Blue 
 RED 
 
 Alizarine Crimson Permanent Vermilion, 
 Alizarine Lake Light 
 Carmine No. 40 Permanent Vermilion, 
 Florentine Lake Deep 
 French Nakaret Carmine Rose Madder 
 Geranium Lake, Bluish Scarlet Lake 
 
 Geranium Lake, Yellowish Vienna Rose Lake 
 Permanent Crimson Lake Asphaltum 
 Permanent Turkey Red 
 
HOW COLORS ARE PREPARED FOR THE TRADE 53 
 
 PURPLE 
 Deep Purple, extra Helotrope 
 Royal Purple Magenta 
 
 DECORATORS’ DISTEMPER WATER COLORS 
 
 These are such colors as are used for graining and 
 for wall decorating. They are finely ground, clear and 
 bright. They were extensively used in past years for 
 wall decorations, stencils and other ornamental forms 
 in what was called fresco decoration. 
 
 These colors are ground in water and are thinned 
 with water, adding glue or other binders. This is 
 practically a caleimine proposition, although ordinary 
 calcimines were made by the painter with dry whiting, 
 cheaper dry colors, glue or casein and water. Dis- 
 temper colors come in glass jars. 
 
 BROWNS 
 Cologne Brown Raw and Burnt Umber 
 Raw and Burnt Sienna Vandyke Brown 
 BLACKS 
 Ivory Drop Black Lamp Black 
 BLUES 
 Antwerp Blue Italian Blue 
 Azure Blue Paris Blue 
 Chinese Blue Prussian Blue 
 Cobalt Blue Ultramarine Blue 
 . YELLOWS 
 Chrome Yellow, light, me- Golden Ochre 
 dium and dark Ultramarine Yellow 
 
 Dutch Pink Yellow Ochre 
 
54 THE MIXING OF COLORS AND PAINTS 
 
 GREENS 
 Antwerp Green Lime Green 
 Chrome Green, light, me- Malachite Green 
 dium and dark Moss Green 
 Emerald Green Neuwieder Green 
 Leaf Green Olive Green 
 PURPLES 
 Ultramarine Violet ) 
 WHITES 
 Flake White (white lead) Zine White 
 REDS 
 American Vermilion, Rose Pink 
 light and dark Turkey Red, light and dark 
 English Vermilion, Tuscan Red 
 light and dark Venetian Red 
 Indian Red Ultramarine Rose 
 LAKES 
 Carmine Maroon Maroon Lake 
 French Maroon, Dark Purple Lake 
 Geranium Lake Rose Lake 
 
 Green Lake Rose Madder 
 
 ARTISTS” COLORS 
 
 These are similar to decorators’ oil colors and glaze 
 _ eolors—identical in most cases. They are put up in 
 tubes and are used for all manner of decorative work 
 by artists and decorators. 
 
 French Carmine Chinese Vermilion 
 Rose Madder~ ~- Crimson Madder 
 Searlet Lake Crimson lake 
 
HUW COLORS ARE PREPARED FOR THE TRADE 
 
 Muddar Lake 
 Geranium Lake 
 Maader Carmine 
 Alizarine Crimson 
 Orange Vermilion 
 Searlet Madder 
 Searlet Vermilion 
 Pink Madder 
 Rubens’ Madder 
 Carmine No. 2 
 American Vermilion 
 Madder Lake Deep 
 Harrison Red 
 English Vermilion 
 Rose Carthame 
 French Vermilion 
 Nopal Red 
 
 Rose Dore 
 Chrome Orange 
 Light Red 
 Venetian Red 
 Mars Red 
 
 Terra Rosa 
 Indian Red 
 Antwerp Blue 
 Permanent Blue 
 Prussian Blue 
 New Blue 
 Chinese Blue 
 Cerulean Blue 
 Indigo 
 
 Cobalt Blue 
 Ultramarine 
 Ultramarine Ash 
 Gray Tint 
 Payne’s Gray 
 
 Lamp Black 
 
 Blue Black 
 
 Ivory Black 
 
 sepia 
 
 Asphaltum 
 
 Bitumen 
 
 Burnt Umber 
 
 Raw Sienna 
 
 Mars Brown 
 
 Flesh Ochre 
 Caledonian Brown 
 Bone Brown 
 
 Brown Ochre 
 
 Brown Pink 
 
 Raw Umber 
 
 Burnt Sienna 
 Vandyke Brown 
 
 Mars Orange 
 
 Nopal Orange 
 
 Chrome Yellow, No. 1-L 
 Chrome Yellow, No. 2-M 
 Chrome Yellow, No. 3-D 
 Indian Yellow 
 
 French Naples Yellow 
 Naples Yellow, No. 1-L 
 Naples Yellow, No. 2-M 
 Naples Yellow, No. 3-D 
 Lemon Yellow 
 Strontian Yellow 
 Kings’ Yellow 
 
 Citron Yellow 
 
 Cobalt Yellow, light 
 Cobalt Yellow, deep 
 Cadmium Lemon 
 Cadmium Pale 
 Cadmium Yellow 
 
56 THE MIXING OF COLORS AND PAINTS 
 
 Cadmium Deep Olive Green 
 
 Cadmium Orange Chrome Green, No. 1-L 
 Perfect Yellow Chrome Green, No. 2-M 
 Gamboge Chrome Green, No. 3-D 
 Aureolin Emerald Green 
 
 Yellow Lake Veronese Green 
 Transparent Gold Ochre Emeraude Green 
 Italian Pink Malachite Green 
 
 Zine Yellow Oxide of Chromium 
 Brilliant Yellow Viridian 
 
 Yellow Ochre Terre Verte 
 
 Permanent Yellow Cobalt Green 
 
 Mars Yellow Permanent Green, light 
 Mars Violet Permanent Green, medium 
 Cobalt Violet Permanent Green, deep 
 Violet Carmine Verdigris Green 
 
 Mauve Zinnober Green, light 
 Magenta Zinnober Green, medium 
 Purple Lake Zinnober Green, deep 
 Purple Madder Sap Green 
 
 Brown Madder 
 
 AUTOMOBILE AND SIGN PAINTERS’ JAPAN COLORS 
 
 Although colors ground in Japan are used by deco- 
 rators and furniture finishers to some extent, automo- 
 bile, carriage and wagon painters use the bulk of these 
 eolors. Sign painters likewise use quite a quantity of 
 Japan colors. 
 
 The name might suggest to some that these colors 
 are made in the orient, in Japan, but that is not the 
 meaning intended. They are colors which are ground 
 in a special, quick-drying varnish for a binder and 
 painters thin them with a volatile liquid (turpentine 
 usually) which, when it evaporates, leaves a dead flat 
 surface of color. 
 
HOW COLORS ARE PREPARED FOR THE TRADE 
 
 57 
 
 Colors ground in Japan are needed when tinting white 
 
 enamel or varnishes. 
 
 The colors usually ground in Japan are these: 
 
 REDS 
 
 American Vermilion, Pale Parisian Red 
 American Vermilion, Deep Princess Louise Lake 
 Carriage Part Lake, Light Runabout Red, Light 
 
 Cherry Red 
 
 Cinnabar Red 
 Insignia Red 
 
 Motor Car Red, Light 
 
 Motor Car Red, Medium 
 
 Motor Car Red, Deep 
 
 Runabout Red, Deep 
 Saginaw Red, Light 
 Saginaw Red, Medium 
 Saginaw Red, Deep 
 Tuscan Red 
 
 Tuseania Red 
 
 WINES AND MAROONS 
 
 Rich Maroon 
 
 Deep Wine 
 
 GREENS 
 
 Alpine Green 
 Apple Green, Deep 
 Brewster Green, Light 
 
 Brewster Green, Medium 
 
 Brewster Green, Deep 
 
 Car Body Green, Double 
 
 Light 
 C. P. Green, Light 
 C. P. Green, Medium 
 
 C. P. Green, Double Deep 
 BLUES 
 
 Alsace Blue 
 Annapolis. Blue 
 Azure Blue, Light 
 Blue Devil Blue 
 
 Emerald Green, Light 
 Liberty Green 
 
 Milori Green, Light 
 Milori Green, Deep — 
 Napier Green, Light 
 Olive Green, Medium 
 Phaeton Green 
 Roumanian Green 
 
 Sage Brush Green, Light 
 
 Car Body Blue, Light 
 Coach Blue, Light 
 Coach Blue, Deep 
 Coventry Blue 
 
 They are thinned to brushing 
 consistency with turpentine. 
 
58 THE MIXING OF COLORS, AND PAINTS 
 
 English Violet 
 Holland Blue 
 Insignia Blue 
 Packard Violet 
 Peacock Blue 
 Prussian Blue 
 Rolls-Royce Blue 
 
 Suburban Blue, Light 
 Suburban Blue, Medium 
 Town Car Blue, Light 
 Town Car Blue, Medium 
 Town Car Blue, Deep 
 Ultramarine Blue 
 Violet Purple 
 
 BROWNS 
 
 Antwerp Brown 
 Beaver Brown 
 Biege Brown, Light 
 Biege Brown, Deep 
 Brussels Brown 
 French Brown 
 Golden Brown 
 Khaki Brown 
 Moleskin, Light 
 
 Moleskin, Deep 
 Mojave Brown 
 Olive Brown 
 Onondaga Brown 
 Packard Brown 
 Sienna, Raw 
 Sienna, Burnt 
 Umber, Raw 
 Umber, Burnt 
 
 - YELLOWS 
 
 Cream Color, Light 
 Chrome Yellow, Light 
 Chrome Yellow, Medium 
 French Ivory 
 
 Italian Cream 
 
 Lemon Yellow, Pale 
 Old Ivory 
 
 Orange, Light 
 
 Orange, Medium 
 
 Orange, Double Deep 
 
 Permanent Yellow, Me- 
 dium 
 
 Straw Color 
 
 BLACKS 
 
 C. P. Lamp Black 
 Coach Painter’s Black 
 Drop Black 
 
 English Coach Black 
 English Drop Black 
 Ivory Jet Black 
 
 WHITES 
 Flake White (white lead) Zine White in Demar 
 
‘HOW COLORS ARE PREPARED FOR THE TRADE 59 
 
 GRAYS 
 Artillery Gray French Gray, Medium 
 Battleship Gray French Gray, Double Deep 
 Dustproof Gray, Deep Gun Metal Gray, Light 
 Fawn Gray Gun Metal Gray, Deep 
 
 French Gray, Light 
 
 GROUND COLORS 
 
 Azure Blue Rich Red 
 
 Light Blue Medium Vermilion 
 Light Red Deep Vermilion 
 Deep Red Deep Maroon 
 
 DRY TINTING COLORS 
 
 Painters and decorators use dry colors for putty, 
 ealeimine, special wall finishes, stains and other pur- 
 poses. The above colors listed as ground in oil are 
 practically all sold in dry form. 
 
 Following is a list of the dry colors and other dry 
 pigments sold by painters’ supply houses: . 
 
 BLACK 
 Graphite 
 English Powdered Drop Black - 
 American Powdered Drop Black 
 Swedish Black 
 1-ib and 25-ib packages and barrels 
 
 LAMP BLACK 
 
 Coach Painters’, in 1-Ib papers 
 Germantown, in i-ib papers 
 Germantown, in 14-tb papers 
 Germantown, in 14-ib papers 
 
 1-ib and 40-tb packages and barrels 
 
60 THE MIXING OF COLORS AND PAINTS 
 
 GREENS 
 
 Union Chrome, medium or dark 
 No. 3 Chrome, medium or dark 
 Paris 
 
 Bottle Green | 
 
 Bronze Green 
 
 Olive Green 
 
 1-ib., 25-ib. and 100-ib. packages 
 
 VENETIAN REDS 
 York Venetian Red 
 Craydon English Venetian Red 
 Regent. English Venetian Red 
 1-ib. and 100-Ib. packages 
 
 REDS 
 Red Lead in 25-Ib. kegs 
 Indian Red, Super 
 Oxide of Red 
 Permanent. Red 
 English Rose Pink 
 English Rose Lake 
 Turkey Red, Light, No. 2 
 Turkey Red, Deep, No. 3 
 English Vermilion, in 30-Ib. bags, Light and Dark 
 Acricultural Vermilion 
 American Vermilion 
 Tusean Red 
 Litharge 
 1-ib. and 25ib. packages 
 
 LAKES, ETC. 
 Carmine, No. 40 
 Geranium, AA 
 Vienna 
 No. 16 Lake ; 
 l-ounce and pound packages 
 
HOW COLORS ARE PREPARED TOR THE TRADE 
 
 MINERAL PAINTS 
 French Gray 
 Zine White Mineral 
 Metalic Brown, Prince’s Shade 
 Dark Red Iron Paint 
 Prinee’s Metallic Brown 
 Red Iron Primer 
 Red Oxide 
 1-ib., 100-ib. and barrel packages 
 
 YELLOWS 
 
 C. P. Chrome Yellow, Light, Medium or Dark 
 Genuine Chrome, Light, Medium or Dark 
 Dutch Pink 
 
 1-ib., 25-fb. and 100-fb. packages 
 
 YELLOW OCHRES 
 
 Chrome Ochre, Light or Dark 
 
 Imported Golden Ochre 
 
 Imported French Ochre 
 
 Rochelle Ochre 
 
 1-ib., 25-ib. and 100-Ib. packages and barrels 
 
 BROWNS 
 - Vandyke Brown 
 
 Raw or Burnt Turkey Umber 
 Raw or Burnt American Umber 
 Raw or Burnt Italian Sienna 
 Raw or Burnt American Sienna 
 Bismarek Brown (red) 
 
 1-ib. and 25-ib. packages 
 
 WHITES 
 
 Flake White (white lead) 
 Extra Gilders’ Whiting, lump or bolted 
 Zine, French Green Filler 
 
 61 
 
62 THE MIXING OF COLORS AND PAINTS 
 
 White Primer 
 
 Silica 
 
 Dental Plaster Paris 
 
 Pure White Lead 
 
 1-ib., 25-Ib. and 100-fb. packages and barrels 
 BLUES 
 
 Celestial Blue 
 
 Cobalt. Blue 
 
 S. P. Prussian Blue 
 Soluble Blue 
 
 Ultramarine Blue, H. B. 
 1-ib. and 25-tb. packages 
 
 WOOD-FILLERS 
 
 Silver White Filler 
 Orange Mineral 
 
 Pure Silex (silica) 
 
 1-ib. and 100-ib. packages 
 
 BRONZE POWDER COLORS 
 
 The less expensive decorators’ bronze powders come 
 in grades designated as Pale or Rich Gold; Fine Pale 
 or Rich Gold; Extra Fine Pale or Rich Gold; Superfine 
 Pale or Rich Gold. 
 
 Then there is a grade of bronze powders which are 
 more brilliant and finer in texture described as: Roman 
 Gold; Koh-i-Noor Pale and Rich Gold; Hochglands Pale 
 Gold; French Gold Leaf; Karet Gold Leaf, XX Deep; 
 Vernis Martin. . 
 
 Another grade, called colored metallics, is made for 
 decorative artists, sign painters, window shades, wall 
 paper, button and artificial flower manufacturers. The 
 colors in this line are: Gold, Copper, Red, Dark Green, 
 Light Blue, Crimson, Purple, Orange. 
 
 There is a grade known as Patent Bronzes which in- 
 
HOW COLORS ARE PREPARED FOR THE TRADE 63 
 
 eludes such colors as: Lemon, Fire, Crimson, Orange, 
 Blue. 
 
 For less expensive decorative work a grade called spe- 
 cialty Bronze Powders includes such items as: Radiator 
 Gold; Statuary Bronze; Handmade Lining and Strip- 
 ing; Aluminum A; Chemically Pure Aluminum; Alumi- 
 num Striping; Natural Copper. 
 
 COLOR VARNISH 
 
 These are rubbing varnishes made for the automobile, 
 carriage and wagon painters. They contain very little 
 color. Painters often make their own color varnish by 
 adding a few ounces of color to a gallon of rubbing 
 varnish. The color is thinned a little with turpentine 
 and strained, then it is thoroughly mixed into the var- 
 nish and the whole mixture is again strained. 
 
 COLOR LACQUERS 
 
 These are quick drying varnishes bought in ready 
 prepared form or mixed by decorators by adding bronze 
 powder or other colors to clear wood lacquer. 
 
 Some of the poor grades of yellow ochre retard the 
 drying of a paint film. They are inclined to retain 
 moisture, and that characteristic promotes the growth 
 of mildew in certain climates. The popularity of yellow 
 ochre twenty-five or thirty years ago was eclipsed by 
 the use of cheap grades of yellow ochres, because they 
 contained moisture and did not anchor firmly in the 
 pores of the wood. Much cracking and scaling of paints 
 resulted. The use of real French ochre did not result 
 in this condition, but the cost of this high-grade color 
 was greater than the cheap ochres, and so it was not 
 extensively used. 
 
 Raw umber has a rather large content of manganese, 
 which makes it an excellent drying color; in fact, raw 
 
64 THE MIXING OF COLORS AND PAINTS 
 
 umber is used sometimes in the manufacture of liquid 
 driers. 
 
 Lampblacks are made in so many different ways that 
 it is difficult to determine upon examination just what 
 quality a package contains. In the burning of oils or 
 other substances to make lampblack, the introduction of 
 too much air produces grayish blacks, and too little air 
 results in a content of oil or volatile acid. When the 
 burning process is forced too much, the resulting prod- 
 uct is not only an inferior black, but one which contains 
 both oil and acid in sufficient quantities to cause spon- 
 taneous combustion. This is a dangerous dry pigment 
 to handle; it is slow-drying and likely to corrode metal 
 surfaces because of the acid content. In other words, 
 black paint made from such lampblack is apt to destroy 
 metal surfaces which it is supposed to protect. 
 
 Gas and carbon blacks, which are sometimes added to 
 good lampblack to increase tinting strength, are detri- 
 mental, not alone because they change jet blacks to 
 brownish tones, but because they result in a separation 
 _of the pigment and the oil. Uneven, streaky black paint 
 and muddy gray tints are also caused by these inferior 
 gas and carbon blacks. 
 
CHAPTER V 
 BASIC PAINT PIGMENTS 
 
 The term ‘‘paint’’ is broad in its meaning, and many 
 mixtures for many purposes are called paint. The 
 materials which are suitable for use by decorators and 
 house painters as pigment bases for paints are limited 
 to a comparatively small group, because such paints 
 must possess good working qualities, opacity, perma- 
 nency of colors, and general durability, as a rule. 
 
 What Is Paint?—Briefly, it is a mixture of basic 
 white or colored pigments and tinting colors with oil, 
 varnish, glue or casein binders, volatile solvent spirits 
 and driers. 
 
 The purpose served by the basic white or colored 
 pigments is that of covering, hiding and protecting a 
 surface from decay, rust or abrasion caused by the 
 elements—sun, rain, frost, snow, sleet and cold. By 
 excluding moisture, paint performs its most valuable 
 service on exterior surfaces. On interior surfaces paints 
 are not needed as protection, but to give uniform color, 
 texture and decorative value. 
 
 The purpose served by tinting colors is principally 
 that of decoration, although in white paints made with 
 pure white lead alone, colors have a tendency to harden 
 the paint film and retard or prevent excessive chalking 
 of the paint. 
 
 The purpose served by the binders is that of cement- 
 ing the pigment and color particles together and to the 
 surface. In outside house paints the binder is linseed 
 
 65 
 
66 THE MIXING OF COLORS AND PAINTS 
 
 oil; in interior paints and semi-enamels the binder may 
 be linseed oil, varnish, glue or casein. 
 
 The purpose served by the volatile spirits such as 
 turpentine, benzine or mineral spirits in paints is that 
 of assisting the paint to penetrate into the pores of the 
 surface more deeply and also to make the paint brush 
 out more freely, especially in cold weather. These are 
 solvents of oils, varnishes and resins. 
 
 Benzol, alcohol, amyl acetate and methyl alcohol are 
 solvent spirits used principally in the varnishes, lacquers, 
 enamels and specialty products used by painters, deco- 
 rators and factory finishers on furniture, metal and all 
 manner of manufactured products which are decorated 
 or coated to gain protection. 
 
 All of these liquids evaporate more or less completely 
 on exposure to the air. 
 
 The purpose served by driers in paints and oils is 
 that of increasing the speed of drying and to produce a 
 harder surface. The saving of time, permitting one 
 eoat to be placed on top of another within a reasonable 
 time, and to cause the paint to dry before dust and 
 clouds of insects accumulate on the wet surface, disfigur- 
 ing it, are the principal purposes served by driers. 
 
 For years without number, painters have made out- 
 side paints from a mixture of white lead, linseed oil, 
 turpentine and Japan drier for white paint; and for 
 colored paints the same mixture plus tinting colors have 
 been used. : F 
 
 For the last quarter century or so there has been 
 much research and experimenting done to prove that a 
 combination of pigments is better than white lead alone. 
 From this has resulted the extensive manufacture of 
 prepared house paints called ready mixed paints. The 
 higher class prepared paints of today are rendering 
 good service, and there are many technically minded 
 men who believe that a combination of basic paint pig- 
 
BASIC PAINT PIGMENTS 67 
 
 ments' is better than any single pigment, their idea being 
 that the strength and weakness of each of the principal 
 pigments differ, and that by combining two or more of 
 these pigments in suitable proportions, the virtues of all 
 are gained and the weaknesses of all are overcome. 
 
 Most paints are made with a white pigment base as 
 the major item, although very dark colors—the blacks, 
 dark greens, browns and reds—are mixed without white 
 pigments and from a color pigment alone, or from a 
 mixture of two or more color pigments. Some of these 
 dark colored paints are among the most durable paints 
 known. For example, the great popularity of the red 
 barn on American farms, box cars and railroad cars, 
 was the result of the fact that real venetian red and 
 good linseed oil made about as serviceable and econom- 
 ical paint as was known. Today the non-fading quality 
 of venetian red is not always present, because some of 
 these dark reds are not earth pigments like the original 
 venetian reds, nor well made chemical venetian reds, 
 but, rather, are made by coloring white inert pigments 
 with aniline colors to match venetian reds. No decep- 
 tion is intended, usually, and the manufactured reds are 
 marketed under private brand names for what they are. 
 
 The black and the brown earth pigments also make 
 very durable paints. 
 
 Before instruction in mixing of colors and paints can 
 be given, a brief description of the basic paint pigments 
 is essential. There is much of interest to be written 
 about each of the principal pigments, but to go into the 
 technical qualities and manufacture of each pigment 
 would in itself constitute an extensive book. So only the 
 outstanding characteristics of each paint pigment is 
 proper in this work. 
 
 White Lead.—First mention is given this venerable 
 white pigment because it has been the backbone of the 
 paint industry for over two hundred years. Its good 
 
68 THE MIXING OF COLORS AND PAINTS 
 
 qualities are legion, and when it comes to mixing white 
 paint for exterior surfaces it has no real competitor in 
 its combination of essential qualities. 
 
 White lead is made by several manufacturers and by 
 two principal processes—one, the Old Dutch process; 
 the other, the Carter process. The former makes lead in 
 from ninety to one hundred days; the latter makes it in 
 about twelve days. There is little choice as between the 
 products of both processes as to serviceable qualities. 
 In the matter of whiteness the Carter process will, on 
 an average, produce whiter lead. In the matter of tex- 
 ture, fineness, opacity (hiding power) and uniform 
 composition there is little choice. 
 
 White lead is the most opaque white pigment known 
 to chemistry for exterior painting. All high-grade white 
 and light-colored paints for exterior use contain a large 
 amount of white lead—from 60 to 80 per cent, to be 
 more specific. 
 
 While white lead possesses most of the desirable quali- 
 ties of good paint, it has one weakness; namely, it makes 
 a paint that is a little too soft, one which chalks or dusts 
 off the surface after a couple of years when white paint 
 is used. This peculiarity can, however, be easily over- 
 come by the addition of from 10 to 15 per cent of zine 
 oxide to the paint to make a little harder film. In some 
 localities, notably along the sea cost, the tendency of 
 white lead paint to chalk is greater, and the addition 
 of from 20 to 25 per cent of zine oxide is made by some 
 painters. 
 
 Zine should never be used in the priming, or under 
 coats ;—use it only in the last coat. If too much zine 
 is used and if it is put in to the priming coat there is 
 some likelihood that the paint will crack and scale off, 
 because the film becomes too hard and brittle to expand 
 and contract with the surface during temperature 
 changes. 
 
BASIC PAINT PIGMENTS 69 
 
 The use of a moderate amount of tinting colors with 
 white lead paint to mix tints and shades retards the 
 chalking. 
 
 The ideal in paint mixing is to make a film which will 
 be hard enough to avoid chalking and soft or elastic 
 enough to avoid cracking and scaling. It is better, of 
 course, to have a paint chalk than to have it erack and 
 scale, because a chalking surface is ready to be repainted 
 any time, while a cracked and scaled paint must be 
 burned and scraped off and that proves rather expensive. 
 
 White lead is a natural drying pigment. It combines 
 readily with linseed oil and has the desirable brushing 
 and sanding qualities looked for by decorators and 
 painters. 
 
 White lead can be secured in dry powder form, but 
 it is more commonly used as a thick paste which is com- 
 posed of 92 per cent white lead and 8 per cent linseed oil. 
 
 Sublimed white lead, which is a basic lead sulphate, is 
 accepted in government specifications as equal to basic 
 carbonate white lead. 
 
 White lead is manufactured from three principal 
 elements—lead metal, acetic acid (vinegar) and carbonic 
 acid gas. No, matter what process is used, the same raw 
 materials enter into the manufacture of white lead. In 
 other words, pure white lead is the result of the action 
 of acetic acid and carbonic acid gas on lead metal. The 
 lead metal is corroded into a white powder by the action 
 of acetic acid and carbonic acid gas, and the fine white 
 powder is then ground with pure linseed oil to a thick 
 paste and is ready for the painter. 
 
 One of the interesting and useful peculiarities about 
 white lead is that the pure pigment as it is marketed 
 ean be reduced or returned to the metallic form by fire. 
 A piece of white lead paste as large as a nickel will 
 reduce to a bit of lead metal about as large as an ordi- 
 nary pea when placed on a charcoal block and subjected 
 
70 THE ‘MIXING OF COLORS AND PAINTS 
 
 to the heat from a blow torch. The test is infallible. 
 If the lead has been adulterated to any appreciable 
 extent it will not reduce the lead metal. 
 
 You can cut a splinter about the size of a match from 
 a house painted with pure white lead twenty years ago, 
 hold a match under it, blow it gently to increase the 
 heat, and you will notice little beads of bright lead 
 metal forming. In the same manner a little white lead 
 paste from a keg put on the head of one match and 
 burned with another match will reduce to beads of 
 metallic lead. 
 
 Coach and Car Lead.—This is a white lead manufac- 
 tured for many years and used by carriage and wagon 
 painters. It is very fine and is ground in refined, 
 bleached linseed oil. It dries hard and sandpapers with- 
 out gumming. It possesses the characteristics in general 
 with pure white lead. 
 
 Flake White—This pigment is a pure carbonate of 
 lead (white lead) made for artists, decorators and fae. 
 tory furniture finishers. The dry white lead is sifted 
 to secure the very finest texture. The lead is ground 
 and reground with refined, bleached linseed oil, which 
 makes it dry hard and rapidly and to sandpaper without 
 summing. Flake white is marketed in the dry form and 
 ground in oil. 
 
 Flake white is sometimes called Cremnitz white, blane 
 d’argent and silver white. 
 
 Zinc Oxide.—Zine oxide is used extensively by paint- 
 ers and decorators and has most commendable charac- 
 teristics. It is probably the finest in texture of all white 
 pigments, and the whitest. 
 
 Zine is used to a very great exten in the making of 
 white enamels and the manufacture of enamel under- 
 coats. Zinc, being very fine, is great in bulk—it occupies 
 about 50.77 cubic inches to the pound, while a pound of 
 white lead in the same condition occupies 14.69 cubic 
 
BASIC PAINT PIGMENTS cet 
 
 inches. The extreme fineness of zine causes it to require 
 more oil in mixing a paint ready for the brush than is 
 needed by any-other white pigment. 
 
 The mixture of colors and other pigments with zine 
 oxide does not affect the latter in the matter of chemical 
 reaction, and gases present in the atmosphere do not 
 affect it. 
 
 The weakness of zine comes from the fact that, when 
 used alone as the base for exterior paint, it makes a 
 film which is too hard and brittle and which may crack 
 and seale off in consequence of the expansion and con- 
 traction of the surface during temperature changes. This 
 brittleness is overcome by the addition of white lead or 
 other pigments to zine. 
 
 Oxide of zinc is manufactured by two processes— 
 one called the American process and the other the French 
 process. Briefly, oxide of zine is made from zine metal 
 which has been burned in a furnace, and it is the 
 product of combustion. In the burning process the zine 
 metal is vaporized and drawn off to collecting chambers 
 where it is deposited in the form of a very fine white 
 powder. 
 
 Zine is one of the most valuable pigments among 
 decorators’ and painters’ materials, and while it is not 
 as opaque as white lead, lithopone and titanium oxide, 
 nevertheless it has its peculiar advantages. It is used 
 successfully with colors which cause unfavorable chem- 
 ical reactions on white lead and other pigments. 
 
 As a rule colors mixed with zine oxide for a white 
 base will be clearer and brighter than when mixed 
 with other white pigments. 
 
 Titanium Oxide—This is a new white pigment for 
 exterior and interior painting in which considerable 
 interest has been shown of late. It is produced from an 
 ore which is rather widely distributed throughout the 
 world. 
 
72 THE MIXING OF COLORS AND PAINTS 
 
 The claims made for titanium oxide are that it has 
 greater opacity, or hiding power, than any other white 
 pigment when mixed with linseed oil, and that, while it 
 will chalk when used alone as the pigment for an ex- 
 terior paint, excellent results come from combining it 
 with zine oxide. The proportion recommended is about 
 20 percent zine oxide to 80 per cent titanium oxide. 
 This new pigment has been tested for several years, and 
 when repainting is necessary, the surface has been found 
 to be in excellent condition. The paint is not affected by 
 oases and does not darken on exposure. 
 
 The bulk of titanium oxide is used by paint manu- 
 facturers in combination with other pigments to make 
 up prepared materials. Paste paints for use on exterior 
 work and also white enamels made from titaninum oxide 
 are now available on the market. 
 
 Iithopone.—This is a very white and very opaque 
 paint pigment which is a compound of barium sulphate 
 (blank fixe) and zine sulphide. The very dense white 
 and hiding power of this pigment makes it valuable as 
 the base for most of the flat wall paints which are used 
 extensively. It is also used in manufacturing processes 
 for painting purposes ;—the painting of window shades 
 is a notable example of the use of lithopone. 
 
 Lithopone in ordinary grades turns gray when exposed 
 to sunlight, but recovers whiteness when. placed in the 
 dark. In the higher classes of lithopone the material 
 retains its whiteness when exposed: to light. 
 
 Whiting.—This is calcium carbonate and appears on 
 the market as a bolted whiting for ordinary purposes 
 such as making putty and as Cliff Stone and Pais white 
 and gilders’ whiting in finer grades. _ 
 
 Whiting is a fine white powder, the product of lime- 
 stone which has been crushed and graded by floating off 
 the fine chalk in water. The fine chalk pigment, after 
 
BASIC PAINT PIGMENTS 73 
 
 being separated from the coarse rock, is dried and then 
 is ready for the decorator and painter. 
 
 Whiting is the principal base for calcimine. Plaster 
 of Paris, which is sulphate of lime, is a kindred product 
 and is used by decorators in filling cracks in plaster 
 walls. 
 
 Silica (Silex) .—This is a product obtained from erush- 
 ‘ing rock erystals, quartz, sand and flint into a fine 
 powder form. 
 
 The principal characteristics of silica are its great 
 hardness and the fact that it is inert, having no chemical 
 reactions on any other pigments, colors or oils with 
 which it is mixed. In the dry powder form it is rather 
 white, but on being mixed with an oil it changes to a 
 vellow sand color. As the particles themselves are color- 
 less, they take on the color of the oil with which they 
 are mixed. The use of silica by the painter and deco- 
 rator is largely in the form of paste wood fillers. Small 
 quantities are used in undercoats of wall paints to give 
 them a ‘‘tooth’’ which will make the second coat of 
 paint hide the surface better, because more pigment ean 
 then be retained on the surface without running, sag- 
 oine and wrinkling. Manufacturers use silica in the 
 making of prepared paints because of. this same 
 characteristic. 
 
 Barytes—This is a white pigment which is found as 
 -a natural product the world over and usually with lead 
 and zine metal ores. It is prepared for the paint trade 
 by grinding and the separation of the impurities by an 
 acid bath and water washing. 
 
 Barytes is a stable product chemically and does not 
 set up chemical reaction with any of the materials with 
 wich it is mixed. This character of being inert has 
 made it the most popular base upon which chemical 
 colors are made. Barytes is practically colorless, so 
 
74 THE MIXING OF COLORS AND PAINTS 
 
 takes on the color of whatever substance it is mixed 
 with. It can be used to dilute strong colors without 
 modifying their tone. 
 
 Barytes is not used by the painter as such, but has 
 long been used by manufacturers, both in color making 
 and paint making, and authorities claim that it aetna 
 increases the durability of paints. 
 
 Asbestine.—This is a product of asbestos which does 
 not come to the painter as such, but is used in the 
 manufacture of prepared paint because it is very hght 
 and fluffy. Its particles are rather long and narrow 
 fibres, rather than round, and it is used as sort of a 
 reinforcement in paints just as hair is used in plaster. 
 Its other prime purpose is to help hold the paint pig- 
 ments in suspension in the liquids. Some paints have a 
 tendency, when sealed up in cans and allowed to stand 
 on the dealers’ shelves for a long time, to settle to the 
 bottom of the can. The asbestine, as stated, has a 
 tendency to keep the paint pigment in solution. 
 
 Red Lead.—This is a brilliant red pigment made by 
 melting lead metal in a saucer-shaped kettle. When the 
 lead is held in a metal solution for a certain time it 
 takes up oxygen from the air and forms first a light 
 yellow powder pigment which is litharge. More time 
 and heat change the litharge to a brilliant red which is 
 red lead. If the heat is maintained and the red lead 
 subjected further to oxygen from the air it changes to 
 a very brilhant red called orange mineral. Orange 
 mineral is more commonly made by roasting white lead. 
 
 Litharge and all of the lead oxides of this class are 
 excellent driers and are used in making Japan drier. 
 
 Red lead is used by the painter principally as the first 
 coat when painting metal surfaces, for which it has 
 ereat virtue. Red lead comes to the painter in dry form 
 and also in the form of thick paste which is ground in 
 linseed oil. 
 
BASIC PAINT PIGMENTS (G5) 
 
 The brilliant color of red lead fades and gradually 
 becomes lighter. As a color it has little value, but the 
 fading of the color does not impair the durability of 
 the paint or its ability to protect a surface. 
 
 Graphite.—The other names for this paint are black 
 lead and plumbago, and its principal use is as a sno 
 for metal surfaces. 
 
 Graphite is a carbon which is mined from the earth 
 like lead and zine ores. Graphites are decomposed stone 
 which may contain as much as 90 per cent iron. The 
 process of making this mined product ready for the 
 market consists of mining, cleaning to separate the 
 impurities, and grading of the soft, dry pigment which 
 is secured in that manner. 
 
 Graphite has a great many uses in addition to its 
 value as a metal paint. It is used for making lead 
 pencils and as a lubricant for machinery. For the latter 
 purpose the graphite is mixed with grease. 
 
 Graphite varies in its black color and has a metallic 
 sheen, but is always very dark, which limits its use as 
 a paint. Asa protection for a surface it is very durable. 
 In mixing paint from graphite a little silica is added 
 along with linseed oil, and then you have a paint that 
 is extensively used for the painting of machinery, metal 
 roofs, structural iron bridges, and many other metal 
 surfaces. 
 
 Bronze Metal Powders.—These pigments were de- 
 scribed in Chapters II and IV, with a special reference 
 to the color phase. In addition, it may be of interest to 
 add here that the bronze pigments are made by beating 
 up and grinding such metals as copper, brass, zine and 
 aluminum. In reducing them to pigment form it is 
 simply a physical change from metal bars, or ingots, to 
 thin metal sheets which are ground to fine powder form. 
 These pigments are simply powdered metals. 
 
 The many grades of bronze metal powder range from 
 
76 THH MIXING OF COLORS AND PAINTS 
 
 Number 1000, which is a bit coarse for making paints 
 such as are used on radiators and machinery, to 6000: 
 which is a fine grade suitable for. decorative purposes. 
 Number 10,000 is the finest grade made. 
 
 The brilliancy of bronze metal pigments becomes dull 
 when exposed to free circulation of air for any length 
 of time. The brilliancy of the metal can be retained, 
 however, by coating the surface with a thin varnish or 
 lacquer. 
 
 For exterior work, aluminum bronze when varnished 
 holds its brilliance well, but for gold finishes on the 
 outside, real gold leaf is used instead of bronze gold 
 powder. 
 
 The bronze powders come in many brilliant colors as 
 described in Chapter IV. They are prepared in dry 
 powder form and are put up in one-ounce paper packages 
 and in tin cans.. See Chapter VI for bronzing liquids. 
 
 Painter-Made Ready-Mixed Paints ——At some time or 
 other most painters and decorators wonder why they 
 eannot make their own ready-mixed or prepared paints 
 and save some money. They learn that formulas for 
 these materials contain such inert pigments as silica, 
 barytes, whiting, asbestine or magnesium silicate; they 
 note that prices on inert pigments are much less than 
 for white lead and zine, and wonder why they cannot 
 make cheaper paints than they can buy from manu- 
 facturers. 
 
 This is a logical line of thought, but the whole story 
 of what such attempts involve is not at all apparent on 
 the surface. In the first place, manufacturing of paints 
 deeply involves chemistry; not chemistry in theory as 
 most of us learned it at school, but manufacturing chem- 
 istry in all its ramifications. The combination of cer- 
 tain pigments, colors, oils and spirits thinners in theory 
 may look easy enough on paper, but the question of 
 securing an adequate supply of raw materials of suit-. 
 
BASIC PAINT PIGMENTS <0 
 
 able quality at the right prices enters. The purchase 
 of ecarload quantities and large investments are often 
 involved. 
 
 Next, the whole problem of adequate and correct ma- 
 ehinery and equipment comes up. Then, it is not at all 
 difficult to see how a.considerable investment is essential. 
 And if a satisfactory solution of these two considera- 
 tions were found by the painter, he would then be only 
 making a beginning on the making of high-class pre- 
 pared paints. 
 
 The knowledge of how to do it is probably the most 
 important angle. A great many men with professional 
 chemistry training have tried to make good paints, and 
 a considerable proportion have failed. It is not an easy 
 undertaking to master. The making of high-class ready- 
 made paints is a manufacturing undertaking of major 
 importance, not a simple side line which can be taken 
 on by craftsmen without experience and training in this 
 field. An intimate knowledge of the characteristics, the 
 chemistry and sources of supply of basic materials, as 
 well as manufacturing facilities, are essential. 
 
 The following brief outline of the composition of 
 high-class prepared paint will indicate the magnitude of 
 this undertaking: 
 
 You can make high-class paint from white lead alone 
 as the basic material by simply adding colors and thin- 
 ners. You can do likewise with zine oxide. The weak- 
 ness of white lead used alone as paint is commonly 
 stated as that of chalking. After two or three years of 
 service white lead paint begins to powder or dust off of 
 the surface. In other words, it wears out in that man- 
 ner. It does, however, leave a surface in perfect condi- 
 tion for repainting. 
 
 Zine oxide used alone as a paint pigment has the fault 
 of being too hard and inelastic to accommodate itself 
 to the expansion and contraction of surfaces during 
 
78 THE MIXING OF COLORS AND PAINTS 
 
 temperature changes. It wears out by cracking and 
 scaling. Then the old paint must be burned and scraped 
 off before the surface is safe to repaint. 
 
 By mixing together these two basic paint pigments in 
 about the proportion of 15 per cent of zine to 85 per 
 cent of white lead. you overcome the defects of each 
 pigment and gain the virtues of both, according to the 
 reasoning of many men in the paint industry. 
 
 The ready-mixed paint manufacturers base their for- 
 mulas upon the theory that the addition of certain inert 
 pigments reinforces a paint made with white lead and 
 zine and makes even a better paint. It is their thought 
 that a judicious mixture of paint pigments makes a 
 more stable chemical compound and durable paint than 
 the use of any single pigment can provide. 
 
 There are many who agree that the mixture of lead 
 and zine in the proportion of about 60 per cent lead to 
 40 per cent of zinc, plus a small percentage of inert 
 pigments, makes the best prepared paints for average 
 surfaces. The white lead may be all carbonate of lead, 
 or part sublimed lead. 
 
 The inert pigments, it is thought, should be made up 
 in these proportions: 
 
 Five per cent asbestine (magnesium silicate) ; used to 
 keep the total pigment in suspension in the liquid. 
 Asbestine particles are elongated in shape, not round. 
 The theory is that because of their shape they bind the 
 paint pigments together like hair,in plaster. 
 
 Two and one-half per cent of inerts. It is thought 
 that this should consist of calcium carbonate (whiting) 
 used to offset acidity in linseed oil which may eye 
 when paint is sealed up in a can. 
 
 Two and one-half per cent of water-floated silica 
 (silex) is used by some on the theory that it gives 
 ‘‘tooth’’? to paint, helping the first coat to anchor itself 
 in the wood pores and the second coat to lodge itself on 
 
BASIC PAINT PIGMENTS 79 
 
 the first coat, retaining enough pigment. to hide the 
 surface and avoid running, which occurs when an excess 
 of pigment is put on to the surface. 
 
 A standard formula for high-class prepared paint, 
 then, might be stated as follows: White lead, 55 per 
 eent of total pigment; zine oxide, 35 per cent of the 
 total pigment; inert pigments, such as asbestine, caleium 
 earbonate and silica, as 10 per cent of the total pigment. 
 The balance of the paint mixture to be made up of pure 
 linseed oil, turpentine or high-class mineral spirits and 
 drier plus color pigments. 
 
CHAPTER VI 
 PAINT OILS 
 
 Leading up to the mixing of colors and paints, we 
 have described the various colors and the principal basic 
 paint pigments. Before we are ready to begin the 
 mixing operations, it is essential that a study be made 
 of the liquids which are a part of the paints. 
 
 There are quite a number of drying oils known to 
 chemistry and the manufacturing field. 
 
 The outstanding oil which has greatest utility and 
 value is linseed oil, which comes to the painter and 
 decorator in several forms, such as raw, boiled, refined, 
 bleached and what are called special oils. The other 
 drying oils in common use are poppy-seed oil, China 
 wood oil (tung oil), nut oil, parella oil, lumbang oil, 
 sunflower-seed oil, and a fish oil under the name of men- 
 haden. There are other oils now going the rounds of 
 chemical laboratories, but their commercial values have 
 not been established. 
 
 Painters and decorators need concern themselves with 
 none of these oils except linseed, poppy-seed and, pos- 
 sibly, China wood (tung) oil. Linseed oil is used almost 
 exclusively for exterior paints and, in small quantities, 
 as the binder for interior paints. When used in white 
 paints for interior decorating, linseed oil is likely to 
 turn yellow, but will bleach out white again when sub- 
 jected to strong light. Poppy-seed oil and nut oil are 
 used with artists’ colors for pictorial painting and for 
 some other special paints where the quality of extreme 
 whiteness is valuable. China wood oil is used chiefly in 
 
 80 
 
PAINT OILS 81 
 
 the manufacture of certain kinds of varnish and flat 
 wall paints for interior use. The balance of the drying 
 oils are used for special purposes by manufacturers in 
 the making of paints which require peculiar quality; 
 for instance, fish oil will withstand a great deal of heat, 
 when mixed with a paint, without causing the paint to 
 blister. Fish oil, therefore, is valuable for use in paint 
 to be used on engines, smokestacks and radiators, which 
 are subjected to high temperatures. 
 
 There are some other oils classed as semi-drying oils 
 which painters and decorators hear about, but which are 
 of no use to them in their natural state. These oils are 
 corn oil, cottonseed oil and soya-bean oil; all are classed 
 as vegetable oils. They are used by manufacturers to 
 some extent for admixture with linseed oil and driers 
 in the grinding of paste paints and colors. 
 
 The use of a drying oil in paint mixing serves several 
 purposes. In the first place it takes dry color and basic 
 paint pigments and changes them to the liquid state; 
 - then an oil makes it possible to spread the pigments to 
 a uniform depth over the entire surface; the oil binds 
 the pigment particles together and to the surface; and 
 lastly the oil gives the paint pigment a gloss finish when 
 linseed oil is used and a flat, or semi-gloss, finish when 
 China wood oil is used. 
 
 Iinseed Oil.—This is the most extensively used paint 
 oil, not only because of its valuable characteristics, but 
 because it is obtainable in abundant quantities at mod- 
 erate prices wherever flax is grown. The abundance of 
 linseed oi] naturally keeps the cost down to a moderate 
 figure. It is generally understood the world over, and 
 consequently uniformly good results are secured from 
 its use. Linseed oil is, of course, used extensively in 
 the making of soap, linoleum, and in many manufactur- 
 ing processes where all manner of merchandise is made. 
 
 It is interesting to note that linseed oil and most of 
 
82 THE MIXING OF COLORS AND PAINTS 
 
 the drying oils become dry from the outer surface in- 
 ward. They absorb oxygen from the air. In the ease of 
 linseed oil, the oil film actually weighs more after it 
 becomes dry than when it was wet on the surface. 
 
 China wood (tung) oil is an exception in its manner of 
 drying, since it appears to set or harden simultaneously, 
 like cement. 
 
 It is well for painters and decorators to avoid the 
 use of any of the drying oils except linseed oil, and 
 possibly poppy-seed and China wood oil in ease of artists 
 and decorators, unless they are technically minded and 
 will conduct such experiments as will teach them the 
 properties and actions of the other oils for- special 
 purposes. 
 
 The manufacture of pure raw linseed oil is accom- 
 plished by crushing flaxseed, known to some as linseed, 
 between large steel rollers in mills constructed especially 
 for the purpose. The oil is squeezed from the seed, 
 allowed to settle and age in order to remove the mucilag- 
 inous matter which settles to the bottom of the tanks. 
 The longer the oil is aged, the better; but in the modern 
 process of manufacture most of the mucilaginous matter, 
 ealled foots, is removed by filtering the oil while it is hot. 
 
 Raw linseed oil is, as its name implies, a rather crude 
 raw product, and when used in paints must have a 
 drier added to it, usually, to make the paint dry rapidly 
 enough during cool and damp weather. As a matter of 
 fact, on outside painting it is customary to add drier to 
 raw linseed oil in any weather, although during hot, dry 
 seasons the oil will dry without the use of Japan drier. 
 There is always some risk that the paint will dry too 
 slowly without driers to avoid the accumulations of dust, 
 small flies or gnats in swarms. . 
 
 Boiled linseed oil is much to be preferred to raw oil 
 when you can secure one of the brands made by a 
 reputable manufacturer. The average manufacturer 
 
PAINT OILS 83 
 
 considers raw linseed oil simply as a commercial product, 
 a commodity, which must be made within certain stand- 
 ards of purity, to be sure; but boiled linseed oil is made 
 with pride and especial care to give maximum results 
 in drying and brushing qualities as well as in the matter 
 of durability. , 
 
 A great many painters have steadfastly bought pure 
 raw linseed oil because it offers less opportunity for 
 unscrupulous manufacturers to cover up adulteration ; 
 it is more difficult to detect the addition of dope oils to 
 the boiled linseed oil. However, it is a better buying 
 policy to secure high-class boiled linseed oil from a 
 manufacturer of good reputation who makes advertised 
 brands. Such an oil is an institution with the manu- 
 facturer and he takes pride in setting up and main- 
 taining a high standard of quality in his boiled oil. 
 He makes an oil of uniform quality, doubly filtered and 
 free from moisture and foots. With that kind of an 
 oil, painters and decorators will get better results, have 
 fewer painting problems, and even though the oil costs 
 a few cents a gallon more than if raw oil were used, it 
 will be a better investment. 
 
 The mucilaginous matter, or foots, found in linseed oil 
 is a substance which may appear in even the best filtered 
 and prepared oil, because it is a substance formed by 
 changes of temperature and it comes entirely from the 
 oil itself. In other words, the best of care known to 
 manufacturers may be exercised in the manufacture of 
 a pure linseed oil, either raw or boiled, and yet if the 
 barrel is subjected to many or extreme changes of tem- 
 perature after it leaves the factory, the painter may 
 find a considerable quantity of foots in the last few 
 gallons drawn from the barrel. Foots do not constitute 
 adulteration of the oil, and when they occur they can be 
 returned to the reputable manufacturer and exchanged 
 for clear oil without cost to the painter. 
 
84 THE MIXING OF COLORS AND PAINTS 
 
 In brands of high-grade boiled linseed oil most of the 
 foots have been removed by heating, chilling and filter- 
 ing. The oil when it leaves the factory is entirely suit- 
 able for painting purposes. It is possible and practical 
 to completely remove all foots from linseed oil; indeed, 
 that is regularly done with oils made for special manu- 
 facturing purposes. It requires a rather elaborate chem- 
 ical process to remove all foots, and that makes the oil 
 cost eight or ten cents per gallon more. For ordinary 
 painting purposes there is no advantage in removing 
 every trace of foots from the oil; at least, it is not worth 
 the extra cost, generally speaking. 
 
 If the painter will just be alert and not use any of 
 the thick oil from the bottom of an occasional barrel 
 containing foots, he will experience no difficulty. If 
 this oil is used by a careless workman it may retard the 
 drying of the paint, causing it to remain soft and tacky 
 for a long time. Then it may become discolored by 
 accumulations of dust or insect Swarms. _ 
 
 High-class boiled linseed oil is made by filtering and 
 heating the raw oil in large tanks to 240 degrees of 
 temperature. This is to eliminate the moisture. Then 
 high quality drying substances, such as manganese, red 
 lead, litharge, raw umber and cobalt driers are added 
 while the oil is still hot to thoroughly incorporate them. 
 After this the oil is cooled down and thoroughly filtered. 
 The oil is not actually boiled, as the name would indi- 
 eate, as that would require raising the temperature to 
 600 degrees of heat. Such a high temperature will cause 
 the oil to become thicker and darker in color. For all 
 practical purposes raising the temperature to 240 degrees 
 is sufficient to eliminate the moisture. 
 
 There is reason to be cautious in buying boiled linseed 
 oil from any but the well known and firmly established 
 manufacturers, because there has been a practice in- 
 dulged in by some paint jobbers and others of making 
 
PAINT OILS 85 
 
 so-called linseed oi: which has not been high-grade 
 material. This material has gained the name of bung- 
 hole boiled oil, because it has been the practice of these 
 firms to buy barrels of pure raw linseed oil, draw out a 
 few gallons through the bung-hole and replace the pure 
 linseed 011 with driers of their own making. In some 
 instances adulterated oils have been put into the barrels 
 because they were cheaper. This is bound to be inferior 
 oil, even when these men start with pure, raw linseed 
 oil and have no intention of doping it. They have not 
 adequate manufacturing facilities to make good boiled 
 linseed oil, and even if good driers were added they 
 would not be thoroughly incorporated when put into 
 the barrel in this manner with the cold oil. In other 
 words, to make the oil right they would have to remove 
 it from the barrels, heat and filter it and thoroughly 
 incorporate the driers. They are not equipped to do that. 
 
 When the makers of bung-hole boiled oil add cheaper 
 oils, like deodorized fish oil and mineral oil, to pure 
 linseed oil in order to increase their profits, the painter 
 is likely to have considerable trouble with his paints 
 because they are slow drying or remain soft and tacky 
 indefinitely. In the case of white paints the adulterated 
 oils may cause the paint to turn yellow. 
 
 For general painting purposes outside, there is no 
 successful substitute for pure linseed oil known to chem- 
 istry today. Authorities on the subject of paint oils 
 have looked diligently for a cheaper oil than linseed oil 
 and one that would be just as good or better. They have 
 not found one available’ in sufficient quantities up to 
 this time. When such an oil is found, and has been 
 proven by a few years of testing to be equal to the job, 
 you will hear all about it from the paint trade in general 
 and the reputable manufacturer. There are offered to 
 you from time to time paint oils which are claimed to 
 be equal or superior to linseed oil. Some of these oils 
 
86 THE MIXING OF COLORS AND PAINTS 
 
 have fancy names which are likely to deceive unless you 
 are alert. Some such names as improved linseed oil, 
 linseed oil compound, Manchurian linseed oil and some 
 others have been put upon the market, only to have 
 short careers because of their adulterated nature. 
 
 As a general proposition, paint oils offered as a sub- 
 stitute for linseed oil for outside house paints are valu- 
 able only in proportion to the amount of pure linseed 
 oil they contain. Usually their cost is only a few cents 
 per gallon less than linseed oil and, of course, it is 
 claimed for them that they are better than linseed oil. 
 You will, however, be money ahead to let somebody else 
 do the experimenting to prove or disprove the claims 
 for these oils. At best you could save only a dollar or 
 two on the average job by using questionable oil, and if 
 a job goes wrong it may cost you fifty to one hundred 
 dollars to do the work over again to satisfy your 
 customer. 
 
 To the average painter or decorator pure linseed oil © 
 is all alike, but as a matter of fact there are differences, 
 even though the prices are all about the same. It is 
 therefore a wise policy to select a brand of boiled linseed 
 oil of known quality made by one of the manufacturers 
 who has an acknowledged reputable standing in the 
 trade, and therefore secure oil which is uniform in 
 quality from the beginning of the year to the end. You 
 will do your mixing of paint after certain set formulas 
 which you may have in print, or simply in your head 
 from long practice, and it is obvious that any formula 
 will give you better results if the basic materials specified 
 in the formula are always of the same quality as to the 
 small content of foots, uniform color and absence of 
 moisture. There is some ground for doubting that 
 painters can mix as durable or as uniform paint oil by 
 using pure, raw linseed oil and Japan drier as is pro- 
 
PAINT OILS 87 
 
 duced by manufacturers of high-class boiled linseed oil. 
 By using boiled linseed oil you avoid the risk of having 
 careless workmen adding too much drier to your raw 
 Jinseed oil, thus wasting the drier, which is expensive, 
 and injuring the paint. Of course, Japan drier should 
 always’ be measured before adding a quantity to your 
 paint, but it is only human for a painter to guess at it. 
 If he has good judgment, guessing is all right, but many 
 workmen are careless about this. 
 
 It should be perfectly obvious, of course, that where 
 there is any question about the high quality of the boiled 
 linseed oil at hand it is much better to use pure raw 
 oil with the addition of good Japan drier. 
 
 The preference for raw or boiled linseed oil will be 
 found to vary considerably in different parts of the 
 eountry. Something more than half of the total amount 
 of linseed oil in the United States is boiled. In some 
 sections almost 100 per cent boiled oil is used, while in 
 others raw oil is used in the largest proportion, depend- 
 ing somewhat upon habits and training of the painters. 
 
 There is just one certain way to secure a dependable 
 linseed oil, either raw or boiled—that is, to buy from 
 one of the reputable manufacturers of such products. 
 Following is a list which is complete as far as careful 
 investigation has made it possible to print of the manu- 
 facturers of pure linseed oil. There are no dependable 
 tests for determining the purity of linseed oil which 
 can be used by the amateur. The tests which are depend- 
 able require the services of a chemist and his laboratory. 
 In several states laws have been enacted which require 
 manufacturers of linseed oil to attach labels to the 
 barrels, or cans, which read’ ‘‘pure linseed oil.’’ Such 
 a label, which carries the name of a reliable manufac- 
 turer and his address is assurance in these states that 
 the oil is pure. 
 
88 THE MIXING OF COLORS AND PAINTS 
 
 American Linseed Company’s Brands—American lLin- 
 seed Co., New York, Boston, Chicago, St. Louis; Archer & 
 Co., St. Paul, Minn.; Campbell & Thayer, New York City; 
 Cleveland Linseed & Oil Co., Chicago and Cleveland, O.; 
 Close Linseed Oil Works, Iowa City, Iowa; Crown Linseed 
 Oil Works, St. Louis, Mo.; Dean Linseed Oil Co., New 
 York City; Des Moines Linseed Oil Works, Des Monies, Ia.; 
 Detroit Linseed Oil Works, Detroit, Mich.; Douglas & Co., 
 Minneapolis, Minn.; Douglas & .Co., Cedar Rapids, Ia.; 
 Evans Linseed Oil Co., Indianapolis, Ind.; Hawkeye Lin- 
 Seed Oil Works, Marshalltown, Ia.; Kansas City Lead & 
 Oil Works, Kansas City, Mo.; Kellogg & McDougal Lin- 
 seed Oil Works, Buffalo; Metzger Linseed Oil Co., Toledo, 
 Ohio; Portland Linseed Oil Works, Portland, Ore.; Sioux 
 City Linseed Oil Works, Sioux City, Ia.; Topeka Linseed 
 Oil Works, Topeka, Kan.; The Metzger Linseed Oil Co., 
 Chicago; The Toledo Linseed Oil Co., Toledo, Ohio; The 
 Griswold Linseed Oil Co., Warren, Ohio; The W. P. Orr 
 Linseed Oil Co., Piqua, Ohio; Woodman Linseed Oil Works, 
 Omaha, Neb.; Wright & Hills Linseed Oil Co., Chicago, I11.; 
 Wright & Lawther Oil & Lead Mfg. Co., Chicago. 
 
 H. H. Clark’s Brands—Pioneer Linseed & Lead Co., 
 Kansas City, Mo.; Clark’s Owl Brand Linseed; Decatur, 
 Ill., Linseed Oil Co.; Mendota, I1l., Linseed Oil Co. 
 
 National Lead Co.’s Brands—‘Armstrong & McKelvey,”’ 
 ‘‘Atlantic,”’ ‘‘Collier,” “Kentucky Lead & Oi (Co, 21000 
 T. Lewis & Bros. Co.,’’ ‘““National Lead & Oil Co.,” “‘South- 
 ern, = Wuteh Boys 
 
 Alston Mfg. Co., Chicago. 
 
 Archer-Daniels-Midland Co., Minneapolis. 
 
 R. B. Brown Oil Co., St. Louis, Mo. 
 
 George W. Blabon Co., Philadelphia, Pa. 
 
 Chicago White Lead & Oil Co., Chicago, Il. 
 
 Crescent Linseed Oil Co., Chicago, Il. 
 
 Euston & Co., Chicago, Il. 
 
 Grove Linseed Oil Co., Philadelphia, Pa. 
 
 Hauenstein & Co., Buffalo, N. Y. 
 
 Hirst & Begley Linseed Works, Chicago. 
 
 Kelloggs & Miller, Amsterdam, N. Y. 
 
 Lyster & Co., Fredonia, Kan. 
 
 Mann Bros. & Co., Buffalo, N. Y. 
 
 Metzger Seed & Oil Co., Toledo, O. 
 
 Spencer Kellogg & Sons, Buffalo, N. Y. 
 
 Minnesota Linseed Oil Co., Minneapolis, Minn. 
 
 Northern Linseed Co., Minneapolis, Minn. 
 
 O’Brien Varnish Co., South Bend, Ind. 
 
 H. L. Pope & Co., Dayton, O. 
 
 ‘Red Wing Linseed Co., Red Wing, Minn. 
 
PAINT OILS | 89 
 
 Sherwin-Williams Co., Cleveland, O. 
 
 Thompson & Co., Allegheny, Pa. 
 
 Amsterdam Linseed Oil Works, Amsterdam, N. Y. 
 Ankeney Linseed Oil Co., Des Moines, Ia. 
 
 Fredonia Linseed Oil Works, Fredonia, Kan. 
 Northwestern Linseed Oil Works, Minneapolis, Minn. 
 W. P. Orr Linseed Oil Co., Cincinnati, O. 
 
 Pacific Oil & Lead Works, San Francisco, Cal. 
 
 Wm. O. Goodrich & Co., Milwaukee, Wis. 
 
 Bisbee Linseed Co., Philadelphia. 
 
 Perilla Oil—Produced from seeds of perilla which 
 gsrows in China, Japan and India. While it is a drying 
 oil and appears in the American market in a very limited 
 way, it is not used in a commercial way in the paint 
 industry. Tests made of this oil by the American 
 Society for Testing Materials and the Paint Manufac- 
 turers’ Association resulted in its being considered 
 superior to linseed oil by some. Perilla oil is considered 
 of a high commercial value as a paint and varnish 
 material in the Orient. The cultivation of the plant is 
 being introduced into the United States. 
 
 China-Wood Oil (Tung).—The use and popularity of 
 this oil has increased greatly in the last ten years, and 
 while the decorator and painter do not come in contact 
 with it often as an oil, they.do use vast quantities of it 
 as part of interior flat wall paint and varnishes. 
 
 From China-wood oil a varnish is made which dries 
 flat and is the principal liquid of flat wall paints. AI- 
 though this oil is not extensively used in paints for 
 general purposes, it may be so used in the future. It is 
 used in making marine paints today, because of its 
 ability to withstand the action of salt air and salt water. 
 
 China-wood oil comes from the Orient and is made 
 from nuts of certain trees. Unlike most oils, it dries: 
 with a flat, waxlike appearance and is not transparent 
 when dry. It has an odor which is not forgotten easily, 
 though it is not unpleasant. This oil is not used in its 
 raw state, but is usually cooked with resins or such 
 
90 THE MIXING OF COLORS AND PAINTS 
 
 drying substances as manganese, lead oxides, red lead, 
 litharge or cobalt, and then thinned with turpentine or 
 mineral spirits. The cooking causes China-wood oil to 
 dry with a gloss, rather than the flat appearance of the 
 raw oil. This oil is used in the making of some excellent 
 varnishes. 
 
 Soya-Bean Owl.—A vegetable oil made from soya beans, 
 grown extensively in Manchuria and Korea, and to some 
 extent in the United States as animal feed. Soya beans 
 belong to the same family as the ordinary pea and bean. 
 This oil dries very slowly and makes a soft film. The 
 cost of it is low compared to linseed oil, and it is, there- 
 fore, used sometimes to adulterate linseed oil. Soya- 
 bean oil is in rather general use by manufacturers in the 
 paint industry for prepared materials, but is not used 
 by painters and decorators as a raw oil. Chemists say 
 that as much as 25 per cent of soya-bean oil ean be added 
 to linseed oil for painting purposes without injury to 
 the film. Certain colors ground in soya-bean oil appear 
 to be more satisfactory than when ground in linseed oil. 
 
 Menhaden Oil.—Produced from menhaden fish, mostly. 
 Considered a drying oil and recommended by the ¢hem- 
 ists for use in smokestack paints and for paints subjected 
 to moist, salt air. It will not blister the paint on hot 
 surfaces. ' 
 
 Kerosene and Petroleum Oils——Except benzine, these 
 oils serve no good purpose in paints used by the painter 
 and decorator, as they are non-drying liquids. They are 
 used for certain special metal paints where a small quan- 
 tity of these oils is needed to retard the hard drying of 
 the paint, but they should be used only by expert manu- 
 facturers who know exactly what to do and how. 
 
 Kerosene used by painters and decorators is quite 
 certain to cause trouble with tacky paint. It will turn 
 white paint yellow. Some marine painters claim to have 
 used kerosene successfully on wood boats, but it is more 
 
 
 
. PAINT OILS 91 
 
 than likely that they had more luck than good sense in 
 the work. 
 
 Creosote Oil.—An oil distilled from coal tar and which 
 is heavier than water. It is also called heavy oil and 
 dead oil in:some industries. 
 
 Its outstanding value is as a preservative of wood, 
 and so it is best known as a base for shingle stains. 
 
 The odor of creosote oil is a strong characteristic and 
 one not likely to be forgotten easily. 
 
 When not carefully refined for use in stains, creosote 
 oil is apt to throw down a sediment in cold weather. 
 This settling or separation of color and liquid can be 
 overcome when the manufacturer exercises due care in 
 chilling and filtering the oil before permitting its use in 
 stains. 
 
 Flatting Oil—About the time special flat wall paints 
 appeared on the market there appeared also special oil 
 compounds ealled flatting oils. 
 
 These oils are made for use by painters when they 
 wish to mix their own flat wall paints, using white lead, 
 zine and tinting colors for the purpose. 
 
 Flat wall paints mixed in this way hide the surface 
 well, flow out, level up, and have good brushing quali- 
 ties and dry with a beautiful flat luster. Such a surface 
 is washable and, of course, the paint can be tinted any 
 color needed to execute an individual color scheme. 
 
 Flat Mixing Varnish.—This is a type of thin varnish 
 suitable for mixing with certain paint pigments for 
 making flat wall paints which dry without gloss, with 
 a dull luster and a washable surface. Flat mixing 
 varnish may also be used in mixing enamels and enamel 
 undercoats, but is not generally distributed except in 
 quantity or on special order. Used chiefly by manu- 
 facturers. 
 
 Floor Oil.—This is simply a mixture made by deco- 
 rators ard marrfacturers of drying oils and spirits for 
 
92 THE MIXING OF COLORS AND PAINTS 
 
 use in oiling maple and birch floors. Floors which cannot 
 withstand the travel of many feet, as in offices and fac- 
 tories, are treated with oil, because it is cheaper than 
 varnish and varnish could not withstand such hard 
 service. The oil gives a uniform color and makes a floor 
 which is easy to clean. 
 
 Mineral oils are used for floors, but usually decorators 
 use linseed oil to which some turpentine and beeswax or 
 paraffin wax are added. <A pot of this mixture should 
 be heated in a pail of hot water or on a steam radiator 
 (not an open fire). Apply it hot with mops and wipe 
 up any excess with rags. 
 
 Unfilled oak trim in houses is finished this way for 
 an antique effect. Table tops oiled two or three times 
 are very serviceable,—hot dishes and water do not mar 
 them. 
 
 Gloss Oil—This is not really an oil but a thin varnish 
 made, usually, of rosin—the residue from the distillation 
 of turpentine—and benzine, turpentine or mineral spir- 
 its. A cheap product made for finishing barrels. It 
 scratches easily and is no material for decorators to use. 
 It is sometimes used as a size to stop suction on plaster 
 walls. Used under ecalcimine and cold water paints, 
 satisfaction usually results, but it should never be used 
 under paint. Wallpaper, canvas or other fabrics will 
 not long adhere to surfaces coated with gloss oil, and 
 sometimes not even if paint is put on top of the gloss oil. 
 The oil must be removed with hot water having some 
 wallpaper paste in it and considerable sal soda or Gold 
 Dust. It is brushed on with a ecalecimine brush and 
 washed off with a sponge and clear water. 
 
 Polishing and Rubbing Oils—These are usually min- 
 eral oils of light weight,—sewing machine oil is good. 
 Used with pumice stone or rotten stone for rubbing 
 varnish on pianos, fine furniture and wood trim. 
 
 Megilp Owl—Used by artist painters for pictorial 
 
 
 
/ 
 
 PAINT OILS 93 
 
 work on canvas. It is a mixture of pale drying oil 
 and mastie varnish. If unwisely used this oil will cause 
 allegatoring and cracking of the painted surface. 
 
 Bronzing Inguids——For interior decorating purposes 
 the purchase of a prepared liquid in gallon cans is 
 usually most convenient and economical. These pre- 
 pared liquids are usually made with amyl acetate 
 (banana oil) which is mixed with dry bronze powders 
 to make a paint; in fact, there are many lacquers made 
 with a cellulose nitrate or acetate base. As a rule these 
 are for use only indoors where protected from the 
 weather and moisture. 
 
 Decorators often make a bronze liquid by adding a 
 little turpentine or benzine to good interior varnish to 
 thin it to just the right consistency, and when this is 
 mixed with dry bronze powders a satisfactory metallic 
 paint results. 
 
 For aluminum paints used on exterior metal surfaces, 
 or any exterior surface, ordinary raw linseed oil is not 
 suitable; it is too thin and permits the paint to run and 
 streak. But, on the other hand, a special oil called 
 heavy bodied boiled linseed oil is excellent for a mod- 
 erate priced exterior metallic paint. 
 
 Spar varnish thinned to proper consistency with tur- 
 pentine or benzine makes a good bronze liquid for 
 exterior surfaces and for all surfaces that are to be 
 washed. A mixture of spar varnish and regular or 
 heavy bodied boiled linseed oil makes a less expensive 
 exterior paint which is very serviceable. 
 
 Compounds of China-wood oil (tung oil) and many 
 other mixtures can be used for bronzing liquids. Care 
 must be taken to make sure of proper drying properties 
 in the liquid, however, since the leaf formation of a 
 bronze pigment tends to retard drying. 
 
 A bronze liquid composed of linseed oil principally 
 does not make a very hard film, and for that reason 
 
94 THE MIXING OF COLORS AWD PAINTS 
 
 bronze paints which are to be subjected to abrasion, as 
 on furniture, should be composed largely of good 
 varnish. 
 
 To sum up, then, a bronze liquid must possess sufficient 
 body to carry the metallic pigment and brush out into 
 a smooth surface; it must contain enough drier to dry 
 in a reasonable time; it must dry with a surface hard 
 enough to resist abrasion when used for some purposes. 
 
 For mixing directions using bronze paints see Chap- 
 ter XI. 
 
CHAPTER VII 
 VOLATILE THINNERS AND DRIERS 
 
 In the mixing of paints, fillers, stains and shellac 
 such liquids as turpentine, benzine, alcohol and mineral 
 spirits are used to make these other substances fluid, in 
 order that they may be brushed out to a film of uniform 
 thickness over a surface. 
 
 To assure a more advantageous use of these liquids an 
 understanding of their properties is essential. And so 
 the chief outlines following have been written without 
 any attempt to go into the chemistry of each liquid. 
 
 Turpentine—This is probably the most important 
 volatile thinner used by the painting trades for paints 
 and varnishes. It is manufactured by distilling the 
 resin of the long-leaf pine trees in America. Rosin also 
 results from the distillation of the sap of pine trees. At 
 first turpentine was made only from the resin or gum 
 obtained from the tree, and that product is now known 
 as gum turpentine. Turpentine is also extracted from 
 the sawdust and stumps by steam distillation or de- 
 structive distillation of the wood and is known as wood 
 turpentine. 
 
 Wood turpentine has a disagreeable odor if not very 
 earefully refined and usually is not so uniform in 
 quality. The odor can be removed to a satisfactory 
 degree and the characteristics of wood turpentine can 
 be refined to approach closely those of gum turpentine. 
 
 Turpentine has certain very valuable solvent and 
 flatting properties for paint and varnish products. The 
 painter and decorator finds that when mixed with white 
 
 95 
 
96 THE MIXING OF COLORS AND PAINTS 
 
 and colored pigments it makes a paint which flows well, 
 penetrates and dries without gloss. 
 
 The ability to penetrate into the pores of a surface is 
 one of the outstanding virtues of turpentine. Pure 
 turpentine evaporates almost completely after it has 
 made the paint fluid, assisted in spreading the pigment 
 to cover the surface uniformly and to penetrate it. But 
 turpentine is not a binder in itself; on evaporation it 
 leaves the pigment about as it was before it entered the 
 paint, except that the pigment is more closely packed. 
 
 Turpentine has two objectionable properties for use 
 inside of buildings; one, its very strong odor, which 
 nauseates some people and is objectionable to a great 
 many; the other is the ill effects turpentine causes on 
 one’s kidneys. Unless decorators are unusually careful 
 about securing ample ventilation when working with 
 turpentine, they are apt to feel such ill effects as will 
 prevent them from using turpentine for interior work. 
 That is why many painters prefer benzine and appear 
 to produce quite as good results with it on interior 
 decorating. Benzine should not be used in place of 
 turpentine for exterior painting. 
 
 Among the spirit thinners turpentine evaporates most 
 slowly, more slowly than benzine or gasoline and very 
 much more slowly than alcohol and benzol. Some of 
 the especially distilled mineral spirits evaporate quite as 
 slowly as turpentine. Sometimes turpentine is adul- 
 terated with non-volatile petroleum oils. 
 
 Turpentine oxidizes (takes on oxygen: from the air like 
 linseed oil) to some extent and assists the drying of 
 paint. And while pure turpentine evaporated from a 
 dish apparently leaves no residue, chemical analysis of 
 paints containing turpentine recovers less of it than was 
 put into the paint. A bit of rosin from the turpentine 
 must, therefore, remain in the paint. On the other hand, 
 
VOLATILE THINNERS AND DRIERS 97 
 
 all the benzine put into paint can be recovered by 
 ehemical analysis. 
 
 Turpentine Substitutes—These spirit liquids are 
 usually mineral spirits made from Texas petroleum 
 having an asphaltic base. They vary considerably in 
 their properties as to specific gravity, flash point, ability’ 
 as solvents and how completely they evaporate. The 
 best grades should evaporate completely during drying, 
 have good solvent power and cause no precipitation of 
 sums or polymerized oil in paint and varnish. For the - 
 use of painters and decorators the mineral spirits having 
 a flash point near that of turpentine are less of a fire 
 risk and are the most desirable for that reason. In these 
 petroleum spirits having satisfactory volatility and sol- 
 vent power there may still be differences which cause 
 satisfactory or unsatisfactory flowing, spreading and 
 general brush-working qualities in varnish, enamels and 
 paints. 
 
 Mineral Spirits—Petroleum from the Ohio and Penn- 
 sylvania oil fields has a paraffin base, while petroleum 
 from the Texas oil fields has an Pe haliic base. 
 
 Benzines of a higher gravity, and which evaporate 
 more slowly, are made from the Texas petroleum rather 
 than from petroleum having a paraffin base. These 
 benzines from Texas petroleum are called mineral spirits 
 and they ean be distilled to dry quite as slowly as 
 turpentine. 
 
 Careful regulation of fractional distillation of petro- 
 leum with a paraffin base, however, produces mineral 
 spirits similar to such benzines made from asphaltic 
 
 petroleum. 
 
 Benzine.—While this spirit is a petroleum product, it 
 is an exception to the rule against the use of this class 
 in paint. It is a volatile thinner which evaporates more 
 or less completely after it has served the purpose of 
 
98 THE MIXING OF COLORS AND PAINTS 
 
 making the paint liquid so that it can be spread uni- 
 formly thick over a surface. 
 
 Benzine is a distilled, colorless liquid made from 
 crude petroleum. It has a gravity of from 55 to 72 de- 
 erees by Baumé hydrometer while gasoline, the lighter 
 product from the same base, shows a gravity of from 
 60 to 62 degrees Baumé. The heavier oils, like fuel 
 oil and lubricating oils, are distilled from the same 
 petroleum base. 
 
 Painters have been criticised for years because of 
 their use of benzine, but such criticism has seldom been 
 justified. Once in a while a lazy painter will add too 
 much benzine to outside paint in order to make it brush 
 onto the surface easier, but he usually gets caught soon 
 enough, because the paint then dries without gloss. 
 
 Benzine has many good uses in a paint shop aside 
 from its value for washing surfaces, brushes and pots. 
 For flat wall finishing and in the hands of skilled deco- 
 rators it serves quite as well as turpentine. It will, of 
 course, cause the paint to brush out “‘short’’ and to 
 ‘‘nile up’’ if not properly mixed as to proportion 
 with oil. 
 
 Benzine has no place in exterior house paints be- 
 cause it does not possess the same ability as turpentine 
 to penetrate the pores of the surface. 
 
 While benzine used in large amounts in rooms with- 
 out ventilation causes ill effects—a ‘‘benzine jag’’—as 
 the painters call it, as generally used in place of tur- 
 pentine it is far safer, less harmful to health and 
 pleasanter. 
 
 Do not confuse benzine—(spelled with an ‘‘i’’) with 
 benzene. Benzine is a petroleum product, but benzene 
 is similar to benzol and toluol, which are definite com- 
 pounds derived from the heht oil of coal tar. 
 
 Benzol.—A light oil distillate from coal tar which is 
 a volatile spirit with a boiling point of 82 degrees C 
 
VOLATILE THINNERS AND DRIERS 99 
 
 (180 degrees F). A powerful solvent of gums, resins, 
 cils and varnishes. Sometimes called 160 degree sgol- 
 vent naptha. Used by painters to add to paint for pitch 
 pine surfaces or to brush on to such resin filled wood 
 to cut the resin and give the paint an TATE to 
 penetrate and anchor itself. 
 
 Solvent Naptha—aA distillate of light oil from coal 
 tar. It boils principally between 130 degrees C (266 
 degrees F') and 160 degrees C (320 degrees F). 
 
 Solvent Naptha is commonly known to painters and 
 decorators as 160 degree benzol and is used by them in 
 small amounts occasionally in exterior paint to be spread 
 on to pitch pine or other woods the pores of which are 
 completely filled with resin or an oily substance. 
 
 Solvent naptha is less volatile (it evaporates more 
 slowly) than benzol or toluol. 
 
 The excellent properties of solvent naptha, as a sol- 
 vent for bituminous paints, varnishes, gums, oils and 
 resins has made it widely used in the paint and var- 
 nish industry. It is a common ingredient in paint and 
 varnish removers and in substitutes for turpentine. 
 
 Amyl Acetate (Banana Oil).—This is the oil used 
 commonly as the vehicle and binder for bronze paints 
 —ealled bronzing liquid. 
 
 Amyl acetate, amyl aleohol and methyl alcohol are 
 solvents used by manufacturers in nitrocellulose lacquers 
 and, while painters and decorators read mention of 
 them occasionally, there is little or no use for them as 
 such in the ordinary course of business. 
 
 Alcohol_—That used by painters is almost entirely 
 denatured aleohol. It is grain alcohol to which poisons 
 are added according to government requirements, to 
 denature it and make it unfit for human consumption. 
 
 Painters use denatured alcohol for many purposes,— 
 for thinning shellac, for washing up wood trim after 
 an old finish has been stripped off with liquid varnish 
 
100 THE MIXING OF COLORS AND PAINTS 
 
 removers and for mixing with water stains to secure 
 penetration. 
 
 Wood alcohol is not so extensively used. It is a 
 powerful solvent of varnish and paint films and is used 
 to some extent as a remover of these coatings. Wood 
 alcohol is also a deadly poison. 
 
 Vinegar (acetic acid).—Mention ought to be made of 
 this liquid, because it is used for several purposes by 
 decorators. Most of the graining done now is distemper 
 eraining rather than oil graining. In distemper grain- 
 ing distemper colors—those ground in water—are used. 
 
 Glue is added as a binder and ordinary table vinegar is- 
 
 used as the liquid with which to make the colors fluid. 
 Cider and beer have been extensively used for this 
 purpose. 
 
 Vinegar is also used to neutralize plaster or cement 
 surfaces which have “‘hot spots’’ of active lime in them, 
 although zine sulphate (10 parts of zine to 90 parts of 
 water) is a better wash for this purpose. Also vinegar is 
 brushed on to a floor bleached with oxalie acid to nenu- 
 tralize it. A painted wall which has too much gloss or 
 which is too greasy to permit spreading another coat of 
 paint on top (when new paint runs, sags and wrinkles) 
 ean be cut enough by washing down with vinegar to 
 make possible the application of new paint. 
 
 Driers.—Such metals as lead, manganese, cobalt, cal- 
 
 clum, iron and zine put into chemical compound solu- 
 tions and added to drying oils hasten the drying of 
 these liquids. For instance, linseed oil becomes dry by 
 taking up oxygen from the air. The addition of drier 
 speeds up the rate of absorption of oxygen by the oil. 
 Driers are used by manufacturers in various forms. 
 In Europe, and in America for many years, a paste 
 drier was in common use, but today liquid driers are 
 In universal use as far as the painter and decorator are 
 eoneerned. Driers are always purchased ready for use 
 
 ~ = 
 

 
 VOLATILE THINNERS AND DRIERS 101 
 
 by painters. No attempt should be made to compound 
 them, as that requires the services of professional 
 chemists. 
 
 In the manufacture of driers the metals, lead, man- 
 ganese and cobalt are used, and also certain drying 
 pigments,—red lead, lead acetate (sugar of lead) and 
 litharge, principally. 
 
 In the trade driers are listed as driers, oil driers, 
 Japan driers and as Japans. The name on the can or 
 barrel may not fairly indicate what class of drier will 
 be found in the container, however, because these names 
 are used rather indiscriminately. 
 
 Japan drier is a liquid most commonly made from 
 solutions of lead and manganese salts, neutral linseed 
 oil, resin or gum and turpentine or mineral spirits. It 
 should dry to a hard film well attached to the surface 
 when spread alone on a piece of glass for testing. Some 
 such driers are made very light in color for white paints, 
 but most of them are dark brown. Lead acetate (sugar 
 of lead) and litharge are principally used in making the 
 white or light colored driers. 
 
 Oil driers when properly made contain no gums or 
 resins and do not dry to a hard film. As a rule oil 
 driers made of both lead and manganese salts as an 
 oleate are considered better than resinate driers and 
 Japans. A manganese drier will expand while drying 
 and resists moisture better than lead driers. But, on 
 the other hand, driers made from lead salts, while they 
 contract on drying, will withstand heat better. The 
 usual manufacturing practice, therefore, is to use both 
 lead and manganese salts to gain the virtues of both. 
 
 Some oils and pigments dry naturally to a greater or 
 lesser degree in their own time. To hasten this drying, 
 to make semi-drying liquids dry hard, driers are essen- 
 tial. And, generally, driers are needed to make the use 
 of paint, varnish and other decorative and protective 
 
102 THE MIXING OF COLORS AND PAINTS 
 
 coatings dry within a reasonable time and with a hard 
 surface having no tacky or sticky character. 
 
 Without the use of drier in paint during hot, humid 
 or cold, wet weather, the paint may dry so slowly that 
 dust, flies or gnats in swarms may accumulate on the 
 paint and disfigure it. 
 
 As a matter of convenience it is essential that paint 
 and varnish dry within a reasonable time to permit 
 workmen to proceed with a job from day to day with 
 one coat after another; and fairly rapid drying is essen- 
 tial, too, so that decorating done in buildings where 
 people must continue to live and work will not soil 
 clothes and persons. 
 
 For practical purposes, then, driers are essential in 
 paint, varnish and other decorative and protective ma- 
 terials, but the durability or life of the coating is less- 
 ened by the use of driers. Therefore the use of the 
 least amount of drier which will serve the purpose is 
 always the proper guide when a coating is expected to 
 be durable. As a general principle it may be said that 
 the quickest drying coatings are the least durable; the 
 slower drying the most durable. 
 
 This is readily understood when you know that the 
 final destruction of a paint film is the result of oxidation. 
 
 A gubstanece like driers, which speeds the drying of 
 paint, then, by that very fact, makes the life of that 
 paint shorter. 
 
 This principle is of vital imporance as a guide in 
 mixing exterior paints used as a protective coating on 
 any surface. The use of too large a quantity of drier 
 simply burns out the life of the oil and destruction of 
 the paint film proceeds rapidly. It is for this reason 
 that well informed master painters use a high grade 
 boiled linseed oil and permit their journeymen painters 
 to use no Japan driers; a careless use of too large a 
 quantity of Japan drier with raw linseed oil is thus 
 
VOLATILE THINNERS AND DRIERS 103 
 
 avoided. The use of Japan drier which is not very 
 strong overcomes this risk to some extent, but even 
 then the careless workman simply guesses that even a 
 larger quantity is needed, and so continues the abuse. 
 Every ounce of driers used ought to be measured, but 
 in actual practice the man who measures quantities of 
 any material is a rare fellow in the painting business. 
 
 The use of driers in interior paints is quite another 
 proposition. Durability is not, relatively, an important 
 consideration. The paint will wear out from abrasion, 
 or be repainted because it has become soiled or because 
 a change of color is wanted, and so the life of the liquid 
 binder calls for little consideration. 
 
 A common sense policy to follow in the buying of 
 driers and in their use is to select. an advertised brand 
 made by a reputable firm; carefully note the quantity 
 you use in a gallon of paint and the time required for 
 it to dry in hot humid weather and in cold wet weather; 
 then use as little as is practical, considering the result 
 wanted. It is a good plan to study the manufacturer’s 
 directions and literature. And once you have learned 
 the best use of a good quality drier, don’t change brands, 
 or it will be necessary to acquire experience again from 
 the beginning to learn the reaction of the new brand. 
 
 Tests to determine the strength of different brands of 
 driers, the speed with which they cause the paint to 
 dry, and the ultimate durability of a paint containing 
 various amounts of driers can be made by the painter 
 if he wants to go to that trouble. 
 
 To test the strength and speed of drying, use pieces 
 of glass about a foot square,—one piece for each brand 
 of drier to be tested. On one-third of the glass brush 
 a coat of raw linseed oil; on the next third brush a coat 
 of the same oil to which about 3 per cent of the drier 
 has been added; and on the last third of the glass brush 
 paint mixed with the same oil and drier used on the 
 

 
 104 | ‘THE MIXING OF COLORS AND PAINTS a 
 
 
 
 
 
 
 
 second strip. Note the time when this test is completed — as 
 and then record the number of hours required for each — 
 set to dry to the touch and to dry hard. 
 
 To test the durability of an oil film and a paint mixed 
 with a given brand of drier, follow the same method on 
 wood panels and expose them to the weather. Two or 
 three years’ time will be required to make any fair 
 determination. 
 
CHAPTER VIII 
 GENERAL PAINT MIXING METHODS 
 
 The mixing of paints, enamels and colors to make 
 serviceable and decorative coatings for many surfaces, 
 under greatly varying weather and climatic conditions, 
 calls for exercising considerable discrimination. Success 
 to an ordinary degree is not at all difficult to attain, but 
 to gain the utmost durability from paints and at the 
 same time leave the surface in good condition for re- 
 painting when the old paint wears out, is an accomplish- 
 ment which tests the skill of experienced painters and 
 expert paint makers. 
 
 There are some well established rules for use in the 
 mixing of paints which have been developed during 
 years of mixing and applying paint and the observation 
 of results. If the knowledge of the practical men who 
 have gained the experience summed up in the rules and 
 principles set forth here is utilized, one making a study 
 of paint mixing can readily become expert without wait- 
 ing long years to gain the knowledge by the slow process 
 ef personal experience, success, failure, observation, 
 deduction and seeking the remedy. 
 
 In Chapters I to VII color pigments, basic paint 
 pigments and paint liquids were enumerated and their 
 characteristics described. These are the ingredients 
 essential to the mixing of colors and paints. 
 
 Before beginning experiments and practice work in 
 mixing, brief consideration of necessary tools, utensils 
 and working methods is in order. 
 
 105 
 
106 THE MIXING OF COLORS AND PAINTS 
 
 TOOLS NEEDED 
 
 The tools and utensils needed on a well planned and 
 equipped mixing bench for any trade or arts and crafts 
 shop where colors and paints are mixed are these 
 (Plate 2): 
 
 Scales——Mixing formulas are written in pounds, 
 ounces, fractions of ounces, pennyweights and half 
 pennyweights. Or a formula may be stated thus, for 
 
 
 
 U1 AL LUM UL = 
 
 == 
 ew ! 
 
 ! 
 Pee are 
 pr! 
 
 
 
 
 
 
 
 NOE ih 
 Sail ai 
 
 
 
 
 
 Mt NN i ff Bir 
 
 Plate 2.—Mixing Pots, Tubs and Equipment 
 
 example: 2 parts medium chrome yellow, 1 part raw 
 umber and 3 parts white lead. This may be interpreted 
 as pennyweights, or ounces, or pounds, depending upon 
 how large a batch of paint you wish to mix. Usually a 
 balance scale which accurately weighs ounces and pounds 
 will serve all purposes, but where very small amounts 
 and accuracy are essential, druggist seales are needed 
 to weigh pennyweights and half pennyweights. 
 
 Measures.—F or liquids a.glass graduate measure and 
 pint, quart and gallon measures are needed. 
 
GENERAL PAINT MIXING METHODS 107 
 
 Pots, Pails and Tubes.—Plenty of clean, empty pots 
 and pails are essential for ordinary mixing. Empty 
 white lead kegs of 1214, 25 and 50 pound size, and one- 
 gallon prepared paint pails, are useful. Small press-top 
 eans are handy for small batches of colors and paints; 
 
 LSS 
 
 
 
 Plate 3.—Paint Strainers 
 
 while for large batches empty white lead kegs of 50- 
 pound 100-pound and 300-pound size are very good. 
 Often barrels are used for mixing very large lots of 
 paint, stain and calcimine. Sometimes a barrel is sawed 
 througa the middle, thus making two tubs in which ten 
 to fifteen gallons of paint can be mixed. 
 
108 THE MIXING OF COLORS AND PAINTS 
 
 Strainers.—Manufactured strainers such as are shown 
 on Plate 3 may be used. The cone, or funnel-shaped, 
 strainer is made of paper and cloth. It is designed to 
 be used once or twice and then destroyed, to save the 
 time needed to clean it. The cost is low. The other 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Broad Scraper Glass Mixing Slab 
 
 Plate 4.—Mixing Tools 
 
 strainer pictured is made of tin and is provided with a 
 removable screen bottom which is easily taken out for 
 cleaning or to be replaced with a new one. 
 
 Strainers most commonly used are made by placing a 
 piece of cheesecloth, double, over the top of a paint pot. 
 
GENERAL PAINT MIXING METHODS 109 
 
 Then a string is wound around the pot two or three 
 times to hold the cloth in place while pouring and stir- 
 ring the paint through the cloth. 
 
 Paddles—On first thought any stick would seem to 
 be suitable for paint and color mixing, but that is not 
 true. Mixing can be done more quickly and better with 
 paddles of wood or iron which are flat and rather wide 
 at the bottom. When mixing large batches a long 
 paddle which can be used with both hands is necessary ; 
 —one about the size and shape of a canoe paddle is 
 very good. 
 
 Palette and Putty Knives.—A putty knife is needed 
 for opening small cans of color and paint, while a strong 
 large screwdriver is needed for prying off covers from 
 lead kegs. A palette knife is handy for mixing small 
 daubs of colors on a piece of plate glass to try out for 
 color matches, to note transparency of colors and the 
 fineness or texture of pigments. 
 
 Other Tools.—Several pieces of plate or ordinary win- 
 dow glass about six inches square are needed. These 
 are of use as slabs upon which to mix small batches of 
 colors to note how nearly they match samples. The 
 eolor is spread on with a palette knife (spatula) or a 
 putty knife. 
 
 Some pieces of waxed paper, all of uniform size to’ 
 insure accuracy on scales, are needed. Colors, or basic 
 paint pigments, are placed on paper in order to weigh 
 them on a scale when doing experimental and practice 
 mixing. 
 
 Wiping rags and a bottle of benzine for cleaning up 
 glass slabs, knives and mixing paddles are needed also 
 on a mixing bench. An empty quart ink bottle with a 
 small screw cap is a handy and safe benzine container. 
 
 A few dozen ordinary watch crystals (old, odd sizes 
 from your jeweler) are very handy for testing com- 
 parative whiteness, tint or shade of paints. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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 Plate 5.—A Handy Paint Mixing Bench 
 
 Hand Mixer 
 
GENERAL PAINT MIXING METHODS pm ae 
 
 A suggested plan for a handy mixing bench is shown 
 in Plate 5. 
 
 Paint Mills—For the mixing of large batches of 
 paints, colors, putty, paste floor fillers and printing inks, 
 hand and power mills and mixers are great time savers 
 and a convenience in a paint shop. 
 
 A generation ago painters bought colors, lead and 
 zine in dry powder form and ground them in oil through 
 hand mills as needed. This is not done today. Time 
 and money are saved and more uniformly ground and 
 mixed pigments are secured from manufacturers in 
 paste form. 
 
 Hand and power mixers, such as are illustrated on 
 Plate 6, are used today in paint shops for mixing 
 large batches of putty, paint and color with oil, tur- 
 pentine and drier to brushing consistency. With these 
 machines much more thorough mixing is done than ean 
 be accomplished by hand; they are a convenience and 
 assure a saving of time. The investment is not large. 
 Mixing machines are constructed to assure quick and 
 easy cleaning. 
 
 Mixing Ready-Mixed Paints—White and_ colored 
 paints already prepared are available on the market. 
 They are prepared for interior and exterior house paint- 
 ing on wood, metal, plaster, brick and cement surfaces. 
 
 Prepared paints contain all necessary basic pigment, 
 eolor, oil, turpentine and drier and are mixed ready to 
 be brushed onto a surface. 
 
 To use these paints cut the top of the can out with a 
 putty knife. Then pour the liquid off the top into a 
 elean pot and stir the pigment in the bottom of the can 
 until it is soft and well mixed. Next, pour back part 
 of the liquid into the pigment and continue stirring 
 until it is absorbed; repeat this until the paint is well 
 mixed. To complete the mixing pour the whole batch 
 
112 THE MIXING OF COLORS AND PAINTS 
 
 oy 
 i iN! 
 Be 7 
 
 
 
 
 
 
 
 
 
 
 
 Power Mixer 
 
 Plate 6.—Machine Paint Mixers 
 
4 
 
 GENERAL PAINT MIXING METHODS 113 
 
 from one pot to the other several times and stir until all 
 pigment has dissolved in the liquid. 
 
 Mixing White Lead Paint—Paints for all purposes 
 to be mixed in white and colors from white lead as a 
 base are made ready for the brush in this manner: 
 
 White lead comes to you in thick paste form; in tubes; 
 1-pound, 3-pound and 5-pound cans; 1214-pound, 25- 
 pound, 50-pound and 100-pound steel kegs; 300-pound 
 and 500-pound wood casks. It contains 8 per cent pure 
 raw linseed oil and 92 per cent white lead. One hundred 
 pounds of white lead paste bulks about 2.85 ‘gallons. 
 
 To break up this thick paste, place the amount needed 
 in a clean pot or tub (an empty 100-pound white lead 
 keg is good for mixing two- or three-gallon batches). 
 Now add a very little linseed oil (or turpentine) and 
 stir it into the lead. It is important that you put in 
 not over one-fourth of the oil at first; less is better. 
 When the first lot of oil has disappeared into the lead, 
 add a little more and repeat until all the oil needed to 
 bring the paint to stout brushing consistency has been 
 added by thorough stirring with a paddle or in a 
 machine mixer. 
 
 With the paint in this condition, add the necessary 
 ‘urpentine (and Japan drier if raw oil is used), also 
 the colors, which have been previously mixed with oil 
 and strained. 
 
 It is important that this method be followed, as it is 
 the only economical way to mix the paint correctly. 
 If too much oil is put in at first, little gobs of lead 
 paste will swim around in the oil and dodge your 
 mixing paddle for some time. The proper time to mix 
 paint is when it is in thin paste form. If this is well 
 done the balance of the oil can be easily and quickly 
 stirred into the batch. 
 
 The mixing of other paste paints can be accomplished 
 to best advantage in exactly the same way. 
 
114 THE MIXING OF COLORS AND PAINTS 
 
 Dry white lead is not used by painters and decorators 
 for mixing paints. It is first ground through stone 
 mills with oil by the manufacturers. 
 
 Mixing Lead and Zinc Paint.—Various combinations 
 of white pigments are used, as well as white lead, as 
 the basic material for white and light-tinted paints. In 
 some instances a leaded zine combination made by manu- 
 facturers is used, and in others painters and decorators 
 mix together white lead paste and zine oxide paste, both 
 eround in linseed oil. 
 
 The mixing and thinning with oil or turpentine is 
 best accomplished by exactly the same method as was 
 described for breaking up white lead paste. Break up 
 the two pigments separately and when each is nearly 
 thin enough for brushing mix the two together by pour- 
 ing one into the other and then boxing the whole batch; 
 that is, by pouring the paint from one pot to another 
 several times. 
 
 The turpentine, drier and colors (the latter being first 
 mixed thin separately with oil or turpentine) should 
 next be added, if colored paint is to be mixed; if not, 
 simply add the final quantity of oil (or turpentine for 
 flat paint) needed to thin the paint to brushing con- 
 sistency. 
 
 The proportions used when mixing lead and zine paint 
 vary according to the purposes for which the paint is 
 to be used. For interior paints the question of dura- 
 bility doesn’t enter, when mixing enamels, enamel under- 
 coats and paints; but for exterior house paints which 
 are subjected to temperature changes, sun, wind, rain, 
 hail and frost, too much zine may make a paint film so 
 hard and inelastic that it will erack and scale off. White 
 paint used on the sea coast and subjected to moist, salt 
 air continually is especially in need of 15 or 20 per cent 
 of zine to 85 or 80 per cent of white lead. 
 
 When mixing these two basic white pigments it is 
 
GENERAL PAINT MIXING METHODS 115 
 
 important to remember that zine, being finer than white 
 lead, bulks much more per hundred pounds and requires 
 more oil to thin it to brushing consistency. On an 
 average, zine paste is ground with 15 to 19 per cent of 
 linseed oil to 85 or 81 per cent of pigment; while white 
 lead is ground with 8 per cent of oil to 92 per cent of 
 pigment. One hundred pounds of pure zine oxide bulks 
 about 414 gallons, while 100 pounds of white lead bulks 
 a little more than 234 gallons. 
 
 Zine oxide is marketed in steel kegs and pails of 
 various sizes—1214-pound, 25-pound, 50-pound, 100- 
 pound—and in small tubes for artists and decorators. 
 
 Consequently, care must be shown in mixing quan- 
 tities of white lead and zine oxide pastes ground in oil, 
 if correct proportions are to be maintained. 
 
 Below is a tabulation which shows the quantities of 
 each pigment, in pounds of paste, to mix together to 
 make 100 pounds of combination paste of any given 
 proportions. In other words, the dry pigment of such 
 a paint mixture will analyze as per the proportions 
 shown in this table: 
 
 Use Zine Oxide Use White Lead 
 
 Proportions Desired in Oil in Oil 
 20.0% Zinc....80.0% Lead 2 Leiber 78 lbs. 
 22.0. eee. Belch. D ‘“ ow te Or poe 
 25.0 EP eae ED ia 26 oe Coek 
 21.0 a ToD a pS Tk TOSI os 
 30.0 os 70.0 ot aks 68° 
 Sees Pe 67.5 oe oan eR ey 
 $5.0 Ha 65.0 x oO Goat 
 37.5 as 62.5 fy He ee ead 
 40.0 a 60.0 : ae 5S. 5 
 42.5 ey 57.5 oy y Was 5 es 
 45.0 Fs 55.0 ies tS Sane Bo ce 
 47.5 ay Die D ce 49 * 50 ‘ 
 50.0 < 50.0 3 SPR 1 Niele 
 52.5 A 47.5 =< 54a AB * 
 55.0 Ee 45.0 = swe ey 43.4§ 
 57-5 y 4 49.5 Hy 59 ** Oe 
 
116 THE MIXING OF COLORS AND PAINTS 
 
 Use Zine Oxide Use White Lead 
 
 ——— 
 
 Proportions Desired in Oil in Oil ; 
 62.5 Sion igh a te ee, a - C407 Eph 
 65.0 Sey Road Cai <: 66° i 
 67.5 ae ie ae 2 69 *° Bt os 
 70.0 me SoU < NU Ds pe ae 
 eee tf wee Cae i 1p 20." 
 75.0 A ie Oe ; 1652 20,>* 3 
 TED Ss «oon . 1S) as a Bade 
 80.0 os 20.0 or Sie 180 
 
 Straining Paints and Colors—There are several 
 advantages to be gained by straining your paints and 
 colors, no matter how well they are mixed. Straining 
 paint through fly sereen or, better yet, through a finer 
 mesh screen or cheesecloth breaks up the particles of 
 pigments more completely and incorporates them with 
 the oil or other liquid; straining removes sediment, 
 small particles of dried paint skin and foreign sub- 
 stances. By straining you mix paint which not only 
 is cleaner and will make a finer textured film, but you 
 are thus making a paint which hides the surface better 
 and works out more smoothly under the brush. 
 
 Straining of paint is not only an advantage when it 
 is first mixed, but high-class painters and decorators 
 will strain the same batch of paint two or three times a 
 day when they are doing fine enamel, undercoatings or 
 other particular work. You may start with a perfectly 
 elean paint pot and strain into it a batch of paint 
 which is clean and fine. Then you may take a brush 
 which has been made absolutely free from dust, loose 
 hairs and old paint skins; but after you have used this 
 brush in transferring the paint to wood trim or other | 
 surfaces for an hour or two you will find that the brush 
 has picked up more or less dust and grit particles from | 
 corners and crevices and carried this foreign material 
 into your pot of paint. In varnishing and enamel work 
 it is highly important also that you strain the material 
 often. 
 
 
 
GENERAL PAINT MIXING METHODS Dt 
 
 The straining may be done by using one of the manu- 
 -factured strainers shown on Plate 3, or you may tie 
 a double thickness of cheesecloth on top of a paint 
 bucket as tightly as possible with twine; then pour the 
 paint, varnish or enamel to be strained on to this cloth 
 and stir it with a putty knife or mixing paddle until it 
 has passed through the cloth. 
 
 Drawing the Ow for Dead Flat Finish.—In past years 
 considerable white lead thinned only with turpentine 
 has been used for mixing undercoats for white enamels, 
 for painting woodwork in flat white and colors, and for 
 painting interior walls. For some of this work the lead 
 was first mixed with a little benzine and allowed to 
 stand over night. In the morning it was found that 
 the 8 per cent of linseed oil with which the lead paste 
 was ground was extracted largely by the benzine and 
 was floating on the top. All of the hquid was then . 
 poured off and the lead was mixed with fresh turpentine 
 and produced a dead flat paint. This practice is not 
 much used today. 
 
 Special preparations of zine and lithopone are now 
 made for enamel undercoats and for flat finished walls. 
 Also special liquids, called flatting oils, are mixed with 
 a lead paste. When lead is not used for the walls one 
 of the many brands of special flat wall paints on the 
 market is used. 
 
 QUANTITIES OF MATERIALS NEEDED 
 
 Until you become rather experienced in the mixing 
 of paint it is well to measure your quantities of white 
 pigment, color pigment, oil, turpentine and drier. It 
 is better to weigh your quantities than to use bulk 
 measure. | 
 
 A gallon of raw linseed oil weighs approximately 734 
 pounds. 
 
118 THE MIXING OF COLORS AND PAINTS 
 
 A gallon of turpentine weighs approximately 634 
 pounds. 
 
 One hundred pounds of white lead bulks a little more 
 than 234 gallons (2.85). 
 
 One hundred pounds of zine oxide bulks 414 gallons. 
 
 Ready-mixed paints weigh on an average about 14 
 pounds per gallon. 
 
 White lead paint weighs approximately 20 to 22 
 pounds per gallon. 
 
 Covering Capacity of Paint—One of the first ques- 
 tions which arises in paint mixing is how large a quan- 
 tity will be needed. The answer to that depends upon 
 how much surface a gallon of paint will cover. 
 
 Several elements enter into the answer to this ques- 
 tion. One who is experienced in using a paint brush 
 will usually spread a gallon of paint over 15 to 25 per 
 cent more surface than a man with less experience, and 
 the surface will be quite as well covered. When paint 
 is spread thin it will, of course, cover more surface than 
 when put on thickly. Paint brushed out thin is usually 
 more durable and becomes dry more quickly. It is well 
 to brush paint out as far as it will go and yet hide the 
 surface well. 
 
 When brushing white paint and light paints over dark 
 
 surfaces the paint cannot be spread out as thin as when ~ 
 
 being put onto a light-colored surface. Black and dark- 
 colored paints can, by the same token, be spread out 
 thinner and will be so spread as a matter of habit. 
 
 A gallon of any paint will spread over fewer square 
 feet of rough surface than of smooth surface, and, 
 obviously, soft, porous wood will absorb more paint 
 than hard, close-grained wood. 
 
 There are differences in covering capacity between 
 various brands of ready-mixed paints, and some differ- 
 ence between brands of pure white lead as to covering 
 and hiding ability. The differences in ready-mixed 
 
 
 
GENERAL PAINT MIXING METHODS ia 
 
 paints are accounted for by differences in pigment com- 
 binations, while with white lead brands differences may 
 be due to varying proportions of carbonate and hydrate. 
 Differences in hiding power of either class of paints 
 may also be due to relative fineness or coarseness of the 
 basic pigments. 
 
 Per Gallon Coverage.—On an average surface it is 
 probably safe to figure that a gallon of white paint or 
 light tints will cover about 450 square feet of surface 
 one coat. On new wood surfaces which are hard and 
 well filled and after the priming coat has been applied, 
 a gallon of high-class paint may cover as much as six 
 or seven hundred square feet one coat. If, however, 
 the priming coat was absorbed considerably, and if many 
 porous spots appear without gloss, your gallon of paint 
 will cover less. 
 
 On old wood surfaces which are very dry and absorb- 
 ent, a gallon of paint may not cover to exceed three or 
 four hundred square feet one coat. 
 
 When tinting colors are added to white paint, and 
 when dark-colored paints, such as dark brown, grays 
 and reds are used, the covering and hiding capacity of 
 a gallon of paint may easily be doubled, depending upon 
 how far the paint is brushed out. 
 
 The covering and hiding capacity of paints used on 
 metal surfaces is much greater than when used on wood. 
 For instance, paint mixed from red lead and linseed oil 
 and spread onto smooth, plain metal surfaces will cover 
 in the neighborhood of 1800 square feet per gallon on 
 the first coat. For the second and third coats, using the 
 same kind of paint on the same surface but mixed a 
 little thicker, about 1200 square feet per gallon, one 
 coat, will be covered. When painting ordinary struc- 
 tural steel, like bridges, a gallon of red lead paint will 
 cover between 600 and 800 square feet on the first coat 
 and from 500 to 700 square feet for succeeding coats. 
 
120 THE MIXING OF COLORS AND PAINTS 
 
 Number of Gallons from a Mixing.—When figuring 
 the amount of paint you will have by mixing certain 
 quantities of white lead, zine oxide or color pigments, 
 consult the following table of average bulking values. 
 It is necessary simply to add together the number of 
 gallons which your paint and color pigments bulk and 
 the number of gallons of liquids which you use in 
 mixing a batch of paint. 
 
 For example, 100 pounds of white lead in paste form 
 bulks approximately 2.85 gallons (a little more than 234 
 gallons). Now, if you add to this 4 gallons of linseed 
 oil, 1 gallon of turpentine and 1 pint of Japan drier, you 
 will secure approximately 8 gallons of white paint; and 
 if you add a considerable quantity of color pigments to 
 make a dark shade of paint, you naturally increase the 
 total quantity of paint mixed by just that amount and 
 the extra liquids needed. Of course, in mixing the 
 average light tint the quantity of tinting color pigment 
 and drier added doesn’t bulk very much, and it is 
 usually ignored in computing the number of gallons 
 mixed. 
 
 In mixing red lead paint for metal surfaces, painters 
 usually use 33 pounds of dry red lead and 1 gallon of 
 linseed oil. This mixture makes approximately 1.22 
 gallons of paint. 
 
 Red lead is marketed now in a stiff paste form similar 
 to white lead and is more convenient to use that way. 
 When mixing any heavy dry pigments like red lead and 
 bronze paints it is necessary to stir the pot of paint 
 every few minutes because the heavy pigments settle to 
 the bottom and there is a tendency to use the thin paint 
 from the top, only to find later that the paint in the 
 bottom of the pot is too thick. 
 
 With aluminum bronze paints in the proportion of 
 about 144 to 2 pounds of dry powder to 1 gallon of 
 heavy bodied boiled linseed oil, the covering capacity 
 
 
 
 F 
 . 
 ‘4 
 } 
 
 
 
GENERAL PAINT MIXING METHODS 121 
 
 per gallon is approximately 600 to 900 square feet, one 
 eoat, on a smooth, non-porous surface. For‘ exterior 
 surfaces spar varnish is used to the extent of from 20 
 to 60 per cent of the vehicle, the balance being boiled 
 linseed oil. See Chapter VI for bronze liquids. 
 
 AVERAGE “BULKING VALUES FOR 100 PouNpbs or PASTE 
 CoLORS AND WuitE PIGMENTS 
 
 Percentage ‘Percentage Bulking 
 
 COLOR of pigment of oilin values in 
 in ‘paste paste gallons 
 
 Venetian Red (40% ged) 78 22 5.9 
 Leis Phe i i 78 Dag AG 
 CHES. Sis 70 30 6.8 
 LER Saye RS ie oe 55 45 7.8 
 TSC a 55 45 {i233 
 yay LET CN 02) ot ae ae 54 46 8.3 
 iphone (Shite ih 54 46 6 
 Meta MiG OEOWN. os. <s.-. - 75 2 5.9 
 ieirirs i Sia t’¢ pea 30 70 113 
 Paieamarineg bine... .:.... 65 ay 7.8 
 VST EC Chaiad 60 (cee ae 43 awh 10.1 
 rons ACh .S. bse. ee ee. 20 80 6 
 LEN eel en oe 50 a0 8.7 
 C. P. Green (average)..... He 23 5.0 
 (ar eieliow ‘(average).... 80 20 4.2 
 20% Green (Barytes base).. 88 12 3.9 
 20% Yellow (Barytes Base) 85 15 4.1 
 10% Para Red (Lime and | 
 
 patyies ase) a. 2 .6 a 82 18 6.0 
 Uti e LET s Lae hs ae rr 94 6 Big les 
 PeM TROON Ga pret haere tt o's h< vs oie 80 20 4.8 
 Basic Sulphate White Lead. 91 9 2.86 
 Basie Carbonate White Lead 92 8 2.85 
 US bee Gis 82 18 4.05 
 
 Tianum Pigment BXX... 80 20 4.6 
 
122 THE MIXING OF COLORS AND PAINTS 
 
 Standard Formulas.—It is not possible to state an 
 exact formula for mixing a gallon of paint which will 
 be suitable for use on all kinds of surfaces, such as 
 wood, plaster, brick, cement and metals. 
 
 It is obvious that some surfaces are more porous and 
 absorbent than others,—that when mixing paint to be 
 spread on to such dry and porous woods as white pine, 
 cedar shingles, poplar and fir, your paint will require 
 a larger proportion of oil than when you are mixing 
 paint to be spread upon well filled surfaces like yellow 
 pine or cypress, both of which have pores that are 
 saturated with resin or other oily substances. When 
 mixing paint for the latter group of woods, and for 
 all non-porous surfaces, more turpentine and less oil 
 are needed. 
 
 Another consideration which governs the proportions 
 of oil and turpentine to be added to basie paint pig- 
 ments, or color pigments, is that which concerns the 
 amount of gloss wanted on the paint. For exterior 
 surfaces, as a rule, the more gloss you can produce the 
 better, which means that you want to use as large a 
 proportion of oil as possible. 
 
 When a semi-gloss or a dead fiat finish is wanted for 
 interior painting, it may be secured by using less oil 
 and more turpentine, or by using what are called flatting 
 oils in place of linseed oil. The flatting oils are useful 
 for interior surfaces only. 
 
 The mixing formulas for white paint which follow at 
 the end of this section give quantities of lead, oil, tur- 
 pentine and drier needed for new and old exterior and 
 interior surfaces. They are as accurate as they can be 
 made for average conditions. The paint mixer must, 
 however, size up the surface to be coated and mix his 
 paint accordingly. 
 
 The best way to determine whether your paint is 
 mixed too thick or too thin, is to dip a brush into it 
 
 A Aa tay 
 
GENERAL PAINT MIXING METHODS 123 
 
 and spread a little of the paint onto the surface to be 
 eoated. If the surface is a very dark color, your paint 
 must be mixed thicker, or stouter, than if you are paint- 
 ing on top of a white or light-colored surface. Dark 
 eolors may be mixed thinner and will ordinarily. be 
 brushed out to a greater extent than white paints, and 
 still they will hide the surface well. 
 
 The condition of an old painted surface is a factor 
 which will govern to some extent the amount of oil put 
 into a new batch of paint to be used on such a surface. 
 If the old paint is quite hard and the surface well filled, 
 it will absorb less oil than if the old paint is chalking 
 badly and, consequently, is quite porous. 
 
 Other points which should be kept in mind about the 
 quantities of oil and turpentine needed in paint mixing 
 are that you will find some slight variations in the thin- 
 ning qualities of the different brands of linseed oil, 
 depending upon what manufacturers made it and from 
 which of the world’s markets the flaxseed came. The 
 white lead which has been mixed with part of the 
 linseed oil a day or two before the final thinning will 
 be found to absorb more oil than when freshly mixed. 
 In other words, you may mix a batch of lead paint today 
 and thin it down to what seems to be the correct brush- 
 ing consistency, but if you allow it to stand a day or 
 so it will be too thick and you must add more oil. 
 
 Less turpentine than linseed gil is needed to thin 100 
 pounds of white lead to brushing consistency. For 
 instance, 100 pounds of white lead mixed for new out- 
 side work will take up 3% to 4 gallons of linseed oil 
 and 2 gallons of turpentine before it is thin enough for 
 a dry and porous surface, while the same amount of 
 lead will take up only about 214 or 3 gallons of tur- 
 pentine to bring it to brushing consistency. 
 
 In the mixing of paint your aim is to make it thin 
 enough to brush out freely and into a smooth paint film, 
 
124 THE MIXING OF COLORS AND PAINTS 
 
 but not so thin that it will fail to hide the surface 
 uniformly. 
 
 In the mixing formulas which follow raw linseed oil 
 is specified. When a brand of high-class boiled lin- 
 seed oil can be secured it is better to substitute boiled 
 oil for raw in all these formulas and eliminate the drier. 
 
 Extra Drier Needed.—Under certain weather condi- 
 tions—on cold, damp winter days and during hot, humid 
 days in the middle of the summer—it is sometimes diffi- 
 cult to mix your paint so that it will dry as rapidly as 
 it should. During such weather additional Japan drier 
 to the extent of about 14 to 14 pint should be added to 
 100 pounds of lead when raw oil is used. It is not often 
 necessary to add any drier to boiled linseed oil, but there 
 are some extreme conditions where a little is needed. 
 
 During difficult drying weather a little extra turpen- 
 tine will accelerate the drying. | 
 
 When using slow drying color pigments such as lamp- 
 black, chrome yellow, chrome green and ordinary yellow 
 ochre in considerable quantities to make dark-colored , 
 paints additional turpentine and drier are needed. 
 
 STANDARD FORMULAS FOR WHITE PAINT 
 NEW OUTSIDE WOODWORK 
 First Coat 
 100 Ibs. pure white lead 
 4 gal. pure raw linseed oil 
 1 gal. pure turpentine 
 1 pt. Japan drier 
 ‘Makes about 734 gal. of paint 
 Second. Coat 
 100 lbs. pure white lead 
 114 gal. pure raw linseed oil 
 11% gal. pure turpentine 
 1 pt. Japan drier 
 Makes about 6 gal. of paint 
 
 C—O ee 
 
 oF ty y 
 
GENERAL PAINT MIXING METHODS 
 
 . Third Coat 
 
 100 Ibs. white lead 
 
 314 to 4% gal. pure raw linseed oil 
 1 pt. pure turpentine 
 
 1 pt. Japan drier 
 
 Makes 6% to 7% gal. of paint 
 
 On the sea coast, where paint is subjected to salt air 
 and hard, driving rains, some painters add from 10 to 
 
 15 per cent of zine oxide to the last coat only. 
 
 OLD OUTSIDE WOODWORK 
 
 First Coat 
 100 lbs. pure white lead 
 2 gal. pure raw linseed oil 
 2 gal. pure turpentine 
 1 pt. Japan drier 
 Makes about 7 gal. of paint 
 
 Second Coat 
 100 lbs. pure white lead 
 3 gal. pure raw linseed oil 
 14 gal. pure turpentine 
 1 pt. Japan drier 
 Makes about 614 gal. of paint 
 
 Third Coat 
 100 lbs. pure white lead 
 314 to 41% gal. pure raw linseed oil 
 1 pt. pure turpentine 
 1 pt. Japan drier 
 Makes 614 to 714 gal. of paint 
 
 For two-coat jobs simply omit the second coat above. 
 On weatherbeaten and very dry surfaces use more oil 
 
 and less turpentine in the first coat. 
 
126 
 
 THE MIXING OF COLORS AND PAINTS 
 
 NEW INSIDE WOODWORK 
 
 First Coat 
 
 100 lbs. pure white lead 
 
 1 gal. pure linseed oil 
 
 3 gal. pure turpentine 
 
 1 pt. Japan drier 
 
 Makes about 7 gal. of paint 
 Second Coat 
 
 100 Ibs. pure white lead 
 
 114 gal. pure raw linseed oil 
 
 114 gal. pure turpentine 
 
 1 pt. Japan drier 
 
 Makes about 6 gal. of paint 
 Third Coat 
 
 Same as Second Coat for Old Inside — 
 
 Woodwork. 
 
 OLD INSIDE WOODWORK 
 
 First Coat 
 100 lbs. pure white lead 
 1 gal. pure linseed oil 
 2 gal. pure turpentine 
 1 pt. Japan drier (if raw oil) 
 Makes about 6 gal. of paint 
 Second Coat—Oil Gloss 
 100 pounds pure white lead 
 3 to 314 gal. pure linseed oil 
 1 pt. pure turpentine 
 1 pt. Japan drier (if raw oil) 
 Makes 6 to 614 gal. of paint 
 Second Coat—Semi-F lat 
 100 lbs. pure white lead 
 114 to 2 gal. pure turpentine 
 34, gal. linseed oil 
 4, pt. Japan drier 
 Makes about 514 gal. of paint 
 
 rg 
 
Se 
 rah od 
 ’ 
 
 GENERAL PAINT MIXING METHODS 127 
 
 Second Coat—F lat 
 100 Ibs. pure white lead 
 214 gal. pure turpentine 
 1, pt. Japan drier ° 
 Makes about 51% gal. of paint 
 Third Coat—F ull Gloss 
 ‘ 3 Ibs. pure white lead broken up smooth 
 with turpentine 
 1 gal. white mixing varnish 
 Third Coat—Flat Finish 
 100 Ibs. pure white lead from which 
 the oil has been drawn, as described 
 previously 
 3 gal. pure turpentine 
 Makes 534 gal. of paint 
 
 Use of Zinc Oxide.—The use of half zine oxide ‘and 
 half white lead for second and third coats makes a 
 harder, finer-textured surface and one which is very 
 white. Zine bulks more than lead and so a little more 
 oil, turpentine or varnish thinner will be needed, depend- 
 
 _ ing upon which coat is being mixed. More gallons of 
 
 paint will result from the mix, also. 
 
 Use of Flatting Ow.—In place of linseed oil, turpen- 
 tine and mixing varnish, a flatting oil may be used 
 with white lead and zine for flat and semi-gloss finishes. 
 This paint is suitable for interior wood surfaces as well 
 as for plaster and cement. 
 
 First Coat 
 Mix the same as previously specified 
 for new or old wood, interior trim. 
 Second or Finishing Coat—F lat 
 100 lbs. of white lead 
 2 to 3 gal. flatting oil 
 Makes 434 to 534 gal. of paint 
 
128 THE MIXING OF COLORS AND PAINTS 
 
 Finishing Coats—Semi-Gloss 
 100 lbs. of white lead 
 34 gal. light mixing varnish 
 114 to 2 gal. flatting oil 
 Makes from 5 to 514 gal. of paint 
 
 Mixing White Paint for Dark Rooms.—When linseed 
 oil mixed with white paint is placed away from strong 
 daylight the paint will turn yellow. To avoid this with 
 white paint and light tints, use flatting oil or use no 
 linseed oil, aside from a very little in the first coat. 
 
 For second and third coats, to dry semi-flat, on new 
 or old interior surfaces, mix your paint in these pro- 
 portions : 
 
 100 lbs. of pure white lead 
 
 114 to 214 gal. pure turpentine : 
 
 34 gal. white mixing varnish or white 
 enamel varnish 
 
 14 pt. Japan drier 
 
 Less turpentine and more varnish will give a gloss 
 finish, 
 
 EXTERIOR METAL WORK 
 
 100 lbs. pure red lead (ground in ln- 
 seed oil like white lead) 
 114 gal. pure raw linseed oil 
 34, gal. boiled linseed oil 
 or 
 100 lbs. pure dry red lead 
 21/4, gal. pure raw linseed oil 
 114 gal. pure boiled linseed oil 
 
 Succeeding coats should be mixed the same as the 
 above. If the bright color of red is objectionable, add 
 a pound or two of lampblack ground in linseed oil and 
 about 14 pint Japan drier. After one or two coats of 
 red lead the finishing coats are sometimes mixed from 
 
GENERAL PAINT MIXING METHODS 129 
 
 white lead tinted to suit, as per formulas given for old 
 outside wood surfaces. 
 
 Metal surfaces to be painted should be washed down 
 with benzine or hot water and sal soda to remove grease 
 and dirt. Loose scales should be removed with steel 
 wire brushes. On tin roofs the seams particularly need 
 cleaning. Do not paint until the metal is dry. 
 
 Before painting new galvanized iron a wash should 
 be brushed on to cut the metal enough to permit anchor- 
 age of the paint. The wash, which should be brushed 
 on and allowed to dry, is to be a solution of 6 ounces of 
 copper acetate in one gallon of water. 
 
 Another suitable wash is made by mixing: 
 
 1 quart of warm water 
 
 14, ounce nitrate of copper 
 
 14, ounce chloride of copper 
 
 14 ounce sal ammoniac 
 
 Mix above in a glass or earthen jar 
 and then add 1% ounce of crude 
 hydrochlorie acid. 
 
 Apply the wash with an old flat brush. The white 
 powder which forms when the solution becomes dry 
 should be brushed off before painting. The metal will 
 be black when this wash has been applied. 
 
 The use of one of these washes before painting elimi- 
 nates the likelihood of having the paint scale off. 
 
 Galvanized iron which has been subjected to the 
 weather a few months doesn’t need this wash. 
 
 BRICK, STUCCO, CONCRETE SURFACES 
 
 First Coat 
 100 lbs. white lead 
 4 gal. pure boiled linseed oil 
 1 gal. turpentine 
 Makes about 734 gal. of paint 
 
130 THE MIXING OF COLORS AND PAINTS 
 
 Second Coat 
 100 lbs. white lead 
 4 gal. pure boiled linseed oil 
 1 pint turpentine 
 ' Third Coat 
 Same as for new outside woodwork. 
 Flat and semi-flat finishes same as 
 for old inside woodwork. 
 
 Before painting new plaster or cement walls which 
 have not been allowed to age more than 30 days, the 
 eausticity of the surface should be neutralized, or it 
 may burn out the life of the oil in spots. Active alkali 
 spots will change the color of some paints, notably tints 
 and shades mixed from chrome yellow. A wash com- 
 posed of 4 pounds of zine sulphate erystals dissolved 
 in 1 gallon of water should be brushed onto this surface. 
 When the surface is dry brush off any loose particles 
 with a broom before painting. 
 
 NEW PLASTER WALLS 
 
 If the walls have not stood for several weeks or 
 months, and painting is to be done immediately, a wash 
 should be brushed on to neutralize any hot lime spots 
 which might burn the life out of oil or cause the paint 
 to discolor. The wash should be mixed by dissolving 
 about 4 pounds of sulphate of zine erystals in 1 gallon 
 of water. When the surface is dry brush off any powder 
 or dust that maybe loose on the surface. 
 
 First Coat 
 100 lbs. of pure white lead 
 5 gal. pure boiled linseed oil 
 1 gal. pure turpentine 
 Makes about 834 gal. of paint 
 
 
 
 
 
GENERAL PAINT MIXING METHODS 131 
 
 Size Coat 
 
 ~ In order to save coats of paint it is customary to seal 
 
 up the surface with a size which should be placed on 
 top of the first coat of paint and not on the bare wall. 
 This is especially important where glue size is used. If 
 glue size, or other water soluble size, is used on top of 
 the plaster instead of between coats of paint, dampness 
 in the walls later may cause the paint to scale off. 
 
 It is not wise to seal up the pores of a plaster wall by 
 placing on it immediately a size of gloss oil, hard oil, 
 suction varnish or shellac, because this may make an 
 unstable foundation. It may stand a while, but when 
 the wall has been painted two or three times, scaling 
 may result. Furthermore, should you want to cover 
 the walls in.later years with canvas, or other wall fabrics, 
 the fabric will pull off of the surface, bringing the coats 
 of paint with it. When the first coat is oil paint you 
 secure an anchorage in the surface which is very impor- 
 tant. The directions for mixing size coats will be found 
 immediately following this section. 
 
 Second Coat 
 100 lbs. pure white lead 
 11% gal. pure boiled linseed oil 
 114 gal. pure turpentine 
 Tinting colors 
 Makes about 6 gal. of paint 
 
 Finishing Coat—Flat 
 100 Ibs. pure white lead 
 214 to 3 gal. pure turpentine 
 Tinting colors 
 Makes about 514 to 6 gal. of paint 
 
 Finishing Coat—F lat 
 100 Ibs. pure white lead 
 2 to 3 gal. of flatting oil 
 
132 THE MIXING OF COLORS AND PAINTS 
 
 Finishing Cout—Semi-F lat 
 100 lbs. pure white lead 
 1% to 2 gal. pure turpentine 
 34 gal. white enamel varnish, or 
 1 gal. pure boiled linseed oil 
 Tinting colors 
 Makes 5 to 51% gal. of paint 
 Finishing Coat—Semi-F lat 
 100 ibs. pure white lead 
 3% gal. white enamel varnish 
 114 to 2 gal. flatting oii 
 Finishing Coat—dloss 
 100 Ibs. pure white lead 
 314 to 414 gal. pure boiled linseed oil 
 1 pt. pure turpentine 
 Tinting colors 
 Makes 614 to 714 gal. of pairt. 
 
 If the new wall has been covered wtk Ganvas. use 
 
 ’ the above formulas also. 
 
 OLD PLASTER WALLS 
 
 Mix your paint for old plaster walls, and canvas 
 covered walls which have been painted before, the same 
 as specified for new plaster walls, omitting the frst 
 coat and the size coat. 
 
 Glue Size 
 
 The use of a glue size on top of the first coat of paint 
 is quite a general practice. It stops suction of dry and 
 porus spots. This is not a good practice, however. <An- 
 other coat of paint makes a better foundation than glue 
 size and costs very little more. 
 
 When glue size is to be used it should never be mixed 
 strong. <A strong solution of glue and water will cer- 
 tainly cause paint to erack and scale off. In mixing 
 
GENERAL PAINT MIXING METHODS 133 
 
 the size soak first class glue in water for two or three 
 hours; simply add enough water to submerge the glue. 
 
 Next boil the glue and water, stirring it enough to 
 prevent its sticking to the bottom of the pail. When 
 the glue has come to a boil, add enough hot water to it 
 to make it very thin. No exact proportions can be 
 given, because different brands and grades of glue 
 vary considerably in strength. The glue size should be 
 just strong enough so that it will feel slightly sticky 
 on your fingers after they have been dipped in and 
 allowed to dry. It is much better to have your size 
 too weak than too strong. 
 
 Varnish Size 
 
 A better size than that made from glue is mixed from 
 first class interior varnish—coach or spar, thinned with 
 turpentine and to which you add enough of the paint 
 mixed for the finishing coat to offset the brown color 
 of the varnish. 
 
 This size should be very thin. It will stop the suction 
 of the wall and serve, to some extent, as a covering or 
 hiding coat. The varnish size should be spread on after 
 the priming coat. It should not be mixed too rich or 
 it will dry with a gloss. 
 
 Varnish size should not be made from the cheaper 
 suction, or ceiling varnishes, nor from gloss oil or hard 
 oil. These products are simply mixtures of rosin and 
 benzine, usually, and they do not make a satisfactory 
 foundation for paint or canvas. 
 
 Sizes containing gloss oil may remain soft and tacky 
 for quite some time; they may disfigure the paint and 
 sometimes the rosin works up through the paint and 
 remains tacky. Wall paper, muslin, canvas and burlap 
 eannot be made to adhere permanently to walls coated 
 with gloss oil sizes. 
 
 There are, however, some special brands of wall size 
 
134 THE MIXING OF COLORS AND PAINTS 
 
 prepared by manufacturers which have considerable 
 merit and are satisfactory. 
 
 Varnish sizes of any quality should not be used on 
 sand-finished or rough-stucco walls. Glue, soap and 
 sugar sizes are better for these surfaces. 
 
 For wall board a first class varnish size is better than 
 a glue size and, generally speaking, high class varnish 
 size 1s to be preferred, because it not only stops suction 
 and seals up the pores but also serves as a coat of size 
 and a coat of paint together. Varnish size is water 
 proof and, while it may be spread directly upon the 
 plaster, it is really better to place it between coats of 
 paint. | 
 
 ‘ 
 
 Oil and Glue Size 
 
 Hard finish and rough stucco interior walls are quite 
 popular and probably always will be, because of their 
 artistic merit. Such walls often have considerably more 
 suction than smooth plaster walls. To seal up the suc- 
 tion on such surfaces before painting a good size may 
 be mixed as follows: 
 
 A quantity of first class gelatine glue should be 
 melted in hot water and brought to a boil. When the 
 olue is about as thick as paint ready for the brush, add 
 one gallon of raw linseed oil which has been previously 
 made hot: <A little dry color may be added to the size 
 to bring it around to approximately your finished color, 
 being lighter preferably. 
 
 Next cut up a bar of yellow laundry soap into thin 
 
 slices and stir them into the hot glue and oil solution — 
 
 until they are thoroughly disolved. This mixture can 
 now be thinned with hot water to the right consistency 
 for sizing. . 
 
 The size should be a httle thinner than cold linseed 
 oil and,. yet, somewhat thicker than glue size. It is 
 better to brush this size onto the walls while it is 
 
 
 
GENERAL PAINT MIXING METHODS 135 
 
 warm. The walls should be first brushed down with 
 a broom to remove loose sand. 
 
 A size mixed in this manner is water proof and will 
 stop the suction of a wall sufficiently to permit finish- 
 ing with two coats of paint. This size should be put 
 on to the plaster and not between coats. Oil and glue 
 size is not suitable for smooth plaster walls. 
 
 Sugar Size 
 
 A wall which has been coated with gloss oil size and 
 which is to be covered with canvas, muslin, burlap or 
 wall paper must be given some preliminary treatment. 
 The gloss oil size can be scrubbed off, using strong sal 
 soda water, hot, but this is a slow and tedious process. 
 
 The common practice is to give the wall or ceiling a 
 coat of paint mixed largely with turpentine to dry flat 
 and tinted to suit. When the paint is dry a coat of 
 sugar size puts the surface in condition to be covered 
 with fabrics or wall paper with reasonable assurance 
 that the coverings will adhere to the surface. 
 
 Sugar size is mixed by adding dark brown sugar to 
 water. Just enough sugar is put into warm water to 
 make the solution slightly sticky. The strength of the 
 solution should be tested by dipping the fingers into 
 it and allowing them to dry. On top of this the paste 
 for wall paper or canvas will gain good anchorage. 
 
 FORMULAS FOR WHITE ENAMEL 
 
 100 Ibs. pure white lead 
 
 3 to 4 gal. pure boiled linseed oil 
 2 gal. pure turpentine 
 
 Makes 734 to 834 gal. of paint. 
 
 Allow at least twenty-four hours for drying; putty 
 nail holes; sandpaper when the putty is dry and wipe 
 off dust from the curface. 
 
136 THE MIXING OF COLORS AND PAINTS 
 
 Second Coat 
 100 Ibs. pure white lead 
 114 to 2 gal. boiled linseed oil 
 11% gal. turpentine 
 Makes about 6 gal. of paint. 
 Or the second coat may be mixed this way: 
 100 lbs. pure white lead 
 2 to 3 gal. of flatting oil 
 The second coat is to be rubbed down smooth with 
 fine sandpaper after it has been allowed to dry at least 
 24 hours. Wipe the surface clean to remove dust. 
 
 Third Coat 
 50 Ibs. pure white lead 
 50 Ibs. pure zine oxide 
 3 to 344 gal. turpentine 
 1 qt. white enamel 
 Makes about 7 to 714 gal. of paint. 
 Or, the third coat may be mixed this way: 
 50 lbs. pure white lead 
 50 lbs. pure zine oxide 
 3 to 4 gal. of flatting oil 
 Allow the third coat to dry twenty-four hours or 
 longer. Sandpaper very lightly with fine paper or 
 steel wool and wash up with a cloth dampened with 
 benzine to remove dust. 
 
 Fourth Coat 
 
 First class prepared white enamel should be used as 
 it comes to you in the manufacturer’s can, or thinned 
 shghtly with 1 pint of turpentine per gallon of enamel. 
 The turpentine should be well mixed into the enamel, 
 using an absolutely clean paddle. The room should be 
 warm and the enamel not colder than 70 degrees, for 
 proper brushing qualities. At least 48 hours should 
 be allowed for drying and a longer time is of con- 
 siderable advantage. This coat should be rubbed very 
 
GENERAL PAINT MIXING METHODS 137 
 
 hghtly and evenly with No. 00 sandpaper, steel wool, 
 or a wad of horse hair for rubbing will be sufficient 
 if the surface is very clean and smooth. Wash up, being 
 especially particular to make everything clean and 
 ready for the final coat. 
 
 Fifth Coat 
 
 High class prepared enamel should be used for this 
 coat, without thinning. It should be not colder than 70 
 degrees temperature. Flow the enamel on with a full 
 body, but being careful to lay it off so that there will 
 be no runs, sags or wrinkles. It is better to brush it 
 out too thin than to put it on too thick and to have it 
 run and sag. You cannot spread enamel out like oil 
 paint. It must be flowed on. Diligence and watch- 
 fulness, as well as extreme care in brushing, are essen- 
 tial. Once an area has been coated with enamel and the 
 material laid off, you should not go back to it or you 
 will cause a roughing or piling up of the material. 
 Enamel will level itself and flow together, so there need 
 be no worry about brush marks. 
 
 The enamel used may be of the kind that drys with 
 a full gloss or you can purchase what is called egg- 
 shell gloss, or satin finish, enamel to give a semi-flat 
 hand rubbed appearance. 
 
 See Chapter XI for mixing colored enamels. 
 
 Using Paint Brushes——The correct way to hold and 
 use a paint or varnish brush depends somewhat upon 
 the material being spread and upon the character of 
 the surface. Nevertheless, the brush should be held in 
 the hand so as to allow a free and easy wrist motion as 
 well as good arm action. The brush should not be 
 grasped tightly, rather a light firm hold upon it will 
 best serve your purpose. Your fingers must, naturally, 
 be used to brace and support your hold, but the fingers 
 should not extend below the metal ferrule or leather 
 
138 THE MIXING OF COLORS AND PAINTS 
 
 strap with which the brush is bound. With the fingers 
 held too low on the brush there is a tendency to exert 
 more pressure on the center of the brush and will, 
 therefore, wear into a shape which resembles a fish tail. 
 High-class brushes are so constructed that the bristles 
 are properly distributed, and when a brush gets out of 
 shape and Wears more in one part than another, it is 
 because the brush has been improperly used. 
 
 One of the most common misuses of paint brushes 
 oceurs with oval and round paint and varnish brushes. 
 Unless a mechanic is careful he will allow the brush to 
 turn in his hand in a eireular fashion more or less 
 and that will wear the bristles so that the whole brush 
 body will have a pointed shape. In that condition the 
 brush is quite useless until the shape is trimmed or 
 worn again so that all of the bristles are of the same 
 length except a few on each side to give it a chisel 
 shape, as some brushes are made. : 
 
 In the case of flat wall brushes, the manner in which 
 they are commonly injured is that of using a 4 or 414- 
 inch brush to paint narrow strips of trim or other nar- 
 row surfaces. When any except large flat surfaces are 
 to be painted it is the part of wisdom to change brushes, 
 using a small sash tool for the narrow surfaces. When 
 a large fiat wall brush is used on narrow surfaces the 
 corners of the bristles are soon worn off and then the 
 brush is almost useless for any except rough work. 
 When using any brush the tip or flag ends of the bristles 
 are intended to do the work, the brush should not be 
 inclined too much so as to force the sides of the bristles 
 to do the work. Brushing with the sides of the bristles 
 wears the outer layers until they are shorter than the 
 center bristles. That is a bad shape for a brush. 
 
 When a brush is properly used all of the bristles will 
 wear down evenly, and when a brush gets into a bad 
 shape it is evident that the mechanic using it has some 
 
 Pa A 
 se “eo = a 
 
GENERAL PAINT MIXING METHODS 189 
 
 bad habits which should be corrected. The appearance 
 and shape of a brush is usually a pretty fair indication 
 of the knowledge of the painter or decorator using it. 
 
 One of the bad habits to be avoided in the use of any 
 brush is that of poking a large brush at a corner or 
 erack. Such a practice bends or turns over the flag 
 ends of the bristles and soon makes the tool unfit for 
 eareful work. A brush in this shape spatters more or 
 less and, generally speaking, does sloppy work. In 
 painting carved surfaces, grills and ornamental iron 
 work it is well to get into the corners. 
 
 High-elass brushes are well worth all they cost. 
 Cheap, poorly made brushes cannot be depended upon 
 to do good work and, furthermore, their life is short 
 as a rule. It is only with a first-class brush that paint 
 can be spread out and laid off smoothly and it is only 
 with such brushes that clean sharp edges can be cut 
 up close to moldings and on window sash bars. 
 
 In the manufacture of high-class brushes an honest 
 effort is made to remove loose hairs and dust, but even 
 in the best of brushes both will sometimes be noted. A 
 few loose hairs in a new brush do not indicate neces- 
 sarily that the brush is not well made. It is wise to 
 spend a few minutes cleaning up a new brush by pass- 
 ing it over your fingers to remove loose bristles and 
 dust and finally by washing it in benzine. Do not at- 
 tempt to jar out loose bristles and dust by pounding 
 the handle of the brush on a board; that will do serious 
 injury. It is well to begin the use of new brushes on 
 work which is not so particular and when they have 
 been broken in well, use them for finishing coats. 
 
 A new brush should be well worked into the paint, 
 varnish or enamel by dipping it only deep enough to 
 cover about half the length of the bristles. Then scrape 
 the paint out on the mixing paddle and repeat this 
 operation several times. 
 
140 THE MIXING OF COLORS AND PAINTS 
 
 When your brush is ready for use dip it into the 
 paint, not more than about an inch on a four-inch 
 ‘brush, then slap it against the inside of the pot lightly 
 and carry the brush to the surface to be coated. Do 
 not dip the brush too deeply into the material, as noth- 
 ing will be gained by it and you will thus avoid hav- 
 ing the paint creep up on to the ferrule and handle. 
 Every brush has a certain capacity for holding ma- 
 terial, just as a sponge will hold only so much water. 
 The bristles in a paint brush have little spurs at the 
 bottom which are forked and which pick up and hold 
 the paint. An overloaded brush really slows up rather 
 than hastens a painting job. First-class brushes are 
 made with these flagged-end bristles, which are distrib- 
 uted back from the outer surface bristles, and some 
 of the flagged-end bristles are longer than others, so 
 that as the brush wears on the tip, new flagged-end 
 bristles will come into use all during the life of the 
 brush. There is much more to the construction and 
 manufacture of good paint brushes than is apparent 
 on the surface. For instance, if a brush is made with 
 all the flagged-end bristles the same length it is a toppy, 
 full-faced brush which would seem to have a great 
 capacity for carrying paint, but as a matter of fact, 
 this kind of a brush is a nuisance because it leaks paint 
 badly when working on ceilings or high places. The 
 bushy flagged-end bristles do pick up quite a quantity 
 of paint, but as soon as the brush is raised overhead the 
 paint runs down the smooth bristles, over the ferrule 
 and down the handle, with much spattering as a result. 
 
 After all, nothing but experience in the use of a 
 brush will teach correct methods, but if the correct 
 idea is held in mind, skill will come much more quickly. 
 Paint is supposed to be brushed into the pores of the 
 wood and laid off smoothly, but, on the other hand, if 
 
 you ‘‘ride’’ the brush, as the painters call it, too much 
 
GENERAL PAINT MIXING METHODS 141 
 
 energy will be spent and the brush will be injured. 
 What you want to develop is a free and easy stroke with 
 an even pressure alone the wrist to do most of the 
 work. The paint should be roughly spread on to the 
 surface first and then brushed out the length-—not 
 across the grain of the wood. Then it should be gone 
 over with a few light quick strokes to lay it off evenly 
 and to pick up any runs of excess paint. Excess paint 
 or fat edges around corners, moldings and edges of 
 boards are particularly to be brushed out evenly. 
 
 The brushing of varnish, shellac, enamel and flat wall 
 paint requires quite different action than is needed for 
 brushing out paint. In the case of paint, you have a 
 rather thin easy-working material which can be brushed 
 and rebrushed almost indefinitely when most of the 
 liquid part of. the paint is oil. When a large propor- 
 tion of the paint liquid is turpentine the paint is 
 ‘“‘short;’’ that is, you cannot stretch the paint film so 
 far. If you brush it too long the film will rough up 
 and the pigment will pile up, leaving brush marks and 
 rough places. In the case of brushing varnish, enam- 
 els, shellac and flat wall paints, the brushing must be 
 done with a minimum of strokes. In using these latter 
 materials a brush full of paint is to spread upon a 
 small area, often only about one square foot at a time, 
 and then you must lay it off and smooth up quickly. 
 Once this has been done the brush should not be again 
 put upon this finished area. These materials set rather 
 quickly and when you go back to them after once fin- 
 ishing you lift and rough-up their surface. Brush 
 marks might appear immediately after you lay-off such 
 a surface, but these brush marks will disappear of their 
 own accord. 
 
CHAPTER IX 
 
 COLOR THEORY, PRINCIPLES AND USE 
 
 Much that has been written about color theory leayes _ 
 one in a confused state of mind. This occurs, probably, 
 because after a consideration of what constitutes color 
 —light ray reflections, the spectrum and the chromatic 
 circle, the relation between the pure spectrum light ray 
 colors and the color pigments used in painting and 
 decorating is not explained. 
 
 Good theory will practice. Color theory is capable 
 
 of being used in everyday work, once this missing link 
 between color theory and color use is understood. 
 ~ Color has been described in Chapter I as the prop- 
 erty of light rays which causes visual action on the 
 retina of the eye; the reflection of hght rays and their 
 effect on the eye. 
 
 The white light rays of the sun are composed of 
 many colored light rays. Also the white rays of the 
 sun contain the ultra-violet rays used by the medical 
 profession today and they are invisible. 
 
 Sir Isaac Newton discovered that the color of any 
 substance is due to the light which falls upon it. By 
 removing the source of light any substance loses its 
 color identity; as when a red painted board is taken 
 into a dark room. Altering a light which falls upon 
 an object changes its color—passing white light through 
 a yellow glass, for example, and holding a blue object 
 in the transmitted light, the blue surface appears green. 
 
 When white light, daylight, passes through a glass 
 
 142 
 
COLOR THEORY, PRINCIPLES AND USE 143 
 
 prism, we find by placing the prism at a certain angle 
 that the reflected or transmitted light is split up into 
 bands of several colors. These are called violet, blue, 
 
 
 
 
 
 
 
 
 
 
 
 red 
 
 ~S 
 — orange-red 
 = orange 
 
 fd 1, orange-yellow 
 
 yellow 
 green-yellow 
 
 violet- blue 
 violet 
 
 Small hole : 
 violet-red 
 
 in wall 
 
 White light rays separated into colored light rays by a glass 
 prism and projected upon a wall in a dark room 
 
 
 
 Spectrum light ray colors reflected back into a straight line of 
 white light by a second prism 
 
 Plate 7.—Sir Isaac Newton’s Experiment demonstrating that 
 white light is composed of colored light rays 
 Chromatic Circle 
 
 ereen, yellow, orange, red. Plate 7 illustrates Sir Isaac 
 Newton’s experiment. 7 
 
 If, by means of a second prism, we gather the various 
 colors together and reflect them back into a straight 
 line, then we have again a projection of white light. 
 
144 THE MIXING OF COLORS AND PAINTS 
 
 In consequence of this peculiarity, when a white light 
 falls on any substance it is either entirely or partially 
 reflected or entirely or partially submerged or absorbed. - 
 
 Surfaces which reflect all of the sun’s light rays 
 appear white. 
 
 Surfaces which reflect none of the sun’s rays appear 
 black. 
 
 It is reflected light rays which give a surface its 
 eolor. A surface which absorbs yellow and blue rays 
 appears red because it reflects red rays. If some of 
 the yellow rays are reflected with the red rays the sur- 
 face will be orange; if some of the blue rays are reflected 
 with the red rays the surface will be violet or purple. 
 
 No surface reflects only one color of ight rays. For 
 that reason no pigment paint colors are as pure as the 
 light ray colors seen in the spectrum. 
 
 COLOR PIGMENTS TO MATCH SPECTRUM COLORS 
 
 But since we cannot paint with hight rays a question 
 arises as to which of the color pigments available to 
 painters and decorators for commercial work most nearly 
 represent the pure colors shown in the spectrum of 
 the rainbow and the same spectrum seen in a glass 
 prism. 
 
 There are no color pigments which match perfectly 
 the pure light ray colors of the spectrum. That may 
 account for the discrepancies between color theory and 
 color mixing. 
 
 We have, however, ample color pigments which are 
 near enough to pure light colors to make it practical 
 and wise, indeed, for painters, decorators and all who 
 work with color to study and become proficient in color 
 theory. 
 
 Pure Red Spectrum Light Rays.—The red color pig- 
 ment which is nearest to this is American vermilion. 
 
COBOR> THEORY, PRINCIPLES: AND USI 145 
 
 Its slight imperfection comes from the fact that it pos- 
 sesses a bluish hue. English, French and Chinese ver- 
 milions are slightly too yellowish in hue and are more 
 expensive. 
 
 Searlet vermilion is another red pigment which ap- 
 proaches pure spectrum red lght rays, but it is even 
 more yellowish than English vermilion. 
 
 Crimson lake pigment is near the pure spectrum 
 red. It is imperfect because it has a bluish hue. 
 
 Indian red color pigment is not so near the spectrum 
 red because it is too dull in tone and has even a more 
 pronounced bluish hue than crimson lake. 
 
 Venetian red is both too dull and too bluish in hue 
 to match pure spectrum red. 
 
 Pure Blue Spectrum Light Rays.—Prussian blue is a 
 color pigment which is a near match to spectrum blue. 
 It is not a perfect match, owing to its greenish hue. 
 
 A pure toned cobalt blue is quite the nearest match 
 for and most representative of spectrum blue; but it, 
 too, may have a greenish hue or a reddish hue, depend- 
 ing upon how it is manufactured. 
 
 Ultramarine blue is not so good a representative for 
 the spectrum blue because of its reddish hue. 
 
 Pure Yellow Spectrum Inght Rays.—A color pigment 
 which nearly matches the pure spectrum yellow is light 
 chrome yellow. Its imperfection is due to its slightly 
 greenish hue. ” . 
 
 Lemon chrome yellow pigment is near pure spectrum 
 yellow but it has too much of a greenish hue. 
 
 Medium chrome yellow is the best color pigment rep- 
 resentative for the spectrum yellow. It has a reddish 
 hue which constitutes its imperfection as a perfect match. 
 
 Orange chrome yellow is a color pigment which is too 
 reddish in hue to match pure spectrum yellow. It is 
 too yellowish in hue to match pure spectrum red. 
 
146 THE MIXING OF COLORS AND PAINTS 
 
 Primary Colors 
 
 These are red, blue and yellow and are best repre- 
 sented in pigments by American vermilion, cobalt blue 
 and medium chrome yellow. Primary colors are the 
 principal colors into which white light rays are sepa- 
 rated by a prism, the dominant colors seen in the spec- 
 trum of the sun in the rainbow. 
 
 The primary colors red, blue and yellow cannot be 
 made from mixtures of other color pigments. 
 
 From combinations of the primary colors, and with 
 the addition of black and white to make shades and 
 tints, nearly all colors can be mixed using color pig- 
 ments. 
 
 White is the absence of all color, while black is pro- 
 duced when the three primary colors—red, blue and 
 yellow pigments—are mixed together. 
 
 A difference between color theory and color mixing 
 practice is the fact that when the primary colors in 
 light rays are fused together white light is the result 
 (as proved by Sir Isaac Newton’s experiment). While 
 in the fusion of color pigments the primary colors red, 
 blue and yellow mixed together produce black, or very 
 dark blackish-green. 
 
 Secondary Colors 
 
 When two primary colors are mixed together the color 
 thus produced is a secondary color: 
 
 Red and blue mixed together make purple, or violet. 
 
 Blue and yellow mixed together make green. 
 
 Yellow and red mixed together make orange. 
 
 Study the color card chart to learn how this works 
 out. 
 
 Tertiary Colors 
 When two secondary colors are mixed together the 
 color resulting is a tertiary color: 
 Purple mixed with green makes olive. 
 
COLOR THEORY, PRINCIPLES AND USE 147 
 
 Green mixed with orange makes citrine. 
 
 Orange mixed with purple makes russet. 
 
 Examine the color card chart in this chapter to note 
 this result. 
 
 Complementary Colors 
 
 These are the colors which show the greatest con- 
 trast with the secondary colors. They are their oppo- 
 sites in colors. 
 
 When two primary colors are mixed together the 
 result is a secondary color; then the third primary color 
 not used in mixing this secondary becomes the comple- 
 ment, or perfect contrast, to the secondary color. 
 
 Consequently, when red and blue are mixed to pro- 
 duce purple, yellow being absent from the mixture be- 
 comes ‘the complementary color of purple. 
 
 Likewise, when blue and yellow are mixed to pro- 
 duce green, red is not used in the mixing; red is the 
 complementary color and perfect contrast for green. 
 
 Yellow and red primary colors are mixed to produce 
 orange; blue is not used in the mixture and so it becomes 
 the perfect contrast for orange. 
 
 By the same mathematical progression olive becomes 
 the perfect contrast for and complementary to orange; 
 citrine becomes complementary to purple; russet becomes 
 complementary to green. 
 
 White is the exact opposite and the perfect contrast 
 for black. 
 
 The use of opposite colors, contrasting aaeiee meee 
 colors, is one of the most simple and certain ways to 
 produce color harmony. 
 
 Some of these colors are much stronger, more intense, 
 than others and consequently equal areas of contrast- 
 ing colors should not be used. Small areas of the 
 stronger colors will balance large areas of the less intense 
 colors. 
 
148 THE MIXING OF COLORS AND PAINTS 
 
 Each of the complementary colors, when placed along 
 side of its opposite complementary, intensifies the other ; 
 —red seems redder and green seems greener along side 
 pf each other. The same increased intensity is notice- 
 able as between purple and yellow as well as between 
 orange and blue and other complementary colors. 
 
 Color harmony by contrast is well illustrated, there- 
 fore, by this tabulation: 
 
 COMPLEMENTARY 
 COLORS MIXED COLORS COLORS PERFECT 
 TOGETHER RESULTING CONTRASTS 
 red anc blue purple purple and yellow 
 blue and yellow ereen green and red 
 yellow and red orange orange and blue 
 purple and green olive olive and orange 
 sreen and orange citrine citrine and purple 
 orange and purple russet russet and green 
 
 There is only one green that is complementary to 
 any one red; there is only-one yellow that is the direct 
 complement of a given violet; there is only one blue 
 that is the perfect complementary contrast of a par- 
 ticular orange. Now, we should not go so far as to say 
 that a color of slightly different hue will look badly, 
 but it will not be in perfect harmony unless it is the 
 color which is in the exact contrast relation. 
 
 The green which is the perfect contrast for red (Eng- 
 lish vermilion) is a bluish-green; the perfect contrast 
 for greenish-blue (Prussian) is a yellow-red orange; the 
 perfect contrast for yellow (light chrome yellow) is a 
 purplish-blue. 
 
 One way to prove a complementary color is by the 
 after image in one’s eyes. If you will look steadily at 
 a spot of any intense color on a white surface for a 
 minute or two, the image of that color will be fixed in 
 your eyes; then, without shifting the eyes from that 
 
COLOR THEORY, PRINCIPLES AND USE 149 
 
 color spot, cover the color with a piece of white paper. 
 The complementary color of that color will appear on 
 the white paper as an after-image. 
 
 Selection of the perfect contrast for any color is sim- 
 ple. The chromatic circle shown in Plate 8 is an ar- 
 rangement of the spectrum colors. The complemen- 
 tary or perfect contrast for any color is that color which 
 is immediately opposite in this chromatic circle. 
 
 The color which is in perfect harmony by contrast 
 for violet-red is yellow-green; the perfect contrast for 
 violet-blue is orange-yellow; the perfect contrast for 
 greenish-blue is red-orange. 
 
 And to neutralize one of these colors you would add 
 a touch of the other, its complementary. If a color and 
 its complementary color are mixed together in about 
 equal proportions a black will result, or at least a very 
 dark gray-green, depending upon the purity and 
 strength of the colors. 
 
 COLOR TERMS 
 
 A Tint.—A degree of color resulting from the addi- 
 tion of white to a principal color; a more luminous 
 and lighter color. A lighter tint of blue, for example. 
 
 A Shade.—A degree of color resulting from the addi- 
 tion of darker color or black to a principal color. A 
 darker shade of green, for example. When two colors 
 have the same hue, but one being darker than the other, 
 the darker color is a shade of the lighter color. 
 
 Hue.—tThe quality of a color which distinguishes it 
 from all other colors. It is the slight change made in 
 a color by the addition of a small quantity of another 
 color. <A blue like ultra-marine has a reddish hue; 
 while Prussian blue has a greenish hue. The original 
 color in a mixing predominates still, the color added 
 to it simply influences it to a small degree,—that small 
 degree is the hue. 
 
150 
 
 THE MIXING OF COLORS AND PAINTS 
 
 
 
 
 
 orange-yello 
 
 Plate 8.—Chromatic Circle 
 
COLOR THEORY, PRINCIPLES AND USE tegLok 
 
 Bright red 
 light ray color 
 of the spectrum 
 
 
 
 
 
 
 
 
 
 
 
 “pas wnsj2ads ayy yew 
 The nearest pigment match ol euna petiog oa. 
 for spectrum yellow, but 
 t 
 
 °o 
 oc veddich in hue. 
 
 
 
 
 
 
 
 
 
 
 
 2 
 — 
 ) 
 > 
 
 
 
 Medium Chrome 
 
 _ Bright yellow 
 light ray. color 
 of the spectrum 
 
 Bright blue 
 light ray color 
 of the spectrum 
 
 Plate 8.—Color Pigments to Match Spectrum Colors 
 
152 THE MIXING OF COLORS AND PAINTS 
 
 Dominant Hue.—The hue which is most conspicuous 
 In any color. 
 
 Tone.—The brightness or luminosity of a color. A 
 color is lighter or darker in tone according to the amount 
 of light reflected. 
 
 Pure Colors——Those having the least amount of white 
 or black in them. White tends to neutralize, subdue 
 and sadden colors. 
 
 It is interesting to note that the spectrum fails to 
 eonnect violet and red by several intermediate hues as 
 it connects other colors. A series of red-violets and 
 violet-reds are needed to complete a color circle which 
 is continuous. 
 
 In this circle the change of hue is gradual from red 
 through orange-red and red-orange to orange; then 
 from orange through yellow-orange and orange-yellow 
 to yellow; and from yellow through green-yellow and 
 yellow-green to green; thence from green through blue- 
 ereen and green-blue to blue; from blue through violet- 
 blue and blue-violet to violet; and finally from violet 
 through red-violet and violet-red,—the point of begin- 
 ning the color circle. 
 
 EXPLANATION OF COLOR CARD CHART 
 
 The color cards in this chapter are included to illus- 
 trate how the science of hght ray color reflections proves 
 practical and useful as applied to color pigments. 
 
 The pigment colors used in this mixing experiment 
 were from one of the best lines on the market and are 
 those in common use by painters, decorators and artists. 
 
 A study of these color cards, at the same time com- 
 paring them with the light ray colors projected by a 
 glass prism, will make evident the discrepancies between 
 the fusion of colored light rays in the spectrum and 
 the mixing of color pigments. These differences exist 
 because man has not yet discovered, or manufatured, 
 
= 
 
 Primary Secondary Tertiary Complementary 
 
 Perfect Contrasts 
 With Secondary 
 Colors 
 
 
 
 Red-American Vermilion 
 
 
 
 
 
 Red and Blue 
 mixed together 
 make 
 
 Perfect Contrasts 
 
 
 
 —P> 
 
 
 
 
 
 
 
 Purple or Violet 
 
 Purple and Green 
 mixed together 
 make —— 
 
 
 
 Pitt 
 3 
 
 — Olive 
 Blue-Cobalt 
 
 Blue and Yellow 
 mixed together 
 make 
 
 Perfect Contrasts 
 
 
 
 > 
 
 
 
 Green 
 
 Green and Orange 
 mixed together 
 make —.. > 
 
 
 
 
 
 Aiport ge p Citrine 
 Yellow-Medium Chrome 
 Yellow and Red Perfect Contrasts 
 mixed together 4 
 make > 
 Blue 
 Orange and Purple 
 
 mixed together 
 make ——————» 
 
 Russet 13 4 
 

 
COLOR THEORY, PRINCIPLES AND USE 153 
 
 eolor pigments of the same purity and which match 
 perfectly the colored light rays seen in the spectrum. 
 Right here in such a study the possession of a small 
 glass prism to project a spectrum of color rays from 
 the sun’s white rays is well worth the seventy-five cents 
 it will cost you. (Plate 9.) 
 
 These discrepancies between color theory and color 
 mixing are not confusing after one learns the charac- 
 teristic hues of all the common color pigments; for in- 
 stance, that American vermilion, crimson lake and In- 
 dian red all have a bluish hue; while scarlet vermilion, 
 Knelish, French and Chinese vermilions and orange 
 
 
 
 Plate 9.—Glass Equilateral Prism 
 
 ehrome all have yellowish hues; that Prussian blue has 
 a greenish hue, while ultra-marine blue has a reddish 
 hue; that light or lemon chrome yellow has a greenish 
 hue while medium chrome yellow has a reddish hue. 
 
 Knowing these hues you naturally select a yellow 
 with a greenish hue and a blue with a greenish hue > 
 for mixing bright, vivid greens; hkewise, when mixing 
 purples and violets you chose a reddish blue (ultra. 
 marine) and a bluish red (American vermilion) ; and 
 to mix the most brilliant orange color the brightest 
 yellow-red (scarlet vermilion) with a yellow having a 
 reddish hue like medium or orange chrome yellow. 
 
 In careless mixing you have illustrations of the prin- 
 ciple of neutralization. To neutralize a color you add 
 white cr some other color, preferably its opposite or 
 
154 THE MIXING OF COLORS AND PAINTS 
 
 perfect contrast. So, you neutralize and mix a dull, 
 subdued green when you select instead of greenish yel- 
 low (lemon) a reddish yellow (medium chrome); and 
 instead of a greenish blue (Prussian) a reddish blue 
 like ultramarine. The reddish hue of the medium 
 chrome yellow and of the ultramarine blue are opposite 
 to the bright green you want to mix and these reddish 
 hues neutralize and dull the green. 
 
 Mixing Purple and Violet.—To illustrate these dis- 
 crepancies further examine the purple color card. This 
 color resulted from mixing American vermilion with 
 cobalt blue. It is not a bright, vivid purple because 
 neither the red or the blue from which it is made are 
 perfect matches for red and blue spectrum light ray 
 colors. 
 
 If white is mixed with this purple to make a lighter 
 purple, the tint resulting will be lighter (violet) but 
 the white will neutralize or gray it. A lighter purple 
 ean be secured by first painting a surface white and 
 then spreading a thin glaze coat of the purple over it. 
 
 A purple or violet which is not so dark can be mixed 
 from English vermilion and ultramarine blue. If crim- 
 son lake and ultramarine blue are mixed together a 
 purple results which is quite as dark and which will 
 have a bluer hue. If white is mixed with either of these 
 purples to make a lighter color very interesting purple 
 
 and violet tints result, but they, too, will be neutralized 
 
 or grayed off by the white. 
 
 Mixing Greens —The green resulting from the mixing 
 of cobalt blue and medium chrome yelow in this experi- 
 ment is not so bright and attractive as the green most 
 prominent in the spectrum. The most brilliant greens 
 can be matched by mixing Prussian blue with light or 
 lemon chrome yellow or zine yellow; that is, by mix- 
 ing a greenish blue with a greenish yellow. 
 
 Medium chrome yellow was selected by the author to 
 
COLOR THEORY, PRINCIPLES AND USE 155 
 
 represent the spectrum yellow because it makes better 
 orange colors. Lemon chrome yellow and American 
 vermilion mixed together produce a dull terra cotta 
 red—not a bright orange. 
 
 THE NEW COLOR THEORY 
 
 Color theory as it particularly refers to spectrum 
 light ray colors has not been dealt with to any extent 
 in this work because it has not been the intention to 
 present advanced considerations in the science of color. 
 
 The old school of color scientists, notably Newton 
 and Brewster along with others, considered the primary 
 colors to be red, blue and yellow, the secondary colors 
 to be purple, green and orange. According to their 
 theory green is the complementary or the perfect con- 
 trast for red, orange is complementary to blue and 
 purple is complementary to yellow. The average per- 
 son has learned color theory in this manner and the 
 mixing of color pigments in the arts and crafts and 
 commercial fields has proceeded on this basis. 
 
 The color scientists of today, and particularly Mun- 
 sell, do not accept red, blue and yellow as the primary 
 eolors. Their experiments with light ray colors sepa- 
 rated from sunlight by the spectrum prove that the 
 primary colors are red, green and violet-blue. In this 
 modern theory the complementary color of red is blue- 
 green, the complementary color of green is red-purple 
 and the complementary color of violet-blue is yellow. 
 
 According to the modern theory green is not produced 
 by the mixture of yellow and blue light rays as it is 
 produced when mixing pigments; green is a funda- 
 mental primary color which cannot be produced by mix: 
 ing any other light ray colors. 
 
 On the other hand, yellow, according to this theory, 
 is not a primary color but is caused by the mixture 
 of red and green light rays. 
 
156 THE MIXING OF COLORS AND PAINTS 
 
 In this new theory the yellow-reds, yellows and green- 
 yellows can be produced by mixing certain proportions 
 of red and green light rays. The blue-greens, blues 
 and purple-blues can be produced by the mixing of 
 green and violet light rays. Purple-blue, purple and 
 red-purple can be produced by the mixing of violet 
 and red light rays. 
 
 In other words, according to the modern theory, 
 there are no mixtures of light rays which will produce 
 red, green and violet-blues and these are, therefore, the 
 primary colors. From these three all other light ray 
 colors are produced by mixing. 
 
 Within the scope of this book it is not wise to include 
 the whole theory of light ray spectrum color mixtures 
 and a consideration of the physics of color. For those 
 who wish to pursue the study of color at length time 
 ean profitably be spent in the study of the Munsell 
 theory as well as other modern views which have been 
 adopted as working principles in the printing ink 
 industry. 
 
CHAPTER X 
 COLORED PAINT MIXING METHODS 
 
 Art in decorating is based upon the ability of a crafts- 
 man to mix color hues, tints and shades from principal 
 tinting colors exactly to suit the needs of his problem. 
 Nothing short of study, diligent pursuit of the subject, 
 and experience will develop masterful skill in color 
 mixing. And after acquiring such skill the craftsman 
 must then forget, as a mere tool, as a means to an end, 
 his knowledge of the technicalities of mixing colors and 
 apply himself whole-heartedly to expression of beauty 
 in color use. 
 
 The mixing and matching of colors comes naturally 
 enough to some, but others can become accomplished by 
 a study of color principles most of which are simple. 
 
 Adding the Colors.—For* mixing light tints and 
 moderately dark shades of paints, the white paint mix- 
 ing formulas in Chapter VIII are useful. To the white 
 paint made by these formulas you simply add enough 
 tinting colors (ground in oil) to produce the tints or 
 shades wanted. 
 
 Tinting colors should be mixed with a little turpen- 
 tine or linseed oil in a separate pot and strained before 
 they are added to the white paint. The color should be 
 mixed into the white paint only a little at a time and 
 should be thoroughly stirred to take their full effect 
 before you decide that more color is needed. If too 
 much color is added it will take a considerable amount 
 of additional white paint to make the color ight enough 
 
 157 
 
158 THE, MIXING OF COLORS AND PAINTS 
 
 again. If your mixing is not thorough the paint will 
 show dark streaks on the surface when brushed out. 
 
 It is well to test your batch of paint for color by 
 brushing it out on a board and then noting whether it 
 is too light or too dark to match the sample you are 
 working to. The color in the pot always looks darker 
 than when brushed out on a flat surface. 
 
 Dry tinting colors such as are used for tinting ealci- 
 mine and putty are not to be used for tinting paint. 
 If added to liquid paint, dry colors do not readily 
 become assimilated and they may make the paint lumpy 
 or gritty. 
 
 If dry colors must be used in an emergency, they 
 should first be mixed with oil and thoroughly knifed 
 out on a slab to incorporate the oil before adding any 
 eolor to the paint. Even with such precautions, paint 
 tinted with dry colors must be strained with unusual 
 care, and there will be more or less waste. 
 
 Dark Colored Paints.—In mixing very dark colored 
 paints such as chocolate brown, dark reds, greens and 
 blues, little or no white lead or zine are used. When 
 only small amounts of these colors are needed, the most 
 convenient way to mix them is by using the regular color 
 pigments made for tinting white paint, but when a 
 number of gallons of dark paint are needed it is more 
 economical to purchase such colors in the form of ready- 
 mixed paint. 
 
 High-grade tinting colors are necessarily stronger in 
 tinting quality than dark colored prepared paints which 
 are not made for tinting purposes. If you use tinting 
 colors in quantities, you are therefore wasting this 
 strength to no purpose. Paint manufacturers are able . 
 to mix the dark colors in a less expensive way, and it 
 is cheaper to use these when quantities are wanted. 
 Manufacturers use for this purpose chemically pure 
 
COLORED PAINT MIXING METHODS 159 
 
 tinting colors with less expensive basic pigments which 
 are not commonly available for painters’ use. 
 
 It has been suggested by some of the older generation 
 of decorators that students of color mixing should make 
 up samples and keep a ecard record of various tints and 
 shades made from tinting colors. Granted that this is 
 valuable practice in mixing and is worth while for that 
 reason. There is not, however, much likelihood that such 
 a card index would be referred to or be handy when 
 and where wanted under present working methods, 
 which require the decorators to work away from the 
 shop most of the time. 
 
 The important thing is for the students to do enough 
 practice mixing with each of the principal tinting colors 
 mixed with white and black bases and with each of 
 several other principal tinting colors to become thor- 
 oughly familiar with the tinting strength and charac- 
 teristics of each of the principal tinting colors. When 
 such a study has been made the student soon acquires 
 the ability to analyze a color sample easily when viewed 
 in good light and to judge it accurately as to the color 
 used in mixing such a sample. Such an analysis and 
 remembering the characteristics of each of the principal 
 tinting colors enable one quickly to duplicate a color 
 sample. ; 
 
 Study, experiment and practice in mixing tints and 
 shades from principal colors soon teach the student 
 such important facts about color harmony as are set 
 down in the pages which follow. 
 
 Experimental Mixing—The theory of color mixing 
 has now been presented sufficiently to enable the student 
 to learn more quickly by actual practice work with 
 colors than by continued study of principles. To pre- 
 sent adequately the broad field of the influence of color 
 and color mixing in their many phases requires the effort 
 
160 THE MIXING OF COLORS AND PAINTS 
 
 of a lifetime. The subtle influence of color and light 
 in decoration and the principles involved constitute a 
 science which will take the best efforts of any man for 
 many years before mastery will have been acquired.  , 
 To make a beginning with experimental practice mix- 
 ing where the student has not the available facilities of 
 a first-class paint shop and its mixing bench, the follow- 
 ing materials should be purchased. Diligent and careful 
 use of them will soon make one proficient in mixing : — 
 
 Seales, druggist type Orange chrome yellow 
 
 Glass graduate measure Yellow ochre 
 
 Pots, cans or paper drink- White lead (or flake white) 
 ing cups Zine oxide 
 
 Mixing paddles Raw sienna 
 
 Palette knife Burnt sienna 
 
 Putty knife Vandyke brown 
 
 Strainers Medium chrome green 
 
 Glass mixing slabs American vermilion 
 
 Lampblack Tusean red 
 
 Prussian blue Indian red 
 
 Cobalt blue Linseed oil 
 
 Ultramarine Turpentine 
 
 Raw umber Japan drier 
 
 Burnt umber Benzine 
 
 Venetian red Wiping rags 
 
 Light chrome yellow Wallboard panels 
 
 Medium chrome yellow Small flat brushes 
 
 (Above eolors to be ground in oil) 
 
 There are many other colors which should be experi- 
 mented with, but the above are the principal tinting 
 colors used in mixing exterior paints. For a complete 
 list of tinting colors see Chapter IV. 
 
 With these materials on hand, proceed to mix up 
 
COLORED PAINT MIXING METHODS 161 
 
 very small amounts of color by placing on the glass 
 mixing slab a bit of color paste—not more than the 
 size of a pea to begin with. 
 
 In mixing little gobs of these paste cclors on the plate 
 olass slabs the palette knife is used. Then to note the 
 transparency or opacity of the colors when spread out 
 into thin coats, as will be done when paints are brushed 
 on, just dip your finger into the paste and carry the 
 paint to a piece of white cardboard or a surface painted 
 white. By daubing the paint on and rubbing it out 
 thin with your finger, you will gain a good idea of the 
 hiding qualities or the transparency of colors. See 
 Plate 10. 
 
 
 
 Plate 10.—Method of Examining Color Sample 
 
 Test out the mixing of secondary and tertiary colors 
 as given in the color chart. Red and yellow make 
 orange, so start with a bit of vermilion and add to it 
 a bit of medium chrome yellow. You will note that the 
 orange is brilliant. Then if you will mix a-bit of dull 
 red, like Venetian red, with medium chrome yellow or 
 even with the light chrome yellow, you will see that 
 rather a dull orange results. 
 
 In this same manner proceed to test out the theory 
 that yellow and blue produce green. Take notice that 
 the brightest green comes from the mixing of light 
 chrome yellow and Prussian blue. Next try mixing 
 other yellows and blues and note the result. 
 
 The next principle taker from the spectrum chromatic 
 seale is that blue and red produce purple. Mix a bit of 
 American vermilion with ultramarine blue and you have 
 a bright, vivid purple. Next try mixing a dull red, such 
 
162 THE MIXING OF COLORS AND PAINTS 
 
 as Venetian red, with a greenish blue like Prussian, and 
 you have produced a dull purple which is not nearly so 
 interesting. 
 
 Continue this series of mixing to prove that a mixing 
 of orange and green results in citrine; that green and 
 purple make olive; that purple and orange produce 
 russet. . 
 
 When these practice mixings have been made and 
 the findings clearly noted in your mind, another series 
 of mixing might be made to advantage in this way. Take 
 each one of the tinting colors and add a very small 
 amount of white; then add more white and, later, still 
 more, to note the various tints produced. 
 
 Next follow the same procedure exactly, but add black 
 to the color, a little bit at a time, to see the shades of 
 that color which result. 
 
 To continue the practice mixing after the above series 
 have been completed and learned, begin a series of 
 mixines which will include mixing two of the primary 
 _ ecolors—say, red and _ blue—adding gradually small 
 amounts of white and noting the tints which result. 
 
 In the next series do the same thing, but add black to 
 the two primary colors. 
 
 In the next series follow the same method with blue 
 and yellow for the mixings, first with black and then 
 with white. 
 
 For the next series proceed in the same way, using 
 red and yellow primary colors and adding first black 
 and next white, noting the many tints and shades 
 resulting. 
 
 From this indication of practice work worth while 
 vou can readily multiply these series almost indefinitely. 
 Make different combinations of primary colors in groups 
 of one, two and three with black separately and white 
 separately, then with black and white together. 
 
 Choice of Tinting Colors——After one has experimented 
 
COLORED PAINT MIXING METHODS 163 
 
 and practiced mixing and matching colors, using the 
 primary red, blue and yellow, the inference which is 
 apt to be made is that all colors should be mixed from 
 the primary colors. In theory this is true, but it would 
 be expensive in some instances. 
 
 In actual practice nearly any given color can be 
 matched by the use of any one of several formulas. As 
 experience is acquired this fact is particularly impres- 
 sive. A color sample might be given to several expe- 
 rienced painters and decorators, with the request that 
 they mix paint to match it, and it is quite possible that 
 no two of them would follow exactly the same method 
 in mixing and matching. Some of them would use 
 different tinting colors than were employed by the 
 others. With these facts in mind, it is well to remem- 
 ber that the most simple mixture which will match the 
 sample is usually the best. 
 
 Other factors enter into your selection of tinting 
 colors. One of the most important is to keep in mind 
 the tinting colors which are most permanent in strong 
 light and which have no adverse chemical reactions. 
 Note the list of permanent and fugitive colors in Chap- 
 ter III. As an illustration of this point ;—better judg- 
 ment will be shown by mixing cream color, especially 
 for outside paint, with raw sienna than with medium 
 ehrome yellow. Sienna is an earth pigment of great 
 permanence to light and is generally very stable. Chrome 
 yellow is a chemical color which is less permanent in 
 strong light. Chrome yellow is a valuable color and we 
 have no other bright yellows which possess the same 
 merit. When it comes to mixing bright, light yellow 
 tints, raw sienna is too dull in color. 
 
 When mixing tints and shades following the prin- 
 ciples of color theory, it is well to keep in mind that 
 these principles call for the use of bright, clear colors 
 of good tinting strength. A color may be bright in 
 
: 
 164 THE MIXING OF COLORS AND PAINTS 
 
 itself and yet may have been extended with inert pig- 
 ments to the point where it retains little tinting strength. 
 Then, again, the use of dull colors will not often give 
 you the result wanted. 
 
 Probably the disappointment most often met with is 
 in the mixing of purple and violet shades. For instance, 
 color theory tells us that when you mix red and blue 
 together the resulting color is purple or violet. This is 
 true only when a clear, bright red of good tinting 
 strength, like vermilion, is mixed with a clear, bright 
 blue, like Prussian blue. Mixing these two colors will 
 result in purple, but if you mix a dull Venetian red 
 with blue, you will likely produce a dull, drab, muddy 
 color, not purple. 
 
 And, again, when mixing a brighter, richer purple, 
 using red and blue, it is even better to use a red which 
 has a bluish hue, like crimson, than a red with a yellow- 
 ish hue, like searlet. The blue, then, should have a 
 reddish hue like ultramarine bine not a creer e hue 
 like Prussian blue. 
 
 A bright orange color is likewise mixed from reds 
 having a yellowish hue like vermilion and scarlet. The 
 yellow must have a reddish hue like medium chrome and 
 orange chrome yellows. Lemon chrome yellow with its 
 greenish hue is not so good, although orange lacking 
 some brightness may be made with it. 
 
 The point to remember about these mixing facts is 
 that should either of two tinting colors have a hug oppo- 
 site to the third color you wish to mix, that third color 
 will lack brilliance. The opposite hue tends to neutralize 
 the mixture. . 
 
 In the same way you cannot mix a bright green by 
 using a dull yellow ochre with blue,—a bright, clear blue 
 and a strong yellow will give you a bright green. 
 
 To mix a pure vivid green from blue and yellow, the 
 
COLORED PAINT MIXING METHODS 165 
 
 blue must be one with a greenish hue, like Prussian blue. 
 The use of ultramarine blue with its reddish hue will 
 dull the brilliance of a green. And the yellow used 
 should incline toward a greenish hue,—lemon chrome 
 yellow is correct for this mixing of green, while orange 
 chrome and medium chrome yellow with their reddish 
 hues will not produce such bright greens. 
 
 In the mixing of tints and shades of green it is much 
 better to use a chrome green with a white base or a raw 
 umber base than to add Prussian blue and chrome 
 vellow to the base to make a green. The reason for this 
 is that while chrome green is manufactured by the use 
 of Prussian blue and chrome yellow, the mixture is 
 made very intimate and a chemical compound by mixing 
 together at one time the chemical solutions which form 
 this blue and this yellow. When the two colors are 
 precipitated together at the same time a separation of 
 the colors later does not occur, and fading in strong 
 light is very much retarded. 
 
 Another illustration of wise choice of tinting colors 
 is In mixing dark greens. Greens as a class are fugitive 
 in strong light, yet we have no green tinting pigment 
 which is as valuable as medium chrome green. More 
 durable dark greens for the painting of shingle roofs 
 and window blinds can be mixed from raw umber to 
 which a little raw sienna is added; it is then brought 
 around to the green shade by the addition of chrome 
 ereen. 
 
 In the choice of tinting colors it is well also to keep 
 in mind the nature of each color with reference to being 
 transparent, semi-transparent or opaque. Tinting colors 
 are classified in this respect in Chapter III. As a gen- 
 eral principle, when you are mixing paint to dry with a 
 solidly covered, opaque appearance, use an opaque tint- 
 ing color in preference to a transparent color. And, on 
 
166 THE MIXING OF COLORS AND PAINTS 
 
 the other hand, when mixing glazing colors, wood stains 
 and graining colors, the transparent and semi-trans- 
 parent tinting colors are needed. 
 
 The principal opaque colors are chrome yellow, light 
 lemon, medium and orange, yellow ochre, vermilion, 
 Indian red, Venetian red and, of course, lampblack and 
 ivory black. 
 
 The semi-transparent colors are raw sienna, burnt 
 sienna, raw umber, burnt umber, Turkey red, Tuscan red. 
 
 Transparent colors are Prussian blue, ultramarine 
 blue, cobalt blue, crimson lake and other dacs and aniline 
 colors. 
 
 More Interesting Colors—When a single tinting color 
 is added to a white paint a less interesting tint is 
 usually secured than when two or more tinting colors 
 are added to a white base. A: good illustration on this 
 point is found in mixing light browns. When you add 
 burnt umber to white paint you secure a rather lifeless 
 -brown. When, however, you add also a very small 
 amount of chrome yellow and a touch of Venetian red 
 or vermilion, a much more lively light brown is the 
 result. Neither the yellow nor red is noticeable, as such, 
 in the color, but the influence is evident. In mixing 
 light greens by the use of medium chrome green and 
 white, rather crude and raw tints result, but when you 
 add AR just a touch of red and yellow or blue, greater 
 interest is gained. 
 
 Gray and Grey Pointe others two names are used 
 rather interchangeably referring to light and dark paint. 
 As a matter of fact there is a distinction which should 
 be drawn in the use of these names. When black is 
 added to white the resulting color is gray and when 
 white is added to black we again have a gray. These are 
 the crude raw slate colors and dark grays, which have 
 little interest. 
 
 Taking one of the grays as a base and adding a color 
 
COLORED PAINT MIXING METHODS 167 
 
 pigment, such as a minute quantity of yellow, red or 
 blue, you produce a grey, whether one or all three of 
 these colors have been added to the black and white 
 base. Hither the black or the white will predominate 
 in quantity and you will not be able to recognize the 
 red, blue or yellow, as such, but they will have their 
 influence and produce much more interesting tints and 
 shades. The French greys, warm greys, ash, pearl and 
 silver grey are all made this way. 
 
 Greys of this character are also made by simply add- 
 ing a touch of raw sienna or raw umber to the black 
 and white pigments. 
 
 The character of grays differs according to the kind 
 of black pigment used with the white ;—lampblack, ivory 
 black, gas black and vegetable blacks all influence the 
 color in their own way. 
 
 Gray is gray to the average mind and yet when you 
 eome to study colors a little you soon learn what the 
 experienced interior decorator and artist take as rudi- 
 mentary; that there is a great variety of greys, some 
 having a cold, bluish cast and others with a warm, red 
 tone; some are yellowish and others have a brown or 
 green cast, yet all are grey. And the particular shade 
 of grey which looks so well with certain other color 
 combinations doesn’t hold its own when placed amid new 
 eolor surroundings. 
 
 The tendency among house painters for years has been 
 to simplify color formulas as much as possible. For 
 outside house painting there may not be great reason 
 to do otherwise, yet without adhering to simple formulas 
 too closely much more beautiful tints and shades are 
 always produced. The grays made by tinting white 
 with lampblack only, with their crude, cold impression 
 can never equal those produced with both lampblack and 
 raw umber or other color added to the white. 
 
 When it comes to mixing greys for interiors it is very 
 
168 THE MIXING OF COLORS AND PAINTS 
 
 necessary that they be given a warm red, yellow, brown, 
 green or neutral drab hue, according to what colors are 
 much in evidence in rugs and furnishings. It is gener- 
 ally true that colors mixed from simple formulas cannot 
 possibly have the life, brilliance and charm of those 
 mixed with two or three tinting colors and a white base. 
 A grey may contain a touch of red in its composition 
 which you cannot see as such, but it is there and has 
 its effect in the impression given by the grey. This fact 
 is noticed when you try to match some fine colors ;— 
 your mix comes very near matching, yet you can see or 
 feel that something is lacking. You don’t know what 
 color ought to be added to tone up your mix, because 
 you cannot see the missing color. 
 
 MATCHING COLOR SAMPLES 
 
 If you were always called upon to mix paint to match 
 samples of other liquid paints, the task would not be 
 very difficult. You will also be called upon to mix paint 
 to match samples of other paint which is dry and has a 
 oloss surface; likewise, samples of dry paint having a 
 flat surface, samples with a smooth finish or a rough 
 finish, samples which appear in large area or in small 
 area, samples of colors which appear alone and those 
 which appear alongside of other eolors. You will be 
 expected to match certain colors selected from wallpaper 
 having many colors, from window drapes, from rugs, 
 from furniture, paintings and picture frames. 
 
 To succeed at all of these matchings sorely tries the 
 skill of decorators with a lifetime of experience. In 
 some cases the matching of a color sample is done largely 
 by instinct based upon years of experience. Some of 
 the methods developed by the ingenuity of experienced 
 decorators will help you, but often you will be thrown 
 -upon your own resources. In such eases, if you really 
 
COLORED PAINT MIXING METHODS 169 
 
 know tinting colors and their characteristics, together 
 with the peculiar effect of light reflections upon them, 
 you will have no difficulty in securing a match. 
 
 It is more difficult to match a gloss paint to a flat color 
 sample than to another gloss sample; it is more difficult 
 to match flat paint to a gloss sample than to a flat 
 sample; it is more difficult to mix a paint to match a 
 color sample which is one of many colors appearing 
 alongside of each other, as in wallpaper, window drapes, 
 rugs, ete. 
 
 Another point, paints which dry without gloss appear 
 to be different in hue from paints having a gloss finish. 
 Paint spread upon dark surfaces or upon old surfaces 
 which are bright in color have quite a different appear- 
 ance than when spread onto white or light color surfaces. 
 
 As to quantities of colors to be mixed when you are 
 to match a sample, it is worth while to remember that 
 you should begin the mixing with only about half of 
 the white paint, or principal color, needed for a base; 
 that is, begin the mixing with about half of the material 
 you estimate you will need. Then keep a record of the 
 amounts of colors added to the base as you proceed 
 with the mixing, so that you may duplicate the batch 
 if not enough color is obtained at first. 
 
 The tendency is to mix too much paint when matching 
 colors. On some occasions you will find that when you 
 have finally secured the match you will have two or 
 three times as much paint as you have use for on the 
 particular job at hand. If you discount this factor 
 when you start the mixing you are less likely to waste 
 materials. 
 
 Then there is another advantage to be gained by this 
 procedure; you may accidentally put in too much color. 
 In order to make the paint lighter, then, you must add 
 more white, in some cases considerably more white. 
 Under these circumstances, if you started with only 
 
170 THE MIXING OF COLORS AND PAINTS 
 
 half or two-thirds of the total amount of white needed 
 you can correct the error without wasting material. 
 
 Tight for Matching Colors.—Colors not only appear 
 slightly different to some other people than to you, but 
 the kind of light which prevails at the time of mixing 
 and matching makes a difference in the way in which 
 vou see color values. 
 
 With some colors it is confusing to have a light which 
 is too strong, such as direct rays of sunlight; this is 
 particularly the case with very light ivory, cream, yellow 
 and tan tints. On the other hand, a very strong sun- 
 light is particularly useful when mixing and matching 
 deep blues, greens and blacks, as with sunlight the exact 
 character of the color is more easily seen. 
 
 Usually a good north light is best for average mixing 
 conditions. Light which is reflected from having the 
 direct sunlight strike a colored wall and being reflected 
 into your mixing room is likely to cause no end of trouble 
 when matching colors. Artificial light, except the spe- 
 cial electric bulbs made for the special purpose of color 
 matching, and which duplicate daylight, is likely to give 
 trouble if used in a color mixing room. 
 
 In the mixing of colors keep in mind that artificial 
 light changes most colors;—they appear different at 
 night than in a daylight room. 
 
 Rest Your Eyes Often.—Color, you will remember, is 
 a sensation produced upon your eyes by light reflection. 
 If you look steadily for some time at a color which you 
 are mixing you will temporarily lose your ability to 
 judge the character of that color. To avoid this it is 
 well occasionally to cast your eye upon other colors, or 
 simply leave your mixing for a minute or two in order 
 to clear your vision, to readjust it by looking at other 
 colors or at your surroundings in general. This will 
 enable you to regain sensitiveness to the color and you 
 ean judge it more accurately. 
 
COLORED PAINT MIXING METHODS 171 
 
 In making a very close match between a batch of 
 paint and a color card, drapes, wallpaper or any other 
 material, it is very important to remember this point 
 about your eyes becoming tired, or saturated with the 
 eolor you are mixing. A color looked at too steadily 
 appears to become a bit neutralized or faded,—it loses 
 its brightness in your eyes, but not in the eyes of others. 
 In order to maintain balanced appreciation of color, 
 one’s eyes should have within their range all three of 
 the primary colors, red, blue and yellow. You probably. 
 have heard it said that an interior color scheme which 
 is completely in harmony must contain all three pri- 
 mary colors—red, blue and yellow—in some proportion. 
 This should not be misunderstood to mean that all three 
 of these colors must be present in equal area, nor in 
 equal brightness. ‘To illustrate, the general tone of a, 
 room may be soft yellow used on large areas, while the 
 red may be present in the form of a small area of bright 
 red on a vase. The blue may be only a dull color 
 appearing incidentally here and there in small areas. 
 
 One Color Influences Another.—A color placed along- 
 side of other colors reflects a different hue than when 
 seen alone on a white background. 
 
 Green placed near blue causes these alterations :— 
 green appears yellower and the blue appears more violet 
 than when alone on a white background. 
 
 Turquoise blue placed between cobalt and navy blue, 
 or between apricot yellow and greenish yellow, will 
 result in very noticeable differences being apparent. The 
 turquoise blue is greener when closely related to cobalt 
 ‘and navy blue; while turquoise between apricot and 
 ereenish yellow appears bluer. 
 
 Lilae placed with a flesh tint on one side and a deeper © 
 pink on the other is more intense, a deeper color than 
 when the same lilac is placed between dark green and 
 violet. 
 
172 THE MIXING OF COLORS AND PAINTS 
 
 Areas of red and green are both more intense along- 
 side of each other,—the red appears redder and the 
 ereen is greener. 
 
 Areas of black and of white, on a grey background, 
 are more intense when placed close to each other than 
 when separated. 
 
 The Watch Crystal Test. —The most satisfactory way . 
 to note exact matches, or differences in colors and in 
 blacks and in white pigments, is to secure a few dozen 
 watch erystals from jewelry supply houses (odd sizes 
 will do). Place your colors in the coneave side of the 
 erystal. Cover one-half of the crystal with a piece of 
 blotting paper while you fill the other half with one of 
 the colors in thick paste form; then remove the blotter 
 and fill the other half of the crystal with the second 
 eolor. The blotter can then be placed on the open side 
 of the erystal to hold the colors in place. When the 
 erystal is turned over you will see clearly any slight 
 difference in hue of a tint or shade. See Plate 11. You 
 may have two batches of white, black or any color which, 
 when looked at separately, appear to be exactly alike, but 
 when they are placed so intimately together on a watch 
 erystal, or a piece of clear white glass, you will be sur- 
 prised to note the differences. You will find that some 
 whites have a yellowish cast, others are bluish, while still 
 others have a muddy, gray cast. The blacks appear jet 
 black, brownish black, grayish and reddish black. 
 
 Matching Liquid Samples——If you have one pot of 
 paint in the liquid form and want to mix an additional 
 quantity to match it, proceed by making a white paint 
 as indicated elsewhere. Examine in good light the color 
 sample you are to match to decide what tinting colors are 
 needed. Mix a little of the principal tinting color paste 
 with linseed oil or turpentine in a separate pot; also a 
 little of each of the other colors which you think will be 
 needed. Strain these tinting colors and add the prin- 
 
COLORED. PAINT MIXING METHODS 173 
 
 f 
 
 cipal color to the white base, stirring it in thoroughly’ 
 until the paint approximately matches the sample, but 
 is still lighter than the sample. 
 
 
 
 
 
 
 Fill this half 
 with other color 
 
 Fill this half 
 with one color 
 
 
 
 
 
 blotter 
 
 
 
 blotter on back 
 
 
 
 Plate 11.—The Watch Crystal Test 
 
 Next add a little of each of any other colors which 
 appear to be needed. Thoroughly mix these colors into 
 the white base. To test your color match take a clean 
 mixing paddle of wood or iron and dip it into the color 
 
174 THE MIXING OF COLORS AND PAINTS 
 
 sample; lft it out and let the excess paint drain off; 
 then dip the paddle into the new batch of paint, and 
 where the two mixings join you will be able to see 
 whether your new paint is too light or too dark, whether 
 it needs a touch of red, blue, yellow, black or white to 
 complete the match. See Plate 12. 
 
 In judging the principal tinting colors used in a sample 
 of wet paint, one of the best means is to dip a finger 
 into it and carry a bit of the paint to a white painted 
 
 Old Color 
 
 New Color 
 too dark 
 
 
 
 Old Paint 
 Mixing Sample to 
 Paddle’ be matched 
 
 Plate 12.—Testing for Color Match 
 
 or paper surface; by rubbing the paint out with the 
 finger you can soon decide whether it was mixed prin- 
 cipally with one color or another and whether it was 
 mixed largely with linseed oil or turpentine. 
 
 Matching a Dry Paint Color Sample—Most colors 
 change some when drying. You must mix your new 
 paint a little lighter, spread it out on a surface and 
 allow an hour or two setting before you can know that 
 your match has been made. Your new paint color being 
 matched, it should be spread alongside of the dry paint 
 -eolor sample and permitted to dry. There are changes 
 in colors due to oxidation and to the fact that there is 
 
COLORED PAINT MIXING METHODS 175 
 
 a separation of colors from the liquid in some cases. For 
 instance, a green mixed from chrome yellow and Prus- 
 sian blue is more likely to show a separation between 
 eolor and liquid than a green mixed from medium 
 chrome green. 
 
 Matching Gloss to Flat.—One of the difficulties you 
 will experience in mixing paint to match a sample is 
 that of trying to make a gloss paint match a color which 
 has no gloss. After your eye is trained you will be able 
 to do this without difficulty, although it is sometimes 
 necessary to put water or oil onto the flat color before 
 you can mix your paint exactly to match it. In other 
 words, you can mix a gloss paint to match a gloss sample 
 and a flat paint to match a flat sample without difficulty, 
 but to mix a gloss paint to match a flat sample you will 
 have to temporarily give the sample a gloss, too. Also 
 mix your gloss paint a little lighter than the flat sample; 
 it will darken when drying. 
 
 When a color sample given you to match has no gloss 
 and you are to mix a gloss paint of the same color you 
 ean make the match easily enough while your batch of 
 gloss paint is wet, but when it becomes dry it may have 
 a brighter and richer tone than the flat sample. For 
 that reason it may be necessary for you to add a bit of 
 white, black or some other color to the gloss paint to 
 dull its rich tone. — 
 
 Matching Flat to Gloss—And when the reverse is 
 true, that is, when you are mixing flat drying paint to 
 match a gloss color, you must spread both onto a sur- 
 face and allow them to dry before being certain that 
 you have a match. It is more than likely that the paint 
 which dries without gloss will be lacking in richness or 
 brillianee and will appear a little lighter than when it 
 was wet. To avoid this difficulty it is necessary to mix 
 your flat paint a little brighter in tone than the gloss 
 sample. For example, in mixing reds and pinks with 
 
176 THE MIXING OF COLORS AND PAINTS 
 
 Venetian red in a flat color it may be necessary to add 
 a touch of vermilion, which is a brighter red, before your 
 flat color will match the gloss color when dry. 
 
 When mixing a flat blue to match a gloss blue you 
 are likely to find that a brighter hue is given to the flat 
 color by a touch of yellow or green. 
 
 One Color to Match. Several.—Y ou will often find that 
 when you have successfully matched one of the colors of 
 a wallpaper pattern and have painted, for instance, the 
 wood trim of a room with the matched color, the effect 
 is not at all what is wanted. The reason for this is that 
 the color appears in small area in the wallpaper and 
 when used in large area on the trim the color is entirely 
 too strong. Such a color neutralized by mixing with 
 gray, or made much lighter with white, produces har- 
 mony which is much more pleasing. 
 
 There are other instances where new color must be 
 mixed to match a single color in wallpaper or drapes, 
 such as one certain green, for example, and when it is 
 better to match the general tone. In that case a green 
 approximating the one in the wallpaper is first mixed. 
 Then very small amounts of each of two or three other 
 colors appearing in the wallpaper are added to this 
 green. The resulting green harmonizes with the general 
 tone of the wallpaper and is related to the particular 
 shade of green in the paper, but does not match it. 
 
 When you are called upon to mix a color to match a 
 surface which has a mottled color effect, such as tapestry, 
 brick of blended colors, Tiffany glaze finish painted 
 walls or cloth drapes, there are two ways in which you 
 ean handle the problem. One color in the wall may 
 predominate and you can mix your paint to match that. 
 The other way would be mixing a neutral gray or drab 
 color paint which will tone in and harmonize with the 
 whole surface. To do this simply add to your white 
 
COLORED PAINT MIXING METHODS 177, 
 
 paint, or basic color, a little of each of the several colors 
 appearing in the mottled finish. 
 
 Matching Rough and Smooth Surfaces—You may 
 encounter difficulty at times when matching paint for a 
 smooth colored surface with a rough colored surface. 
 For example, take a rough plaster wall and paint it with 
 a color shown on a smooth paper color card; on the 
 rough wall you will see the exact color of the card in 
 places, but in many other places darker shades of the 
 color may be noted, because of the shadows cast by high 
 points and the manner in which the daylight or artificial 
 light strikes the rough wall. If you could subject such 
 a surface to strong direct rays of light, the shadows 
 would disappear and the rough surface would be exactly 
 the same color tone as the smooth surface. 
 
 Matching Fabric Color Samples.—The play of light 
 reflections on silks and other materials which drape 
 naturally and have a high sheen is sometimes very diffi- 
 eult. The colors appear different at every angle from 
 which they are viewed because of shadows and reflec- 
 tions. These characteristics cannot, of course, be matched 
 in paint. About all you can do is match the general 
 effect with paint. 
 
 The way to go about it is to mix a color match for the 
 darkest shades appearing on the silk and another batch 
 matching the lightest tints to be seen. Then by adding 
 these two mixings together you get an approximation 
 which will harmonize in a general way. 
 
 By brushing out the paint on a fairly large surface 
 alongside of the silk hangings, you can readily judge 
 whether a mixing needs a slight toning by the addition 
 of minute quantities of red, blue, yellow, black or white 
 to make the harmony perfect. A semi-gloss mixing of 
 paint will more readily match silks than will flat paint. 
 
 A Few Mixing Points—A mixture of any two or 
 
178 THE MIXING OF COLORS AND PAINTS 
 
 more colors results in a darker shade than any of them. 
 
 Yellow is the color pigment to add to any color to 
 make it brighter. 
 
 White mixed with colors makes them lighter in hue 
 but not brighter; white greys or softens and takes off 
 the sharp appearance of a color with which it is mixed. 
 
 White, grey and black are neutral and reflect no color 
 rays to the eye. 
 
 Black is the total absence of color. In theory black re- 
 sults from mixing together the primary colors—red, blue 
 and yellow. What actually results from such a mixture 
 is a very dark, muddy grey of a brownish or greenish 
 hue, depending upon what pigments are mixed. 
 
CHAPTER XI 
 MIXING SPECIAL PURPOSE MATERIALS 
 
 Undercoat Colors—Where two or more coats of paint 
 are to be put on to exterior or interior surfaces, upon 
 signs, automobiles and furniture, the question arises as 
 to whether the undercoats should be the same color as 
 the finishing coat. The question is answered yes or no, 
 depending upon what colors and surfaces are being 
 treated. 
 
 For exterior painting, generally speaking, it is better 
 to mix all of your coats the same color. There are 
 exceptions to this, however. When you are painting the 
 exterior of a house a deep Colonial yellow it is good 
 practice to mix your undercoats pure white, or a cream 
 eolor produced with raw sienna or medium chrome 
 yellow. Your finishing coat will be made by tinting 
 white paint with a considerable quantity of medium 
 ehrome yellow. Chrome yellow is higher in price than 
 white paint and, naturally, the use of more of the color 
 than is necessary is wasteful and brings up the cost of 
 the job. There is no need to use enough chrome yellow 
 in this case to make your undercoats the same as your 
 finishing coat. Chrome yellow is an opaque color which 
 hides the surface well in one coat. When spread over a 
 white or cream-colored paint the last coat only need be 
 full in color. This same principle holds good wherever 
 the mixing of a finishing coat involves a large amount 
 of expensive color. 
 
 On interior surfaces some decorators believe that 
 undereoats should be lighter than the finishing coat, 
 
 179 
 
180 THE MIXING OF COLORS AND PAINTS 
 
 while others prefer that it should be darker ; they reason 
 that the finishing coat may be brushed on more rapidly 
 when there is quite a difference between the colors. This 
 is not the best practice because it necessitates mixing at 
 least two batches of paint, and that wastes time. 
 
 Since most colors change a little during the drying 
 process, there is enough difference between a dry coat 
 on a wall and a fresh wet coat to facilitate brushing. 
 By mixing all coats the same color time is saved, because 
 the paint can be mixed in thick paste form to be thinned 
 with turpentine or flatting oil for a flat finish or with 
 linseed oil for a gloss finish. The undercoats may be put 
 on and when dry the color noted. If any shght change 
 in hue is desired, after seeing the color in large area on 
 the surface, it is a simple matter to correct the color 
 before the final coat goes on. 
 
 An exception to the rule that most interior paints 
 should be mixed the same color for all coats is the finish- 
 ing of walls with transparent colors to give mottled and 
 blended Tiffany effects. Where final coats are trans- 
 parent or semi-transparent colors, the undercoats must 
 be opaque, flat colors which cover solidly and which are 
 several degrees lighter in color than the finishing coats. 
 This principle is carried out also in the finishing of 
 automobiles where, for instance, the transparent lake 
 colors such as maroon lake are used. The undercoats for 
 the transparent lake finishing coats are lighter tints. In 
 sion painting the same practice is followed to some 
 extent. 
 
 On painting jobs where the finishing coat is made up 
 largely of such transparent colors as Prussian blue, 
 chrome green, raw and burnt sienna, raw and burnt 
 umber, it is very important that the undercoats be mixed 
 so as to be opaque and solid covering so as to hide the 
 surface, and it is especially necessary that the under- 
 coats be exactly or as nearly the color of the finishing 
 
MIXING SPECIAL PURPOSE MATERIALS 181 
 
 coat as possible. This is true only, of course, when the 
 finishing color is to have a solid opaque appearance. 
 When a glaze appearance is wanted, particularly with 
 the special wall finishes which are stippled, mottled and 
 blended, this principle is not involved; then the under- 
 eoats are usually very light complementary, related or 
 self-tone colors. 
 
 VARIOUS KINDS OF PUTTY 
 
 The skillful use and mixing of putty for many pur- 
 poses is a subject which is deserving of more thought 
 and interest than is apparent today. Too often painters 
 and decorators use indiscriminate mixtures of putty for 
 all kinds of surfaces and conditions. 
 
 The skilled craftsman knows how to mix a putty which 
 will dry just as fast as is necessary to accommodate his 
 work, one which is soft and porous when dry or very 
 hard; he mixes putty which can be sandpapered freely 
 to make a smooth and level surface, a putty which can 
 be rubbed with pumice stone and water to a fine finish, 
 or one which ean be knifed on for a heavy filling or for 
 a thin surfacer. 
 
 As a general working rule to follow, it is well to keep 
 in mind that putty should be mixed as nearly as possible 
 of the same color, texture, degree of intensity and hard- 
 ness of surface as the material into which it is placed as 
 a filler. A very soft porous putty should not be used 
 for stopping up holes in very hard dense surfaces, and 
 the reverse is equally true, that very hard drying,.dense 
 putty should not be used to stop up soft, porous surfaces. 
 
 There is much to be said about using the right kind 
 of putty in the right place. Disappointment is sure to 
 result, for instance, from using whiting and linseed oil 
 putty for filling cracks in hard surfaces where a quick 
 job is to be done and with only one or two coats of paint. 
 Such a putty dries slowly and the oil from it will stain 
 
182 THE MIXING OF COLORS AND PAINTS 
 
 coats of paint and disfigure the job. This is especially 
 true where an oil putty is used on interior surfaces 
 finished with flat coats of paint. In these cases the 
 sweating of the putty results in shiny spots in the paint 
 and discoloration; in some eases the paint may scale off. 
 
 Formulas for mixing putty are innumerable. The 
 common putty which you will secure from hardware 
 stores and paint stocks generally, made up for window 
 sash, is usually marble dust. This putty may be good 
 enough for barn sash, but it gets hard and brittle shortly 
 and will not remain in place. A little white lead, paste 
 or dry white lead added to this putty makes a better 
 material. . 
 
 The use of a straight whiting and linseed oil for plug- 
 ging cracks and nail holes on exterior surfaces is a bad 
 practice. 
 
 First Class Putty—The common way to make a first 
 class putty for ordinary outside work is to take a small ° 
 quantity of white lead paste from the kee and add dry 
 whiting to it until a stiff mixture is secured on a slab. | 
 Pound it a while with a mallet or club. Then the 
 putty is taken into the hands and kneaded until a 
 thorough mixture is secured. If the mixture gets too 
 dry and thick, add a few drops of linseed oil. If you 
 want a putty which will dry very hard and adhere even 
 more firmly to a surface, add a few drops of hard-drying 
 varnish—floor varnish or good spar varnish. 
 
 Such putty is colored to match paint, or stained 
 interior wood trim, by adding tinting colors in the dry 
 form. 
 
 Window Glass Putty—The common putty made by 
 mixing a fine quality of bolted whiting and a little white 
 lead with linseed oil is good for glazing window sash, 
 but for glazing steel sash a putty should be mixed from 
 dry red lead and linseed oil. 3 
 
 Knifing Putty—For repairing damaged places in 
 
MIXING SPECIAL PURPOSE MATERIALS 183 
 
 walls and woodwork a putty which is to be spread on 
 and smoothed with a putty knife may be mixed by 
 adding white lead paste to fine bolted whiting to make a 
 stiff putty with equal parts of Japan gold size, linseed 
 oil and turpentine. This putty is made thin enough to 
 be applied with a broad putty knife to rough places and 
 smoothed up. When it is dry the rough edges can be 
 sandpapered and the whole patch rubbed down level. 
 
 When a very hard drying, knifing putty is wanted, 
 and one which can be rubbed with pumice stone and 
 water, it may be mixed by adding to white lead in oil , 
 paste enough fine dry whiting and fine pumice stone to 
 make a stiff putty. When a liquid is needed a few drops 
 of any hard drying or rubbing varnish or Japan gold 
 size will serve the purpose. 
 
 Swedish Putty.— What is ealled Swedish putty is made 
 by decorators when large quantities are needed for filling 
 many large cracks in floors, in plaster walls, and for 
 making special wall finishes. Swedish putty is made 
 with varying proportions of several ingredients. One 
 way to make it is to start with a bit of paint mixed for 
 outside wood surfaces—a lead paint or ready mixed gloss 
 paint. To this is added a bit of dry whiting, or dry 
 calcimine, a little glue dissolved in hot water, a little dry 
 eolor, and in some eases a bit of dry China clay. In 
 some cases paperhanger’s flour paste is added. A com- 
 position of Swedish putty depends largely upon what 
 working qualities you wish, how hard it is to dry and 
 how rapidly it is supposed to dry. 
 
 Quick-Setting Putty.—On jobs which are to be puttied 
 and then followed up within an hour or two with paint 
 the putty may be best made by mixing a stiff paste with 
 dry white lead and Japan gold size. Add a few drops 
 of turpentine if a quicker drying putty and one with a 
 - more porous texture is wanted. 
 
 Another way to make a quick drying putty is by 
 
184 THE MIXING OF COLORS AND PAINTS 
 
 mixing white lead in oil paste with dry white lead to a 
 stiff putty, adding Japan gold size and floor or rubbing 
 varnish. a 
 
 Plaster of Paris Putty—Probably more putty for fill- 
 ing holes in plaster walls is made from plaster of Paris 
 than from any other material. This makes good filling 
 material when properly used. The plaster of Paris 
 should be submerged in water. Only a small portion, 
 about the size of an egg, should be lifted from the water 
 with a stopping knife and kneaded in the hand and 
 made ready for placing in the hole. This material sets 
 rapidly and it should be put in place before it has set. 
 When in place it should be smoothed over repeatedly 
 with the broad knife so as to glaze the surface, making 
 it hard and non-porous like the plaster itself. 
 
 Some painters have the bad habit of lifting too much 
 plaster of Paris from the water at a time and when it 
 begins to set in their hand they add a little more water 
 or vinegar. This should not be done. When a batch of 
 plaster takes its initial set before placing it in the hole 
 it should be discarded for a fresh lot taken out of the 
 water. 
 
 For mixing a knifing putty to be used on plaster walls 
 some decorators prefer to take a little prepared ealci- 
 mine or other water paints and add dry whiting until 
 the proper consistency for knifing is reached. These are 
 handy mixtures, often, and they make a good filling 
 which can be rubbed down smoothly with sandpaper. 
 
 Floor Paints——There are many first class ready mixed 
 paints which give good service on pine and other floors. 
 To mix them ready for the brush it is necessary to handle 
 them in the same manner as was described in the first 
 part of Chapter VIII under the title of Mixing Ready- 
 Mixed Paints. 
 
 When it is desirable to mix floor paint to match some 
 
MIXING SPECIAL PURPOSE MATERIALS 185 
 
 particular color using white lead and zine as the basic 
 pigment the mixing should be done in this manner: 
 
 New floors which have never been finished with any 
 _ material require a first coat made by mixing white lead, 
 the necessary color pigments, turpentine to the extent 
 of about three-fourths of the liquid and boiled linseed 
 oil to the extent of about one-fourth of the total liquid. 
 These materials should be mixed as described in Chap- 
 ter VIII for breaking up white lead paints. 
 
 The second coat on new floors should be mixed with 
 three-fourths white lead and one-fourth zine oxide, plus 
 necessary tinting colors and turpentine, using very 
 little or no linseed oil. This coat will dry without gloss. 
 When the paint is thoroughly dry, one or two coats of 
 first class floor varnish will make a durable job. A coat 
 of wax on top of the varnish will make a floor which is 
 easy to clean, and the wax will protect the varnish. 
 
 Your aim in mixing floor paint is to produce a hard, 
 dry, tough film, and for that reason only enough linseed 
 oil should be used to satisfy the suction of the new wood. 
 If too much oil is used the film would not dry as hard 
 as it should, and, furthermore, it will be more elastic 
 than the varnish coats and may have too high a gloss 
 to permit the varnish coats to take hold of the surface 
 properly. With too much oil in undercoats on floors 
 there is some likelihood that the paint will expand more 
 than the varnish on floors which get quite warm over 
 furnaces; the result will be cracking or alligatoring of 
 the paint. 
 
 The painting of old floors which have been finished in 
 varnish, shellac or wax requires a little preparatory 
 work. As a rule, varnished floors require only scrub- 
 bing and the sandpaperinge of rough places a little and 
 they are ready to paint. Floors which have been waxed 
 should be washed up with turpentine to remove as much 
 
186 THE MIXING OF COLORS AND PAINTS 
 
 wax as possible. Floors which have been painted before 
 require washing, sandpapering of any rough places and 
 filling of large cracks with putty before painting. 
 
 From this point on finish old floors the same as was 
 described for new floors, beginning with the second coat. 
 
 Another way to mix your paint for old and new floors 
 where a less costly job is to be done is to treat your new 
 floor with a coat of paint composed of white lead, tinting 
 colors, three-fourths turpentine and one-fourth boiled 
 linseed oil. Then, for a second coat on new floors and 
 for both coats on old floors, mix your paint with three- 
 fourths white lead and one-fourth zine oxide; one-fourth 
 of the liquid to be turpentine, one-fourth boiled linseed 
 oil and one-half first class floor varnish. The varnish to 
 be thinned with the turpentine before adding it to the 
 paint with the linseed oil. Some painters mix floor paint 
 with white lead, zine oxide, tinting colors and boiled 
 linseed oil, adding only about half a pint or one pint of 
 floor varnish to a gallon of paint. 
 
 Floor Fillers.—For open-grained floors like oak a filler 
 is mixed using dry silica, sometimes called silex, with 
 about four-fifths benzine and one-fifth boiled linseed oil. 
 A little Japan drier, about two tablespoonfuls to a 
 gallon of filler, is sometimes needed. To color the filler, 
 dry color such as burnt umber for brown finished floors 
 is used. Color ground in oil may also be used. 
 
 It is not possible to give exact mixing directions for 
 a floor filler because the temperature of the room and 
 ventilation are governing factors. The filler must be — 
 tempered by adding a little boiled linseed oil to slow 
 the drying, or more benzine to hasten the drying. 
 
 The filler should be so tempered that when you brush 
 it on to about one square yard of floor it will begin to 
 set immediately and turn flat; that is, the benzine evapo- 
 rates immediately. 
 
 The filler is brushed on to the floor freely like paint 
 
MIXING SPECIAL PURPOSE MATERIALS 187 
 
 with the grain of the wood and across the grain, being 
 careful to rub it into the pores of the wood. As soon as 
 the dull surface appears the filler should be wiped off 
 of the surface with a wad of excelsior. Rubbing with 
 excelsior also forces the filler into the pores. 
 
 The wiping with excelsior should be done across the 
 erain only. If the filler has been mixed correctly it 
 will roll up into a thick paste and all excess filler not 
 needed to stop the cracks and pores will come off readily 
 onto the excelsior. If too much oil has been used the 
 filler will not dry rapidly enough and it will not lodge 
 in the cracks and pores of the wood as it should. 
 
 As each square yard is coated in with the filler and 
 takes on a dull finish it must be wiped immediately, or 
 it will get so hard and stiff that a great amount of labor 
 will be needed to remove the excess filler from the sur- 
 face. Plenty of excelsior should be used, and if the 
 filler sets so rapidly that you do not succeed in wiping 
 it off before it becomes dry, wash up the surface freely 
 with benzine and start all over again. 
 
 In floor fillers for natural finished oak no eolor is 
 needed. For dark oak burnt umber will color the filler 
 and at the same time stain the wood. Where dark 
 finishes are wanted it is well to put on an oil stain or a 
 spirit stain before the filler. 
 
 White and Colored Enamels—The name enamel 
 covers quite a variety of paints which dry with a high 
 gloss, semi-gloss or satin finish. For use on interior 
 wood trim and on walls occasionally, undoubtedly the 
 best enamels for painters and decorators to use are those 
 which are bought from manufacturers already prepared 
 for brushing onto a surface. High class prepared 
 enamels can be secured to dry with a gloss and to dry 
 with a semi-flat satin finish which gives the appearance 
 of a hand-rubbed surface. Most of the prepared enamels 
 come in white, cream and light gray; some brands, 
 
188 THE MIXING OF COLORS AND PAINTS 
 
 however, may be had in half a dozen beautiful bright 
 but soft colors. 
 
 If you wish to mix a colored enamel for interior trim 
 or furniture finishing you can do so by adding Japan 
 colors thinned with turpentine to white enamel—gloss 
 or satin finish. The Japan color selected is to be thinned 
 with turpentine to about the same consistency as the 
 enamel; it should then be strained and poured into the 
 enamel a little at a time until the desired color is secured. 
 When your color has been added be very careful to stir 
 the enamel thoroughly until all of the color has been 
 incorporated. Then as a precaution a good decorator will 
 strain the enamel into a clean pot. 
 
 Undercoatings for enamel can be purchased ready pre- 
 pared for the brush, and they maybe colored to suit in 
 exactly the same manner as just described for enamels. 
 If you wish to mix your enamel wndercoats you may 
 do so by using one-half white lead and one-half zine 
 oxide thinned with turpentine to the extent of about 
 three-fourths of the total amount of liquid and one- 
 fourth of the colored enamel to be used as a finish. 
 
 See Chapter VIII for formulas for mixing white 
 enamel. 
 
 Color Varnish.—Automobile painters and furniture 
 finishers sometimes wish to use a color varnish. Color 
 varnishes can be purchased ready prepared for use on 
 automobiles, carriages and wagons. When the painter 
 himself wishes to mix color with the varnish it may be 
 accomplished by mixing two or three ounces of Japan 
 eolor with turpentine to bring it to about the same con- 
 sistency as the varnish. Strain the eolor and add it to 
 about one quart of rubbing varnish. This is just enough 
 eolor to slightly stain and offset the brown color of the 
 varnish. 
 
 Aluminum Paint.—For deseriptions of bronze pig- 
 
MIXING SPECIAL PURPOSE MATERIALS 189 
 
 ments refer to Chapter V and for bronzing liquids, 
 ‘Chapter VI. 
 
 The mixing of aluminum paint is accomplished in a 
 reverse manner to that used for other paints, in the 
 respect that the dry aluminum or colored bronze pig- 
 ments are poured into a pot containing liquid. It is 
 easier to mix any dry pigment with a liquid by placing 
 the liquid in the pot first and stirring the dry pigment 
 into it than if the reverse operation is followed. 
 
 The metallic pigments are very heavy and they settle 
 to the bottom of the pot quickly. They should not only 
 be thoroughly mixed, but it is essential to agitate the 
 paint every few minutes by stirring in order to keep the 
 paint of the same consistency all the time. 
 
 Aluminum paint should be mixed for average surfaces 
 in the proportion of about 114 to 2 pounds of dry alumi- 
 num powder to 1 gallon of heavy bodied boiled linseed 
 oil. This will make approximately 114 gallons of paint. 
 
 For some purposes the liquid used is entirely special 
 heavy bodied boiled linseed oil. Ordinary raw linseed 
 oil is too thin for use with this pigment. Some brands 
 of heavy bodied boiled linseed oil can be thinned with 
 turpentine or mineral spirits in the portion of 40 parts 
 oil to 60 parts of turpentine and the resulting mixture 
 will be of just about the right consistency for aluminum 
 paint. 
 
 Where aluminum paint is exposed to the weather, spar 
 varnish makes an excellent vehicle with which to mix the 
 aluminum powder in the proportion of 114 to 2 pounds 
 of powder to a gallon of varnish. If the varnish vehicle 
 is too expensive an excellent and serviceable liquid ean 
 still be made by using 20 per cent of ordinary pure raw 
 or boiled linseed oil to 60 per cent of spar varnish. 
 
 The pigment particles of aluminum are flat and make 
 up a paint film by a leafy formation, one flat pigment 
 
190 THH MIXING OF COLORS AND PAINTS 
 
 particle overlapping the other like fish scales. This 
 leafing peculiarity retards the drying of linseed oil 
 somewhat, and for that reason boiled oil is preferred. 
 It is sometimes necessary to add a little Japan drier to 
 make the paint dry rapidly enough. And if a harder 
 paint film is wanted, spar varnish should be added to the 
 oil vehicle. 
 
 Aluminum paint is very opaque and protects a sur- 
 face well. It is particularly noted for excluding ultra- 
 violet light rays. Such paint is valuable for protecting 
 not only metal but also surfaces which are subjected to 
 both indoor and outdoor exposure. Aluminum paint 
 reflects most of the light and heat cast upon it and 
 absorbs very little. It is for this reason that aluminum 
 paint is used as a protective medium on balloon fabrics. 
 In past years the large gas bags of airships deteriorated 
 rapidly because of the effect of the direct rays of sun- 
 light. Aluminum paint has materially increased the 
 life of such fabrics by excluding the heat and light. 
 China wood oil is used with aluminum powder for such 
 paints because of its ability to withstand high tem- 
 peratures. 
 
 Aluminum paint is excellent for such surfaces as large 
 oil storage tanks, large gas holders of public service 
 companies and many other metal surfaces. Bright 
 aluminum reflects approximately 70 per cent of the 
 light rays and about 90 per cent of heat rays. 
 
 A particular characteristic of aluminum paint to be 
 kept in mind is that it is very opaque and its hiding 
 power is such that often one coat of aluminum paint 
 will obscure a surface which would require two or three 
 coats of ordinary paint to gain the same end. A little 
 aluminum paint spread onto a piece of glass and noted 
 through the other side will give you a clear idea of this 
 virtue. Such hiding power makes aluminum paint valu- 
 able for coating signboards which are to be relettered 
 
MIXING SPECIAL PURPOSE MATERIALS we il 
 
 and also for use on mahogany finished doors stained 
 with an aniline bleeding red. Sometimes mahogany 
 finished doors when refinished with white enamel will 
 turn pink even after many coats of enamel are applied. 
 Then a coat of aluminum paint is usually successful in 
 sealing up the bleeding stain. 
 
 For use on exterior surfaces at least two coats of 
 aluminum paint are necessary. 
 
 Aluminum paint should be fresh each day, because it 
 deteriorates by losing its rapid leafinge quality when it 
 stands in the vehicle for some time. 
 
 The polished aluminum powder has a higher reflec- 
 tivity than an unpolished aluminum. The polished pig- 
 ment reflects between 55 and 70 per cent of light rays, 
 while the unpolished reflects between 45 and 50 per cent 
 of light rays. 
 
 It is interesting to note that some very pleasing deco- 
 rative effects can be gained by mixing tinting color 
 pigments with aluminum paint. The aluminum will 
 conceal small amounts of color, but fairly large amounts 
 will add their. color to the paint, while the aluminum 
 adds reflection and brilliance which are very pleasing. 
 
CHAPTER XII 
 
 COLOR HARMONY AND MANAGEMENT 
 
 Color Differences and Descriptive Terms.—Some of 
 the confusion of thought concerning color harmony and 
 management is the outgrowth of rather indiscriminate 
 use of color terms and descriptive names. The use of 
 such words as tone, tint, shade, hue, cast, blend, con- 
 trast, value and neutral inappropriately is bound to 
 make an understanding and judicious use of color har- 
 mony more difficult. 
 
 Good judgment and analysis of a color scheme as well 
 as correct language needed in a discussion of color come 
 naturally enough after committing to memory a few 
 correct descriptive terms and fundamental principles. 
 
 About Contrasts—In color schemes contrast of three 
 kinds is used ;—contrast of values, contrast of color hues, 
 contrast of intensities. 
 
 Contrast of Values.—Differences between light and 
 dark degrees of one color or of black are contrasts of 
 value. These are differences between tints and shades of 
 one color. | 
 
 When you mix white with pure, intense red pigment 
 you produce a lighter red, a tint of red. Add still more 
 white and a still lighter red is produced,—one which 
 you may call pink. Now add black to the same pure 
 red and you have a darker red, a shade of red; add still 
 more black to the pure red, and you mix a very dark red. 
 
 Now you have the original bright, pure and intense 
 red, two tints of red and two shades of red,—five colors 
 or hues in all. All have the same color hue—red—yet 
 
 192 
 
COLOR HARMONY AND MANAGEMENT 193 
 
 there are differences between these tints and shades of 
 red. These differences are contrasts of value ;—they are 
 values of red. All colors: have their degrees of value 
 and each value reflects a different amount of. light. 
 
 Likewise, the differences between black and a series 
 of grays made by mixing white with black are contrasts 
 of value. Grays mixed in this manner are tints of black. 
 
 In contrast of values, black and white afford the 
 extreme, the greatest contrast, while very light gray and 
 white afford the least contrast. 
 
 Contrast of value occurs also between unlike colors. 
 Any two or more colors which are not equally light or 
 equally dark produce a contrast of values together. A 
 tint of one color may form a contrast of value with 
 another color or shade of another color. 
 
 Contrast of value exists, then, between light and dark 
 colors, between tints and shades of the same color (self- 
 tones) and between tints and shades of unlike colors. 
 
 Authorities estimate that the human eye can distin- 
 guish about one hundred variations or contrasts in value 
 for any color hue. 
 
 In a color scheme in which the contrasts of value are 
 gereat,—where some very light colors contrast to a great 
 degree with very dark colors there should not also be 
 ereat contrasts of color hue. 
 
 High and Low Values.—The light tints and colors are 
 high values. Shades and dark colors are low values. 
 
 A light tint contrasted with a shade or dark color 
 gives a high or great contrast of values. 
 
 A light tint contrasted with another light tint, a light 
 color contrasted with another light color, a shade con- 
 trasted with another shade, or a dark color contrasted 
 with another dark color, all result in low contrasts of 
 values, because the differences in degree of contrast are 
 small. 
 
194 THE MIXING OF COLORS AND PAINTS 
 
 Contrast of Hwe.—Hue means color. It is the quality 
 which distinguishes one color from another; it is the 
 characteristic which makes red totally different from 
 blue and blue totally different from yellow. 
 
 A certain tint of red and a certain tint of blue are 
 unalterably different in hue, but they may be equal in 
 value (equally light or dark), and equal in intensity 
 (equally bright, pure and light-reflecting). 
 
 Red is red whether it is a light tint, a dark shade or 
 has been greyed with white. If you mix a different color 
 with red you change its basic character and produce 
 another color. If you add blue to red, for example, a 
 little blue simply gives the red a bluish tinge, a bluish 
 hue. More blue changes the red to violet or purple, 
 which is a different colan a different hue, though a 
 related one. 
 
 Contrast of Intensity.—The first dimension in color is 
 value, the second is hue, and the third is intensity. An 
 understanding of all three dimensions equips one accu- 
 rately to analyze, judge and to enjoy color scheme 
 combinations greatly. 
 
 Intensity is the brightness, depth and purity of a 
 color; it is the quality of a color which relates it closely 
 to the light ray eolor in the spectrum of which it is a 
 reflection. 
 
 One blue may differ from another because one is light 
 and the other dark; the lght one reflects more light 
 than the dark one because it has more white in its mix- 
 ture. That is a contrast of values. But two blues which 
 are equally light or equally dark may yet be different 
 in another quality—purity of tone, depth of color; that 
 difference is intensity. The blue of lesser intensity seems 
 dull and grey, even when it is made lighter by mixing 
 pure white with it; the other may be dark, but still be 
 brighter and purer. 
 
 . color combination may harmonize by one principle 
 
 
 
COLOR HARMONY AND MANAGEMENT = 495 
 
 HARMONY PRINCIPLE NO. 1 
 
 TONES OF ONE COLOR 
 
 Illustrating Contrast of Value only, with self-tints and 
 shades of the same color. Demonstrating one color 
 only, but the principle applies to constructing 
 color schemes in harmony from any color. 
 
 
 
 
 
 
 
 
 
 
 Very light red 
 tint — pink 
 White 
 mired 
 with red 
 to make 
 tints 
 
 Complementary 
 
 Climax 
 Color - 
 
 RED 
 
 Intense 
 Blue-green 
 
 Black or 
 green 
 mixed 
 
 with red 
 
 to make 
 shades 
 
 
 
 Complementary 
 
 Climax 
 Color + 
 
 Intense 
 Orange 
 
 Black or 
 orange 
 mixed 
 
 with blue 
 to make 
 
 shades 
 
 
 
 J, an 
 
 
 
 Very light 
 yellow tint 
 
 White 
 mixed 
 with yellow 
 to make 
 tints 
 
 YELLOW 
 
 Black or 
 violet 
 mixed with Diset hassle 
 yellow to ie oat 
 make 
 shades 
 
 
 
 
 
 ight yellow: int: 
 
 
 
 High Complementary 
 Values Clinax 
 
 Color — 
 
 Intense 
 Violet 
 
 
 
196 THE MIXING OF COLORS AND anete 
 HARMONY PRINCIPLE NO. 2 
 RELATED COLORS 
 
 Illustrating Contrast of Values (tints and shades of 
 one color), also Contrast of Hues (related colors) 
 
 
 
 
 
 
 
 Te Light Yellow 
 
 2. Medium Yellow 
 3. Greenish Yellow 
 A. Orange Yellow 
 
 
 
 Complementary Complementary Complementary 
 
 
 
 Climax Climax Climax 
 Color for Color for Color for 
 No. 1 and 2— No. 3—Is No. 4— 
 
 Is Violet Violet-Red Is Blue 
 
 
 
_~ = 
 
 COLOR HARMONY AND MANAGEMENT 197 
 
 HARMONY PRINCIPLE NO. 3 
 
 COMPLEMENTARY COLORS 
 
 Illustrating : 
 
 Contrast of Values (tints and shades of one color) 
 Contrast of Hues (unlike colors) 
 Contrast of Intensities (brilhancy ) 
 
 Red 
 
 All of these are 
 
 bright, intense colors 
 
 -and as such should 
 Bluish- be used in small area 
 ee Green as Tae or focal 
 Ce Ge point colors. 
 
 
 
 When greyed by mix- 
 ing with a little white 
 or neutralized by 
 Orange mixing one comple- 
 mentary color with 
 the other these colors 
 may be used in mod- 
 
 
 
 s 
 Ne ee, 
 as ine erately large areas as 
 oe on drapes, pillow cov- 
 Se ers, scarfs and orna- 
 ments. ; 
 
 Tints and shades of 
 Yellow complementary colors 
 are of course very 
 useful for walls and 
 other large areas. 
 
 Violet 
 
 
 
198 THE MIXING OF COLORS AND PAINTS 
 
 of contrast or by all three principles—contrast of value, 
 contrast of hue, contrast of intensity. 
 
 To illustrate these let us take a dark blue, a medium 
 light blue tint and a very light sky blue. All are of 
 the same color and so there is no contrast of hue (color), 
 there is no contrast of intensity, all are greyed. There 
 is, however, contrast of value, of light and dark tints 
 and the dark blue. 
 
 A combination of pure, intense cobalt blue with a 
 light, reddish-blue tint of violet produces contrast of 
 values (a light and a dark color) and also contrast of 
 hues. The violet tint has a reddish hue in it; it is a 
 related color and yet is different because of the red in it. 
 
 The combination of pure, intense cobalt blue and a 
 light tint of orange illustrates harmony by three prin- 
 ciples: by contrast of value (a light and a dark color) ; 
 contrast of hues (two different colors) ; and contrast of 
 intensity \4 »ure, intense blue color associated with a 
 greyed orange). 
 
 Tones of One Color—Color harmony may be gained 
 for rooms by following one of three principles,—by 
 using:—1l. Tones of One Color; 2. Related Colors— 
 Analogy; 3. Complementary Colors. 
 
 The handling of a color scheme utilizing the prin- 
 ciple of self-tones is easy and simple. Wherever a room 
 is not to be finished in all white, all black, all grey or 
 contrasts of black, white and grey, you are called upon 
 to utilize color hues. 
 
 In selecting a color scheme utilizing only tones of 
 one color, self-tones, you simply choose one color and 
 then add white to it to-make one or several tints of that 
 eolor, or black to it to make one or several shades of 
 that color. Then, this principal color, with its tints and 
 shades, is used for all surfaces in the room, including the 
 floor, rug, furniture, walls, wood trim, ceiling, drapes, 
 picture frames and vases. 
 
COLOR HARMONY AND MANAGEMENT 199 
 
 By way of illustration, let us consider a specific prob- 
 lem. In choosing a color scheme one is seldom able to 
 start from the possession of nothing and acquire each 
 unit which goes to completely furnish a room in accord- 
 ance with the color scheme wanted. Usually there is 
 one fixed or invariable element from which the color 
 scheme must be constructed. Usually there is a set of 
 furniture or a rug which must be used in the room. The 
 eolor of this invariable element, then, is your starting 
 point. 
 
 Assuming that we have American walnut or brown 
 mahogany furniture as a starting point for constructing 
 a color scheme from tones of one color, the rug and floor 
 should have the same color as the brown of the furni- 
 ture, although it may be a bit lighter or darker. The 
 walls may be a greyed buff, tan or light brown. The 
 wood trim, if stained, should be the same brown as the 
 dominant tone in the furniture or it may be painted, or 
 enameled in the same color as the wall by utilizing a 
 tint which is a few degrees lighter or a shade which is 
 a few degrees darker than the wall. This is commonly 
 ealled painting out the trim, meaning that it is made 
 less prominent. That is very desirable in some rooms 
 where there is an excessive amount of wood trim which 
 calls attention to itself to the exclusion of the furnish- 
 ings. In most instances the walls and wood trim are 
 merely a back-ground, or foil, against which the fur- 
 nishings of a room are displayed. 
 
 The ceiling in this color scheme would be a light cream 
 mixed from raw sienna and white, rather than a yellow 
 eream made from chrome yellow. If the ceiling is high 
 the cream color can be rather a dark one, but if the 
 eeiling is just the average height the cream color should 
 be light. 
 
 The drapes in this scheme of self-tones would be in 
 
i 
 
 200 THE MIXING OF COLORS AND PAINTS 
 
 the light browns or tans, while the picture frames would 
 be walnut brown. 
 
 If this room is rather dark, or a cool north exposure, 
 the walls might be verry light tan bordering on cream 
 color and the wood trim and ceiling even of lighter tint 
 of the same color. These two light tints of the same 
 color should, however, be separated with a band of very 
 dark brown, in order to afford considerable contrast of 
 values, since there is no contrast of color hues in a self- 
 tone color scheme. 
 
 If the room is very light and dark walls are preferred, 
 tans and buffs which are greyed can be used on the 
 walls and a lighter tint of the same color may be used 
 for the ceiling. These two colors should, however, be 
 separated by a picture molding or a stencil band of 
 very light color—ivory white or cream—to afford con- 
 trast of values, since there is no contrast of color hues. 
 
 This points to a principle which is an essential one to 
 keep in mind to avoid monotony and weak effects when 
 using self-tone color,schemes. The principle is that when. 
 two very light tints of the same color are used on walls 
 and ceilings, or elsewhere, they should be separated by 
 a band of black or very dark self-color; and when two 
 very dark shades of the same color are used they should 
 be separated with a band of white or very light self- 
 eolor. This band may be picture molding, cornice or a 
 decorative stencil. 
 
 In color schemes made up of self-tones only there is 
 no contrast of color hues, since the same color is used 
 throughout. For this reason interest for the mind and 
 attraction for the eye are gained by a contrast of values; 
 that is, the use of light tints of the color with dark 
 shades of the same color. 
 
 The disadvantage of using self-tone color schemes is 
 that they constitute an entirely warm effect or an 
 entirely cold effect, depending upon whether you choose 
 
COLOR HARMONY AND MANAGEMENT 201 
 
 a warm or a cold color from which to mix the shades 
 and tints. Self-tone color schemes are usually passive 
 rather than active in stimulating the eye color nerves. 
 
 But, on the other hand, self-tone color schemes are 
 very useful for certain rooms. For instance, a sun 
 parlor on the south side of the house may appear very 
 warm, and, in order to make it restful, cool colors are 
 desirable. Then a self-tone color scheme in the greys, 
 blue-greens or greenish-blues or cold greys accomplish 
 the purpose very well. 
 
 Another illustration of where self-tone color schemes 
 are useful is in the case of a summer cottage near a 
 beach. The interior of such a home needs the beneficial 
 reaction of cool colors to offset the fatigue resulting 
 from too much eye stimulation by brilliant, warm colors 
 —the yellow beach sand and bright rays of the sun. A 
 living room in such a cottage done in greyed-greens and 
 ereyed-blues or bluish-greys is altogether restful. 
 
 In the case of a cold north room, which may also be 
 dark in a city home, a color scheme of self-tone may be 
 needed to contribute a warm atmosphere. In such a 
 room, rather bright yellows, orange and warm tans 
 accomplish the purpose. 
 
 It should be kept in mind, however, that self-tone color 
 schemes are apt to prove uninteresting and tiresome 
 where the rooms are used for long periods. This is true 
 because the one color of the room over-stimulates a cer- 
 tain set of the eye nerves. For continued comfort and 
 relaxation the human eye calls for a balance of color 
 sensations. This balance can be perfectly gained by 
 using all the primary colors—red, blue and yellow. Of 
 course, one of these primary colors would be the domi- 
 nant or key color used in greatest area of surface. It 
 is almost a greyed form of the one primary color, which 
 may be light or dark in color hue. The second primary 
 eolor in this case may be used in moderate area and 
 
202 THE MIXING OF COLORS AND PAINTS 
 
 should be, also, a subdued or greyed color. The third 
 primary color in this instance may be used in its pure 
 brilliant tone, but in’ very small area, such as in a single 
 vase, lampshade, window drapes or a picture, consti- 
 tuting the climax center of interest. 
 
 It is well to keep in mind, also, that the principal 
 advantages to be gained by using a self-tone color scheme 
 to accomplish a definite purpose—to give a cool effect 
 or a quiet, restful effect—may also be accomplished by 
 following one of the other two color harmony principles 
 —related colors or complementary colors. And the usv 
 of the latter two principles has the advantage of afford- 
 ing greater interest and a continuously comfortable 
 setting. 
 
 Related Colors—Analogy.—The use of this second 
 principle for securing color harmony is quite as easy as 
 that involving the use of tones of one color. Harmony 
 produced by this second principle is more pleasing and 
 is likely to be less tiresome after long usage. 
 
 A color scheme to be constructed after the principle 
 of related colors is built up at first exactly the same as 
 one made by using the first principle—tones of one color. 
 Instead of carrying tints and shades of the one color to 
 all surfaces of the room, some of the surfaces are given 
 one or two related colors. The one principal color 
 remains the keynote or dominating hue of the room, 
 while a second related color may be used in a fairly 
 large but subordinate area of a greyed color hue; another 
 related color may be used in a rather pure and bright 
 hue but in small area. 
 
 Related colors are such as join each other in the color 
 circle which represents the color spectrum of the light 
 rays. This will be clearly understood after examining 
 the color circle in Plate 8. 
 
 The related color hues are: 
 
 Red is related to orange-red, reddish-orange, orange, 
 
COLOR HARMONY AND MANAGEMENT 203 
 
 orange-yellow, bluish-red, red-violet ; 
 
 Blue is related to greenish-blue, reddish-blue, blue- 
 violet, violet, purple; 
 
 Yellow is related to reddish-yellow, orange-yellow, 
 orange, lemon-yellow, greenish-yellow ; 
 
 Green is related to yellow, yellow-green, greenish- 
 yellow, bluish-green, greenish-blue ; 
 
 Violet is related to blue, blue-violet, reddish-blue, 
 reddish-violet, bluish-red ; 
 
 Orange is related to red, reddish-orange, orange- 
 red, orange-yellow and reddish-yellow. 
 
 The use of the first and second principles of color 
 harmony doesn’t overcome, except in part, the fact that 
 a color scheme produced by either principle is composed 
 of all warm colors or all cold colors. Even the reddish- 
 blues, violets, purples, greenish-yellows and yellowish- 
 greens are cold color hues; or at best only moderately 
 warm, depending upon how much red or yellow is used 
 in their mixing. Blues and greens are cold colors, while 
 the yellows, oranges and reds are warm colors. 
 
 By the use of the related color principle interest is 
 gained mostly by contrast of values; that is, by using 
 light tints and dark shades of one principal color. By 
 this principle but little contrast of color hues—one color 
 with another—is gained. The interest arousing and sus- 
 taining ability of such color schemes is limited. Here, 
 too, a balanced stimulation of the eye nerves by colors 
 is lacking; the use of complementary colors or of all 
 three primary colors is needed to gain perfect balance, 
 ereater and sustained interest. 
 
 Color schemes utilizing the principles of related colors 
 and self-tones are apt to become monotonous and fail to 
 sustain interest, largely because too much uniformity 
 exists. ’ 
 
 To avoid this the color scheme plan should include 
 ample contrasts of values, hues and intensities as well 
 
204 THE MIXING OF COLORS AND PAINTS 
 
 as a positive climax center of interest. Colorful effects 
 and variety can be gained by contrasts of tints and 
 shades, of gloss and flat surfaces, and of intensity and 
 dullness of the same color. 
 
 Color schemes of related colors usually require the 
 addition of moderately intense warm colors like yellows, 
 orange or red to supply warmth, variety and interest. 
 The grey combinations especially need this stimulating 
 treatment, since most grey combinations are cool, passive 
 or neutral and a bit heavy. 
 
 Variety and interest are especially to be introduced 
 into schemes of related colors and self-tones by use of 
 wall panels, stripes, all-over wallpaper or stencil patterns 
 and artistic textures of special wall finishes. 
 
 Wherever two tints or two shades equally lght or 
 equally dark are used in such color schemes, the con- 
 trast of values is little. A weak, uninteresting impres- 
 sion is thus givén. To overcome this monotony a band 
 of darker or lighter self-color, or of complementary 
 color, should be placed between such weak contrasts. 
 
 Color combinations, like tints and shades of yellow 
 with yellowish-orange, blue with blue-green, blue with 
 violet and purple, constitute harmony of related colors. 
 There is no balance of eye stimulation in any of these 
 combinations,—a third and complementary color is 
 needed. 
 
 Care must be exercised in making color schemes of 
 related colors to avoid using two pure, intense colors 
 of the same value. Pure blue clashes with pure green of 
 the same value, but pure blue with bluish green of 
 lighter tint is harmony; pure red with intense orange 
 of the same value is a clash, while pure red with light 
 orange (mixed with white) gives contrast of values and 
 fair harmony. Violet and blue in pure intensity and of 
 the same value clash, but white mixed with the violet 
 inereases the contrast of values and produces a combi- 
 
COLOR HARMONY AND MANAGEMENT 205 
 
 nation not out of harmony. But the third and con- 
 trasting color is needed to complete al. these harmonies. 
 
 Complementary Colors.—Before carrying the study of 
 eolor harmony further it will be well to review the 
 section’ of Chapter IX which illustrates how comple- 
 mentary colors come to exist, and especially the Color 
 Card Chart in that chapter. 
 
 The primary colors are red, blue and yellow. The 
 complementary, or perfect contrast, for red is a bluish- 
 green; the complementary, or perfect contrast, for blue 
 is orange; the complementary, or perfect contrast, for 
 vellow is violet or purple. 
 
 The easiest way to clarify these associations of color 
 
 is by reference, again,’ to the color circle, Plate 8. 
 The complementary, or perfect contrast, for any color 
 in the circle is the color which is directly opposite. This 
 is strictly true when dealing with light ray colors, and 
 it is usually true when handling color pigments. There 
 are some slight discrepancies in the latter group, due to 
 lack of purity in the colors. One of these discrepancies 
 is noticed in the ease of green, which is the comple- 
 mentary and opposite color to red in the cirele. In 
 color pigments the green which is complementary to red 
 _ is a bluish-green. 
 
 Laws of color harmony eall for the use of color in 
 pairs in order to produce balanced stimulation to the 
 eolor sensitive eye nerves. When the eyes behold one 
 eolor too long they become tired and saturated with that 
 color. Then the fatigue is relieved by looking upon the 
 complementary of that color—the one opposite to its 
 position in the color circle. Consequently, eyes fatigued 
 with too much red seek green; when saturated with 
 yellow they eall for purple; when tired of green they 
 eall for violet and red. 
 
 In the construction of color schemes using comple- 
 mentary colors there are contrasts of warm colors with 
 
206 THE MIXING OF COLORS AND PAINTS 
 
 cold colors; there are contrasts of unlike colors; there “ 
 are contrasts of value coming from the use of light tints 
 and dark shades of one or more colors. These contrasts 
 are the qualities which add interest to color schemes 
 made by utilizing this third principle of color harmony. 
 The use of all of these contrasts gives the variety of 
 stimulations necessary for comfort and relaxation, for a 
 balancing of the stimulations of the eye nerves. When 
 these perfect contrasts are attained in a color scheme 
 there is a continuous stimulation by one set of colors and 
 a reciprocating reaction by other colors which satisfies 
 the color sensitive nerves in the human eye. 
 
 For these reasons the use of a complementary second 
 or third color hue with.self-tone or related colors makes 
 for perfect balance. 
 
 In theory the use of complementary, or perfectly con- 
 trasting colors, produces a reciprocating balance of 
 sensations which ought to satisfy the eye nerves con- 
 tinuously. 
 
 As a matter of fact, however, the use of strong, pure 
 colors, even though they contrast perfectly, makes the 
 eye weary just as too much excitement or emotion for 
 the human body causes fatigue and must be followed by 
 a period of calm and rest. 
 
 Consequently, if too much bright red in large areas, 
 for example, calls for green and the eyes are saturated 
 in turn with green which again calls for red as an 
 alternative the continued excitement of one color balane- 
 ing the other causes fatigue. Small areas of red and 
 green spots do not tire, because usually there are large 
 areas of neutral colors to compensate. 
 
 One way to avoid this excitement of bright pure colors 
 which contrast in color hues as well as value (equally 
 bright, light or dark tones of pure color) is to use colors 
 which contrast in color hue but not in value. 
 
 By way of illustration, select colors which are equally 
 
COLOR HARMONY AND MANAGEMENT 207 
 
 light or equally dark; then they contrast in color hue 
 but do not contrast in value as when one color is bright, 
 pure and light, while the other color is bright, pure 
 and dark, 
 
 A dark blue and a dark yellow, a light red and a 
 light green are not as tiresome and exciting as are dark 
 blue and light yellow or light red and dark green. In 
 the first set of colors you have contrast of color hues 
 but no contrast of values. In the second set you have 
 contrasts of color hues and also contrasts of values. The 
 colors may be equally pure and bright in all eases. 
 
 The principle and practice of neutralization should be 
 read at this point to understand another way to over- 
 come excessive excitement caused by the use of bright 
 colors. 
 
 Complementary colors can be greyed by adding white 
 or black or, better yet, by adding to one complementary 
 eolor a small amount of the other in the mixing. A 
 greyish-green is one to which a touch of red or white 
 has been added. <A greyish-red is one to which a touch 
 of green or white has been added. These two greyed 
 eolors complement each other perfectly and contrast in 
 both eolor hue and value. They are not tiresome and 
 exciting like the pure, intense colors, and they harmonize 
 perfectly, not only because they complement each other, 
 but because they have been neutralized. 
 
 The handling of color schemes consisting of two com- 
 plementary colors for interiors must be thoughtfully 
 done. Even though they are in perfect harmony with 
 each other, they are too stimulating and exciting in their 
 pure, intense state. To subdue them three courses are 
 open to pursuit. Small areas of pure color may be used 
 for the climax group, or center of interest, but one or 
 both colors used in large areas should be subdued. Con- 
 sider orange and blue. 
 
 Neutralize the orange.—If the orange is to be used in 
 
208 THE MIXING OF COLORS AND PAINTS 
 
 large area a bit of the blue should be mixed with it. That 
 will bring both colors nearer to each other in analogy. 
 It will decrease the warmth of the orange. The blue may 
 be used rather pure and intense in moderate size areas. 
 
 Neutralize the blue.—If the blue is to be used in large 
 area, mix a little of the orange with it. That will neu- 
 tralize the blue, add a bit of warmth, reduce its intensity 
 and purity and bring it nearer to orange by analogy. 
 
 Neutralizing both complementaries.—When both colors 
 are to be used in large areas mix a little of each with the 
 other, thus neutralizing both. Then the contrasts of 
 Paities and intensities are reduced. 
 
 If considerable of one color is added to the other you 
 will change the principle from harmony of complemen- 
 tary colors to harmony of related colors—analogy. It 
 changes the combination from one of interest in different 
 eolors to interest in like colors. 
 
 Color combinations may be subdued or toned down in 
 the same manner by mixing white with one or both 
 colors. This is called greying the color. If white is 
 added to only one of the colors you decrease its intensity 
 and the contrast of hue, but you increase the contrast 
 of values. If white is added to both colors you grey 
 both, decrease the contrast of intensity and the contrast 
 of values remains as it was. 
 
 The mixture of black with either or both colors reduces 
 contrast of value and intensity. 
 
 Stippled Pure Colors.—An association of pure, intense 
 complementary colors when both are used in small spots, 
 superimposed on a neutral light colored ground coat, 
 as in the sponge stipple wall finishes, creates a vibrat- 
 ing middle tone. And as the spots are made smaller the 
 two colors blend or are mottled and the contrast is lost 
 in a tone between the two colors. 
 
 Color schemes based on the use of complementary 
 eolors are likely to produce too much variety of contrasts, 
 
COLOR HARMONY AND MANAGEMENT: 209 
 
 likely to set up competing interests and rivals for atten- 
 tion, unless skill is used in securing unity and continuity. 
 
 A well ordered plan will organize areas, locations and 
 intensities of colors; it is one which definitely establishes 
 a clear-cut climax as the center of interest and one 
 which neutralizes or greys all but the climax colors. 
 
 Neutralizing and Greying Colors——Harmony in color 
 combinations as used generally by decorators is gained 
 by the addition of white to subdue pure, bright colors, 
 as well as by the use of complementary colors, related 
 colors and self-tones of one color. Then one character- 
 istic (the white) runs through all the colors used and 
 that is what assures harmony. A bright color is greyed 
 by mixing white with it. 
 
 The artist painter, however, neutralizes his bright 
 eolor on canvas for backgrounds, shadows and inter- 
 mediary tones by mixing with. such color its comple- 
 mentary, the color opposite to it on the circle. Plate 8. 
 
 The tertiary colors—olives, citrine and russet—are 
 neutralized colors. Hues of red, blue, yellow, violet, 
 purple, orange and green go into their make-up. 
 
 Wall surfaces are always a background and therefore 
 subdued colors are essential. Neutralized and greyed 
 colors constitute a foil for a few bright colors used in 
 small area in the decorations or furnishings. 
 
 Neutralization is a necessary part of every color 
 scheme. The very shadows of nature—dull blues, violet, 
 green and brown—approach black and are neutralized 
 color. 
 
 The ground color for an object, a wall or a painting, 
 may be mixed a neutral color, or neutralization in effect 
 may be gained as the ancient Egyptians often did,—by 
 using white, gold and black along with pure, intense 
 colors. The white, gold and black in a color scheme 
 meutralize or compensate for strong colors. 
 
 In the color schemes of the Italian and French peoples, 
 
210 THE MIXING OF COLORS AND PAINTS 
 
 who are noted for their masterly use of color, the three 
 primary colors red, blue and yellow, mixed together to 
 neutralize them, often enter. A bright color may be 
 broken with white to grey it, or it may be broken by 
 mixing with it a very dark neutral color (black) 
 gained by mixing the three primary colors together. 
 And, of course, in their color schemes there is usually 
 a dominant color tone in evidence, the neutralized, 
 broken eolors serving as foil or background for the 
 dominant color. 
 
 Many ancient peoples used colors which were neutral 
 or greyed, rather than the brilliant, pure colors of our 
 day. The Egyptians often and the Assyrians especially 
 were noted for their masterly use of these to produce 
 color harmony. The red so much used by ancient artists 
 of Japan was a yellow red, while their blue was a neu- 
 tral, greyish blue. The blue of the Persians so evident 
 in rugs was greenish in hue and a violet-blue was its 
 contrast. Pompelian red is really a complex color which 
 ean be produced now only with vermilion, ochre, raw 
 and burnt sienna and a bit of raw and burnt umber. 
 Pompeiian yellow is an orange yellow having a touch 
 of blue in its makeup. Pompeiian black results from the 
 mixture of red, blue and yellow, the primary colors. 
 
 If it were not for the principles of neutralization and 
 ereying of colors, colorists would have a difficult time 
 of it. With only intense colors, black, white and gold 
 harmony in color schemes is easy to get, but such combi- 
 nations are far too eye-stimulating for most interiors, 
 and especially for living rooms, sleeping rooms, libraries 
 and school rooms, where a restful, passive and subdued 
 atmosphere is essential. Such color treatments are pos- 
 sible only by using greyed colors and neutral colors 
 producing contrast values of low tones. 
 
 What is especially to be remembered about neutraliz- 
 ing and greying of colors is that when you have mixed 
 
COLOR HARMONY AND MANAGEMENT 211 
 
 two or more colors of strong intensity and are at ail 
 doubtful about the harmony of the combination, you 
 can assure harmony by the addition of a little white to 
 both eolors to grey them; or by mixing a little of one 
 color with the other you can gain harmony by neutrali- 
 _zation—by making them related colors. 
 
 Nearly all very light tints of all colors harmonize with 
 each other, some better than others, because they are 
 neutralized or greyed or both neutralized and greyed. 
 In other words, the thread of neutral or greyed tone 
 may run through all such tints and ties them together 
 in harmony. 
 
 The Law of Simultaneous Contrast.—There is no such 
 thing as a color which is constant under all conditions 
 as to appearance to the human eye. 
 
 The character of a color is always relative. The 
 appearance of a color differs always, depending upon 
 the amount of light it receives, whether it is sunlight, 
 electric light or gas light and especially does the appear- 
 ance differ according to what other color or colors 
 surround it. 
 
 Any two colors will change in character when placed 
 beside each other and when one is superimposed upon 
 the other. One influences the other in its stimulation 
 of the eye nerves. 
 
 A light grey placed beside black or any dark color 
 appears lighter because of the contrast of values. 
 
 A dark grey placed beside white, light grey or a light 
 color tint appears darker, because the contrast in values 
 is great. 
 
 For strong display and striking color schemes this 
 reat contrast in values is essential. Moderate contrast 
 in values is desirable to create interest in interior color 
 schemes, but it 1s possible to produce a contrast in values 
 so strong as to be a discordant note in a room and which - 
 breaks in on the continuity or unity of the color scheme. 
 
212 THE MIXING OF COLORS AND PAINTS 
 
 When the purity, depth and brilliance of dark colors 
 like blue, green, purple, violet and the shades of these 
 colors are to be enhanced, place alongside of them. light 
 greys, tints of colors or white. 
 
 When the purity, depth and brilliance of light colors 
 like yellow, orange and red is to be enhanced, place 
 alongside of them dark greys, shades of colors and black. 
 
 A color displayed on a white or grey background may 
 appear bright and pure, but when it is displayed on its 
 complementary color as a background it will be even 
 brighter and more intense. For instance, a red spot on 
 a green field-not only appears brighter and more intense, 
 but the green, too, is more intense. 
 
 Colors which are related to each other by analogy, 
 such as yellow, orange-yellow and greenish-yellow, have 
 little contrast in value and when one is superimposed 
 upon the other it tends to dull the other. 
 
 The use of a pure, bright color superimposed upon a 
 greyed color tends to deaden the grey, if the grey is 
 not complementary. A pure yellow is not in good har- 
 mony with dull red, greyed orange or greyed browns, 
 but, on the other hand, a pure, bright yellow adds life 
 and intensity to a greyed blue. 
 
 The greatest display strength is secured by the use of 
 complementary colors together and when one is very 
 pure and strong and light in value, while the other 
 is pure and strong- but dark in value. Such a combi- 
 nation is useful, however, only for very small areas in 
 decoration,—what decorators call jewel points. In large 
 areas these intense contrasts in both color hue and value 
 are too exciting and are tiresome. 
 
 Decorators and artists depend upon the law of simul- 
 taneous contrast for brilliance and intensity of display 
 by placing small areas of pure, intense complementary 
 eolors in contrast with each other. 
 
 In other words, bright color schemes can be con- 
 
COLOR HARMONY AND MANAGEMENT 213 
 
 structed by using pure, intense colors, but the fullest 
 
 intensity and brilliances comes from the association and 
 
 contrast of those colors with their complementary colors. 
 
 Red placed alongside of green appears redder and the 
 ereen appears greener;—their purity or degrees of 
 intensity are increased by the close association. <A bit 
 of blue tapestry near a heavy gold picture frame appears 
 bluer while the gold appears yellower. 
 
 The point about the manner in which one color influ- 
 ences another which should be remembered is this: 
 A color tends to project its complementary color into 
 adjowming colors. Thus:— 
 
 Red alongside of any color tends to add a greenish hue 
 (its complementary) to colors associated with it :— 
 
 Red causes green to appear brighter and more 
 intense ; 
 
 Red causes yellow to appear greenish in hue; 
 
 Red causes orange to appear browner ; 
 
 Red causes warm, yellowish grey to appear neutral 
 or cooler; 
 
 Red causes cold, bluish grey to appear colder. 
 
 Blue placed alongside of any color tends to add an 
 orange-yellow hue (its complementary color) to colors 
 associated with it :— 
 
 Blue causes orange-yellow to appear more intense 
 and brighter ; 
 
 Blue causes red to appear yellowish in hue; 
 
 Blue causes warm, yellowish grey to appear even 
 warmer ; 
 
 Blue causes cool, bluish grey to appear warm or 
 neutral. | 
 
 Yellow placed alongside of any color tends to add a 
 purple or violet hue (its po UEC a Ly eolor) to 
 eolors associated with it :— 
 
 Yellow causes purple or violet to appear more in- 
 tense and brighter. 
 
214 THE MIXING OF COLORS AND PAINTS 
 
 Yellow causes red to appear violet or purple in hue; 
 Yellow causes warm, yellowish grey to appear neu- 
 tral or cool; 
 Yellow causes cool, blue grey to appear cooler. 
 Green placed alongside of any other color tends to add 
 
 a violet hue to colors associated with it. Its action is 
 
 the same as that of yellow in this respect :— 
 
 Green causes violet to appear more intense, brighter ; 
 
 Green causes yellow to appear less intense by throw- 
 ing a violet hue into it; 
 
 Green will cause red to have a slight violet hue; 
 
 Green will cause warm, yellowish grey to appear 
 neutral or cool; 
 
 Green will cause cool, blue-grey to appear cooler and 
 to have a violet hue. 
 
 Violet placed alongside of any color tends to add a 
 greenish hue to colors associated with it :— 
 
 Violet causes green to appear more intense, brighter ; 
 
 Violet causes yellow to appear greenish in hue: 
 
 Violet causes red to appear brownish in hue; 
 
 Violet causes warm, yellowish grey to appear cool or 
 neutral ; 
 
 Violet causes cool, blue-grey to appear cooler and 
 bluer. 
 
 The satisfaction found in the contemplation of. color 
 harmony is explained by psychologists as a result of 
 uneonsecious appreciation of balanee. The activity of 
 the color sense, as is the case with the senses of taste 
 and hearing, becomes intensified by contrast. The palate 
 is more responsive to a bitter taste if already cloyed by 
 sweets. Sound seems the greater if arising out of the 
 stillness of solitude. The nerves of the eye, wearied by 
 the excitement produced by red, are quick to appreciate 
 the restfulness of green. As a result of this peculiarity 
 a color appears to tinge with its complementary any 
 adjoining surface. For this reason green is becoming 
 
‘ 
 
 COLOR HARMONY AND MANAGEMENT 215 
 
 to a woman who is pallid. The eye apparently sees a 
 tint of red in her face. 
 
 Colors Influence Life.—Science proves that character 
 and personality are molded by the walls and furnishings 
 with which we live. Color creates environment which 
 either stimulates or depresses the mind. Colors may be 
 selected as we choose music,—to produce cheery atmos- 
 phere, warmth, harmony. 
 
 Every color of the solar spectrum exercises a corre- 
 sponding human emotion. These emotions give rise to 
 various states of mind, such as happiness, serenity, 
 excitement, gloom, depression, irritation. Too much of 
 red excites and irritates, while too much of blues and 
 violet depresses. 
 
 Certain colors, odors, sounds and substances produce 
 stronger reactions on some people than on others. Pink 
 and vivid violets cause some people to suffer nervous 
 irritation and depression due to too much stimulation of 
 their color sensitive eye nerves. 
 
 Some colors, on the other hand, possess curative 
 powers ;—chrome yellow, for example, has been found 
 excellent for shell shock victims. And in one experiment 
 a large number of patients in a hospital for those suffer- 
 ing from mental and nervous disorders showed remark- 
 able reactions to color. On dull, gloomy days these 
 patients were very irritable and difficult to manage. 
 But when removed to a large room decorated in sunshine 
 effects to reproduce sunlight as nearly as possible with 
 yellow orange decorations, these patients soon returned 
 to their normal actions noticed on bright days. 
 
 Another illustration of color influence was given when 
 a large number of girls in a reformatory were allowed 
 some liberty in color taste. When all were required to 
 dress exactly alike and to oceupy rooms or cells colored 
 alike, these girls marked the walls and disfigured them 
 greatlv. Runt when each was permitted to select. the 
 
216 THE MIXING OF COLORS AND PAINTS 
 
 color for her cell and was also allowed some liberty in 
 the color of her dress, a pride and interest was awakened 
 which caused them to cease marking up the walls and to 
 be less difficult of management. 
 
 Apparently there is quite as much pleasure and satis- 
 faction to humans gained from exercising individual 
 taste in color as in music and other things in life. 
 
 How Colors Appeal to Us.—Colors convey an impres- 
 sion of temperature—warm and cold colors; an im- 
 pression of foree—active, advancing colors and passive 
 and receding colors; an impression of weight—dark 
 colors and shades seem heavy, while white and tints seem 
 light in weight. 
 
 It should. be noted that complementary colors such as 
 purple or violet and yellow, bluish green and red, orange 
 and blue, balanee each other perfectly in the above 
 qualities ;— 
 
 purple is cold, passive, heavy, receding; 
 vellow is warm, active, light, advancing. 
 
 oreen is cold, passive, heavy, receding ; 
 red is warm, active, ight, advancing. 
 
 blue is cold, passive, heavy, receding ; 
 orange is warm, active, light, advancing. 
 
 In consequence of these facts, complementary colors 
 not only are in harmony by perfect contrast, but used 
 in pairs they supply balanced stimulation of the color 
 sensitive nerves of the eyes. 
 
 The eye nerves of one kind become exhausted when 
 exposed to one color too long. The degree of fatigue 
 produced by a color is in direct ratio to the intensity of 
 the color, and the relief is found in the exact complement 
 of the color. Fatigued nerves tend to eall up vision of 
 the color which is complementary to the color causing 
 the exhaustion. Thus, over-exposure to red is balanced 
 
COLOR HARMONY AND MANAGEMENT alt 
 
 by green; over-exposure to green calls for red; over- 
 exposure to yellow calls for purple or violet; over- 
 exposure to orange calls for blue, ete. 
 
 Light tints and colors convey an impression of youth 
 and gaiety. 
 
 Dark colors are mysterious, sober, sedate, sombre, 
 mature and dignified, as they appeal to our moods. 
 
 Warm colors are exciting, stimulating and active. 
 
 Greyed colors are, apparently, a bit sophisticated and 
 melancholy, though very restful. 
 
 Orange is the most exciting’ color, yellow-green is the 
 most tranquilizing color, and violet is the most subduing 
 eolor. 
 
 Cold, Sombre Colors.— 
 
 Blue Violet 
 Gray Purple 
 Green White 
 
 Green is a cold color only when the blue in its com- 
 position predominates. These colors seem cool perhaps 
 because associated with the colors of large areas of water, 
 ice and the colors of nature. 
 
 Warm, Cheerful Colors.— 
 
 Red Yellow Tan Ivory Pink 
 Orange Brown Cream Old Rose Buff 
 Green (when toned with yellow, red or orange) 
 Warm Grey (has red or yellow in its make-up) 
 
 Restful Colors.— 
 
 Browns 
 
 Olives 
 
 Sage Green | 
 
 Srey Green | These make an excellent back- 
 }treens ground for pictures also. 
 Tans 
 
 Warm Grey 
 
 Old Blue 
 
218 THE MIXING OF COLORS AND PAINTS 
 
 Colors which harmonize by analogy, especially when 
 pure in tone, suggest quiet, repose and rest. 
 
 Excitable, Tiresome, Irritating Colors.— 
 
 Bright Red Bright Blue 
 Bright Orange Terra Cotta 
 Bright Yellow Emerald Green 
 
 Black is cold, heavy in weight, receding, and passive. 
 In combinations where black predominates it ought to 
 be balanced by active colors with high contrast of value; 
 intense, pure red, orange and deep yellow like gold are 
 most effective in balancing large areas of black. Black 
 enriches the beauty and emphasizes the intensity of 
 these colors. Silver and bright green also makes a 
 pleasing combination with black. 
 
 White is warm, active, advancing, and light in weight. 
 Combinations to have strong display contrasts are formed 
 with white by the addition of dark, cool colors like 
 intense blue, green and purple or violet. Which of 
 these colors should be used to complement white depends 
 upon the character of the white. Whites have a blue, 
 yellow, red or grey hue. 
 
 Poorly selected colors make folks weary, restless and 
 irritable, but they do not always recognize the cause of 
 the disturbance unless the color scheme is very unusual. 
 
 Colors That Give Distance—Largeness.—In the color 
 schemes of nature, the green, blue and grey of the ocean 
 and sky predominate and these are the colors which in 
 their lighter tones produce the effect of distance and 
 largeness. But as solid, strong colors these, like all 
 dark colors, would cause a wall or object to seem nearer. 
 They ought to be used in light tints. 
 
 Receding colors—blue, green and grey—give a sense 
 of spaciousness; and the advancing colors, such as red 
 and yellow, bring the object nearer us. If an apartment 
 be too large and barn-like, it is no difficult matter to 
 
COLOR HARMONY AND MANAGEMENT 219 
 
 make it seem smaller by the use of a warm, advancing 
 color scheme. Contrariwise, in the case of cramped, 
 small rooms, we may actually seem to have gained room 
 by the choice of cool, retiring blue, green or grey. 
 
 Lack of harmony in a color scheme isn’t the only tire- 
 some element in color. Some colors are very active and 
 advancing, while others are receding. And these quali- 
 ties are relative. 
 
 _ Pure, intense blues and greens are receding colors as 
 compared to orange and reds, but pure blues and greens 
 are advancing and nerve fatiguing as compared to 
 greyed blues and greyed greens, 
 
 Color and Artificial Light—Careful selection of a 
 eolor scheme for rooms will take artificial light into 
 consideration, since most rooms are used with both day- 
 light and artificial light. 
 
 Certain colors change considerably under the influence 
 of artificial light. The color spectrum differs somewhat 
 in its colors when the source of light is a burning gas 
 or electricity rather than sunlight. 
 
 _ Light blues are nearly invisible in night light. There 
 are, however, night blues which do retain their color 
 intensity better under the rays of artificial light. Pure 
 blue appears almost black at night. 
 
 Colors like yellowish green appear to lose their yellow 
 hue at night and become more bluish green in hue. 
 Creams, yellows and light tans are greyed, while orange 
 becomes more reddish in hue under artificial lighting. 
 
 Pure yellow which is free from a greenish or reddish 
 tinge appears under artificial light to be almost white. 
 Searlet appears normal but brighter. Bright pure bluish 
 green appears normal but a little dull. 
 
 Other changes noticeable under the influence of elec- 
 tric or gas lights are: 
 
 Azure Blue appears grey and dull. 
 Cadet Blue appears soft and dull. 
 
220 THE MIXING OF COLORS AND PAINTS 
 
 Peacock Blue appears soft and dull. 
 Old Blue appears soft and dull. 
 Robin’s Egg Blue appears grey and dull. 
 Brown appears softer. 
 
 Buff appears to be little changed. 
 Grey appears softer. 
 
 Green appears softer. 
 
 Lavender appears adversely affected. 
 Maroon appears softer. 
 
 Pink appears adversely faded. 
 Purple appears black. 
 
 Reds appear to be little changed. 
 Rose appears adversely affected. 
 Salmon appears faded. 
 
 Terra Cotta appears softer. 
 
 Violet appears to be little changed. 
 Yellow appears softer and faded. 
 
 Knowing these changes which occur at night, a good 
 decorator will count on them. Color schemes which 
 include yellows as principals will be so balanced that 
 night light will not make them too weak. More reddish 
 or brownish hues will be given the yellows. _ 
 
 Correction of color schemes which lose their balance 
 and interest at night can be made by using lampshades 
 which project yellow light where needed. Colored lamp 
 bulbs casting colored lights which blend into a color 
 scheme can be most effectively used with a little study. 
 
 Se 
 
CHAPTER XIII 
 
 SELECTING COLOR SCHEMES 
 
 Probably the first idea of importance when one starts 
 out to construct a color scheme for any room is that of 
 making a plan which will consider the room completely 
 furnished as a whole. It is quite impossible to intelli- 
 gently select colors for walls, wood trim, floors and ceil- 
 ings without knowing the kind, character and color of 
 the furniture, drapes and accessories in general, which 
 are to be used as a part of the room. And yet this is 
 
 done every day; more rooms are decorated without refer- 
 
 ence to the furnishings than after a plan which includes 
 everything. As people in the mass become better edu- 
 eated in the artistic use of color and design, this arbi- 
 trary selection of colors for wall surfaces of rooms will 
 diminish. 
 
 There is under way today a great renaissance of color, 
 a revival of interest in color which is giving even greater 
 impetus to the painting, decorating and printing in- 
 
 dustries. 
 
 Intense interest is being aroused in the great masses 
 of people in better and more extensive use of colors. 
 Decorators, painters, printers, factory finishers of furni- 
 ture, textiles and all who use color, are confronted with 
 the necessity for learning more about the tasteful and 
 harmonious use of colors. A greater knowledge of color 
 pigments, liquids, theory of color and principles of color 
 law is imperative for those who would keep abreast of 
 the times. 
 
 Having a plan for a color scheme makes one consider 
 the room as a whole and points to the wisdom of correlat- 
 
 221 
 
222 THE MIXING OF COLORS AND PAINTS 
 
 ing colors, textures and designs; it makes one construct 
 the harmony of a room as an author constructs his story 
 and as an artist plans his composition on canvas or in 
 music. 3 
 
 The lack of a plan and organized thought in selecting 
 color schemes is largely responsible for most failures to 
 acquire harmony. 
 
 A lecturer who talks and talks aimlessly, who just 
 rambles hither and yon, soon exhausts the patience and 
 interest of his audience. A story in fiction and a drama 
 without plot, direction, progression and climax is a flat 
 failure. There is little or no difference between these 
 and attempted decoration of a room to gain harmony of 
 eolor in architecture and furnishings. We accept these 
 flat failures because we have grown accustomed to them, 
 and we live with them for years, all the while being 
 influenced unfavorably in mentality and physically by 
 them, unknowingly, as a rule. 
 
 When a thoughtful plan has been made all furnish- 
 ings and colors, textures and designs going into a room 
 are selected with reference to the whole room as a unit. 
 Of course, the question does arise with most people when 
 they buy furniture, drapes or other furnishings, as to 
 ‘‘how it will go with this or that,’’ but even then there 
 is usually no plan for the whole room; anxiety is present 
 only lest one piece of furnishings should clash with 
 another. How all correlate and fit together doesn’t 
 concern one as often as it should. 
 
 There ought to be less promiscuous buying of wall- 
 papers, drapes, cretonne, cushions, scarfs, pictures, rugs, 
 pottery and vases. When this is accomplished much 
 more success will be gained in constructing beautiful, 
 restful and harmonious interiors. The discords will be 
 eliminated and disorder will change to artistic arrange- 
 ment. 
 
 The beauty of art is not a thing apart from all else. 
 
SELECTING COLOR SCHEMES 223 
 
 It is part of everyday life of people and is expressed 
 constantly in the construction of private and public 
 buildings. 
 
 Real beauty, art, comes from the satisfaction one feels 
 when the eye, the intellect and the affections are satisfied. 
 
 Ornamentation, which is decoration, should add to the 
 beauty of a structure as a whole. It is not necessary to 
 the utility of a structure or article of merchandise, and 
 it is bad decoration if it interferes with utility. 
 
 The result of good decoration should be a color effect 
 as a whole,—not colors. 
 
 In color management, selecting colors which go well 
 together is largely a matter of mathematically following 
 rules; choosing colors which go well together is simply 
 a matter of knowing colors and color principles. 
 
 The big thing in creating color schemes which are not 
 only in harmony but which possess the quality of interest 
 and have the power to sustain that interest indefinitely, 
 is organization. 
 
 The difficult task is that of making a plan for color 
 treatment of a room, gaining harmony by contrast of 
 values, hues and intensities, harmony in balance, pro- 
 portion and rhythm. That ealls for judicious selection 
 of bright and dull, warm and eool, advancing and 
 receding colors, gloss and flat, large and small areas, 
 location, repetition and arrangement of colors. 
 
 The perfect color scheme sustains interest, it is livable 
 and grows on one. It possesses neither great variety 
 nor great likeness. 
 
 Too much variety causes restlessness; discord and 
 chaos are extreme degrees of variety in contrasts of 
 values, hues or intensities. Too much variety in music 
 or anything else is chaotic. 
 
 Too much of sameness, likeness and uniformity, on 
 the other hand, dispels interest and is the extreme in 
 * monotony. 
 
224 THE MIXING OF COLORS AND PAINTS 
 
 Climaxes and Centers of Interest.—Just as a drama 
 and a story require a climax to make an entertaining, 
 harmonious unit which sustains interest, so also must 
 perfect and practical color schemes have climaxes. 
 
 Centers of interest which constitute climaxes are essen- 
 tial as elements around which the color schemes can be 
 constructed. 
 
 A climax in a room may be a brilliant, intense colored 
 vase, a bit of white statuary or a bouquet of flowers 
 arranged in a vase and grouped on a table so the light 
 will refiect them in a mirror. The climax may be a 
 fine book in art binding of pure, intense color arranged 
 on a very light colored or white scarf on a table; it may 
 be a rather large picture the colors of which are pure 
 and intense and contrasting with great vigor. Window 
 drapes of bright color greyed somewhat are too often the 
 climax of a room. 
 
 As a rule the climax color of a room is very bright, 
 but should be used in comparatively small area. 
 
 If pure, intense colors are used in more than one 
 center of interest, unless the room is large, anti-climaxes 
 will be present and the effectiveness of the color plan will 
 be injured. Then the room will not be so restful and 
 inviting. Stimulation for the eye nerves will come from 
 too many sources in competition with each other for 
 attention, those who live in the room become weary and 
 uneasy without knowing the cause. 
 
 To be sure of balance in a color scheme, the rule to 
 follow is that of having a small area of pure, intensely 
 brilliant color balance a large area of dull, greyed and 
 subdued color. 
 
 The principle of constructing a color scheme around 
 a climax doesn’t mean that all the colors except those 
 in the climax group must be very dull greys or very low — 
 contrasts of value in other colors. 
 
 Moderate contrasts of values in self-tints and shades 
 
SELECTING COLOR SCHEMES 225 
 
 of the keynote color are permissible; moderate contrasts 
 of values and of greyed hues of related colors may be 
 used to good effect, too. And even complementary 
 colors, considerably greyed or neutralized by the addi- 
 tion of white or complementary colors, can be used to 
 add cheer and avoid a too sombre atmosphere in the color 
 scheme before the climax color is introduced. 
 
 These related colors and subdued complementary 
 colors may well occur in the rugs, drapes, pictures, 
 pottery and odd furnishings. 
 
 Appropriateness of Color Schemes.—The eternal fit- 
 ness of things has most forceful illustration in the selec- 
 tion of color schemes for various rooms. 
 
 In a ladies’ bedroom we may fittingly employ the 
 light, delicate and airy tints,—greys, grey-greens, pale 
 pink and silver, the delicate yellows and pale blues; but 
 in the trophy room of a men’s club such delicate har- 
 mony would be ridiculous. There more forceful, strong 
 coloring, though in harmony, is needed. And there the 
 use of quietly insistent complementary colors and 
 stronger contrasts of values, hues and intensities are 
 ealled for. 
 
 A millinery shop calls for a different handling of 
 delicate colors in harmony. A novel and more colorful 
 treatment and arrangements of colors to display greater 
 strength of contrasts than in a lady’s bedroom are 
 needed. 
 
 The brilliant display of gold, vermilion, ivory and 
 intense blues of the circus wagon finds no appropriate 
 place in the decoration of home interiors. Although the 
 decoration of a business display room for powerful 
 machinery ought by all means to make use of fairly 
 intense complementary colors with strength of contrast 
 of values. 
 
 Colors must fit the purpose for which a room is used 
 quite as much as is true in the case of merchandise. A 
 
226 THE MIXING OF COLORS AND PAINTS 
 
 strong and powerful piece of farm machinery is appro- 
 priately colored in intense reds and greens; it would 
 look ridiculous painted in the baby blue or pink of a 
 child’s bed or high chair. 
 
 Balancing a Color Scheme——On certain occasions a 
 room is purposely decorated to give a warm or a cold 
 atmosphere, as when a cold north bedroom is decorated 
 warmly, or an excessively hot south room is given a cool 
 atmosphere by decorative treatment. Also some rooms, 
 like a dance hall, for example, are planned to have a 
 very active, lively color scheme, while a library or school 
 room ealls for quiet, subdued, restful treatment. 
 
 The average room, however, needs a decorative plan 
 which is well balanced between warm and cold tones, 
 active and passive design. Neither too warm and stimu- 
 lating, too cool and chilly, nor so neutral and drab as to 
 be cheerless and uninteresting. 
 
 This balance of harmony and atmosphere is gained by 
 judicious handling of pattern, texture or design on walls; 
 skill in the use of bright, intense colors, warm and cool 
 eolors, greyed and neutral tints and shades, and, more 
 specifically, by skill in creating contrasts of value 
 (neither too high nor too low), contrasts of color hue 
 and contrasts of color intensity. 
 
 Great care should be taken to avoid having extreme 
 contrasts by all three methods—value, hue and intensity 
 —at the same time. Self-tones and related colors may 
 be fairly strong in contrast of value if they are greyed 
 or neutralized without proving too stimulating to the eye. 
 
 Comfort and a sense of well-being in humans results 
 from balance. How we react to temperature and to 
 light and dark indicates comfort, balance, or lack of 
 them. Color may put us at ease in comfort or throw a 
 human completely off balance, if there be lack of har- 
 mony or too large an area of strong, brilliant color. 
 Such color tires the eye, as do also weak, washed-out 
 
SELECTING COLOR SCHEMES 227 
 
 colors. The sense of balance seems to come from near 
 the greys in the color scale. 
 
 Upon the area of strong color the balance of a color 
 scheme also depends. We like strong colors, but in small 
 amounts. A comparatively small spot of bright red, 
 yellow or blue will balance a great area of grey and 
 other dull, harmonizing color tints and shades. So 
 bright colors only excite and fatigue the eye when used 
 in large areas. 
 
 And, of course, the general principle requiring that 
 a gradation of color from floor to ceiling should exist 
 should not be lost sight of. Walls ought to be a lighter 
 tone than the floor; ceiling ought to be lighter tone than 
 the wall. This is a contrast of values; the contrast 
 should not be great; just a pleasing gradation from the 
 bottom up as in nature with its black or dark colored 
 earth to its light blue sky. 
 
 Dark colors on top or in the middle just naturally 
 throws a color scheme out of balance. Dark eolors ap- 
 pear heavy, as do also bright colors in certain combina- 
 tions with light tints, and the laws of gravity place 
 weight at the bottom. That is, then, the agreeable, na- 
 tural and pleasing arrangement. 
 
 Color Schemes for the Inning Room.—The living room, 
 as the name suggests, has ever been the place where most 
 of the family life is spent, where friends and visitors are 
 entertained. Here should be created an atmosphere of 
 comfort, relaxation and quiet refinement. 
 
 Extraordinary or novel effects in this room might 
 entertain or amuse the guests, but they are sure to 
 become tiresome to the family. Such decoration doesn’t 
 sustain interest well and is likely to be too stimulating 
 to associate with seven days in the week. A conventional 
 and conservative expression of good taste in decoration 
 is more fitting in the living room. 
 
 The color note may be any of the greyed or neutral 
 
228 THE MIXING OF COLORS AND PAINTS 
 
 tints and shades. Tans, moderately hght browns, warm 
 greys, old blue, grey-green and neutral blue-green, dull 
 russett, buff, olive or sage green, warm drab and Bedford 
 stone are some of the colors which are suitable. 
 
 The selection of a color scheme for a room where there 
 is one invariable element, that is, where the furniture 
 or rug has already been selected must necessarily pro- 
 ceed from the color of such furniture or rugs. In other 
 words, the keynote color of the room must be that of 
 the rug or*furniture related to or complementary to 
 them. 
 
 This keynote color may, of course, contrast with the 
 rug or furniture in color hue and in value, using lighter 
 tints and darker shades. The character of the room 
 coloring may be made either warm or cool in general 
 atmosphere, even when starting from a fixed element of 
 eolor, like furniture and rugs, which are apt to be of 
 warm tones. Likewise, the color scheme can be either 
 receding or advancing in character, depending upon the 
 size and shape of the room. 
 
 For the purpose of illustration, let us assume that we 
 have a new living room without color, except the natural 
 new colors of walls, wood trim and floor. 
 
 The first consideration is the size and shape of the 
 room. Is it too small and does it require giving: appar- 
 ently increased size? Is it a large room in which a wide 
 range of choice in colors, textures and designs is offered ? 
 Are the ceilings quite high, affording an opportunity to 
 use fairly dark colors, or are they low, requiring very 
 light colors? Is the room quite ornate, architecturally, 
 or is it plain and simple? Is there a large amount of 
 wood trim or is it of a type which has no door or window 
 casings? Are the walls oceupied largely with built-in 
 furniture, resulting in comparatively small wall area? 
 Are the wall surfaces continuous or are they broken up - 
 hy trim, by wood paneling or by paneling with moldings ? 
 
SELECTING COLOR SCHEMES 229 
 
 When you have made a study of the room and have a 
 clear idea of its character in answer to these questions, 
 the next step in making a color scheme plan is to decide 
 on a keynote color. Is the general color atmosphere to 
 be very light, moderately light or quite dark? Is the 
 eolor feeling of the room to be warm, cool or simply 
 neutral? What are the color preferences of the people 
 who are to occupy the room? These should be consid- 
 ered but should not be allowed to dominate the color 
 scheme unless they coincide with the other elements 
 involved. ) 
 
 What is the character of the hght—is the room flooded 
 with sunlight, is it moderately light, or is artificial light 
 depended upon much of the time? 
 
 Until one is experienced in the selection of color 
 schemes, the safest method to pursue as the first step 
 is to choose one keynote color and then follow the prin- 
 ciple of harmony by using self-tones—leghter tints and 
 darker shades of that color for the surfaces of larzest 
 area, which are the walls, the floor and ceiling. Then 
 to this related colors can be added in a limited way to 
 gain additional harmony by the principle of analogy; 
 or as one becomes more skilled complementary colors 
 which are in perfect contrast with the keynote color may 
 be used in a greyed tone and in small areas. 
 
 The accomplishment sought in working with these 
 principles of color harmony should be to construct a 
 color scheme which is rather subdued, low in tone and 
 quietly harmonious. This refers not alone to the colors 
 for walls, floor, ceilings and trim, but also to the selec- 
 tion of furniture, rugs, pictures and usually the window 
 drapes. 
 
 Special care should be exercised to avoid the use of 
 large and fairly large areas of white, such as glaringly 
 white lace curtains, dresser scarfs and table covers. The 
 use of rather large white mats on pictures is especially 
 
230 THE MIXING OF COLORS AND PAINTS 
 
 a glaring weakness of many interior color schemes, 
 because they give the effect of a hole in the wall. There 
 is little reason to have a mat on many pictures, but 
 when a mat is used it should be very subdued in color, 
 should be a self-tone with the dominating color of the 
 picture and frame, or it should be covered with a fabric 
 which will tone in with the picture, the frame and the 
 wall. The general color scheme of a room may be good, 
 and yet, if a comparatively large area of white in lace 
 curtains, picture mats, scarfs or table covers are present 
 they are a discord in the harmony because they attract 
 too much attention to themselves. These furnishings 
 should be of such a color hue as will harmonize with the 
 sxeneral keynote color of the room as a soft tint or shade, 
 as a related color, or as a very much greyed comple- 
 mentary color. 
 
 The whole color atmosphere of a room should be so 
 quietly harmonious up to this point that when a stranger 
 steps into the room for the first time no single element 
 will draw attention to itself immediately. The general 
 atmosphere should be comparable to a chord of music in 
 its harmony. In other words, your contrasts of color 
 values—light tints and dark shades of the key color— 
 related colors and complementary colors in greyed small 
 areas should constitute one harmonious whole. 
 
 Having accomplished this much, there remains one 
 more element to direct in completing the plan for the 
 eolor scheme. This is to introduce a climax around 
 which the whole harmony revolves. This climax may be 
 composed of a small area of bright color or comple- 
 ~entary colors, and it may take one of several forms. 
 
 The climax may be a brightly colored vase full of 
 Aowers on a mantel, on a bookcase or on a table in a 
 iivinge room; it may be a brilliant vase and flowers on a 
 small table before a mirror in a reception hall in which 
 
SELECTING COLOR SCHEMES 231 
 
 the mirror, table and the vase are grouped to form a 
 pleasing symphony of color and form. 
 
 This climax or feature of special interest in a room 
 may be a bit of statuary in white or bright colors, it 
 may be a rich scarf or table cover, or it may be a pic- 
 ture of brilliant hue of one or more colors. In other 
 words, the charm of a room results largely from direct- 
 _ Ing the attention of one entering the room to one taste- 
 fully constructed group or element in that room. 
 
 The same principle applies to the bedroom with its 
 beds and beautiful drapes freatured, or with a vase of 
 flowers displayed on a dresser before a mirror, or with 
 its beautiful dominant picture. 
 
 The climax of the dining room is the completely deco- 
 rated and furnished table with the meal spread ready 
 for guests; in a library the climax feature may be the 
 brightly colored book bindings or it may be a beautiful 
 picture in bright colors, and if neither of these it may 
 be a bright bit of statuary or vase on the desk. 
 
 At times the climax or center of interest is the window 
 drapes, but it is much better to subdue these in favor 
 of some other feature of interest in the room. There is 
 often good reason for using brightly colored drapes, and 
 this can still be done if the colors are subdued or of a 
 ereyed character; they may be bright and yet be subdued 
 with overdrapes so as to avoid competition for attention 
 with the real climax of the room. 
 
 Color Schemes for the Dining Room.—The atmosphere 
 which is sought in decorating a dining-room is one which 
 will radiate an impression of good cheer. What we 
 should seek to accomplish is not alone an atmosphere of 
 good cheer but, also, to impart a sense of comfort, 
 warmth and relaxation. 
 
 Probably the color harmony principle of using related 
 colors is most commonly useful and the color should be 
 
232 THE MIXING OF COLORS AND PAINTS 
 
 in the medium dark values, rather than extremely hght 
 or very dark. Intensely stimulating colors for the gen- 
 eral tone ought not to be used. 
 
 If a color scheme selected using light colors tends to 
 appear a bit sombre and too dull the atmosphere of the 
 room can easily be given a cheerful note by the use of a 
 small area of complementary color in the pictures, in 
 vases and window drapes. 
 
 After all, the decoration of a dining-room should pro- 
 duce a quiet, rather low toned harmony as between the 
 walls, ceiling, wood-trim, furniture and drapes. The 
 central point of interest, the climax, in a dining-room 
 setting is composed of dishes and the table decorations. 
 There should be nothing about the walls, drapes or fur- 
 nishings of the room which is so bright and advancing 
 as to compete for attention with the dishes, decorations 
 and food upon the table. 
 
 For specific suggestions these colors might be con- 
 sidered: Delft blue, old blue, dull grayed orange or 
 russet, sage green, gray-green, dark tans, leather brown 
 and dark French gray. 
 
 Color Schemes for Kitchens.—In the past few years 
 there has been what might be called a great reformation 
 in the furnishing and decorating of kitchens. It is quite 
 likely that the advertising of kitchen furniture, utensils 
 and equipment is largely responsible for this, because 
 this vast amount of advertising has pictured in the 
 magazines how beautiful and inviting the atmosphere of 
 a kitchen can be. 
 
 In this day we like to have a kitchen appear just as 
 bright, spick and span as it really is. This appearance 
 ean be gained by the ‘handling of colors for the kitchen. 
 In the first place smooth walls are preferable to rough 
 textures. Gloss or semi-gloss is preferred to a flat lus- 
 treless surface. There is a practical reason back of this 
 also. In a kitchen there is a daily releasing of steam 
 
SELECTING COLOR SCHEMES 233 
 
 laden with more or less grease from cooking; also there 
 is bound to be more or less smoke. Accumulations of 
 smoke and grease occur on the walls and ceiling. If the 
 walls have a gloss and are smooth they can readily be 
 washed, whereas rough walls accumulate dirt and hold 
 it. Flat walls spot easily and cannot be washed, at least 
 not more than once. 
 
 Dark colors do not give the right appearance in kit- 
 ehens. The color should be light, bright and cheerful as 
 well as shiny. A duplication of the semi-gloss evident 
 upon kitchen cabinets, stoves and plumbing fixtures may 
 well be continued on the walls and ceiling. 
 
 White, ivory or very light gray, green or blue enameled 
 woodwork is also a necessary part of a color plan. Then, 
 when very light, airy curtain material is used and you 
 have the brightness of a growing plant or two about the 
 windows an ideal setting has been gained with the im- 
 pression of brightness and cleanliness. 
 
 What is needed to complete the balance in such color 
 schemes is a note of bright color in small area. Bright 
 but greyed reds, blues, greens, oranges or yellows may 
 be introduced in some form. Bright but small spots of 
 color in plain colored curtains give the added balance. 
 A brightly colored glass shade on the electric light may 
 give the bright color note needed. It may be that a 
 brightly colored linoleum will add all the contrast which 
 _ the room calls for. The blues and greens are especially 
 welcome in the kitchen because of their cool tones. 
 
 Some of the color schemes which will give a novel 
 character to a kitchen, used principally for the curtains, 
 are these: Blue, white and yellow-orange; yellowish- 
 green with black and cream or ivory. 
 
 Color Schemes for a Library and Private Offices.— 
 If there is any room in which the color treatment and 
 furnishings should not call attention to themselves or 
 clamor for notice it is in a library, a study or a private 
 
234 THE MIXING OF COLORS AND PAINTS 
 
 ¢ 
 
 office in homes and business places. In such rooms the 
 occupants want agreeable surroundings but they do not. 
 want active eye stimulations which will divert from the 
 work in hand, whether it be study or the transaction of 
 business. What is wanted is an atmosphere of comfort 
 which is conducive to quiet and restfulness. 
 
 The color schemes for such rooms may be built up from 
 medium dark greyed colors and the less intense tones. 
 Receding rather than advancing colors are desirable and, 
 above all, simplicity in color combination as well as pat- 
 tern, texture and design are to be gained. Even the floor 
 coverings, furniture and window drapes should be sub- 
 dued and should harmonize in low values rather than to 
 contrast greatly in value. If there are any art objects 
 or accessories used they may be in bronze or dull poly- 
 chrome. 
 
 Such a color scheme is likely to become a bit sombre 
 and needs a note of contrasting color. This may be sup- 
 plied by a central: point of interest, or climax, which is , 
 in the form of a not too large, brightly colored picture 
 or a vase containing flowers in well selected colors. If 
 there are any decorative designs on the walls such as a 
 frieze or stencil band it should be in simple, classic de- 
 sign and self-tone or colors related to the wall color. 
 
 Color Schemes for Bedrooms.—The atmosphere to be 
 ’ ereated by color schemes for sleeping rooms should be 
 one of restfulness and relaxation. Light colors are much 
 to be preferred to dark shades. Generally speaking, the 
 colors should be warm unless the room happens to be of 
 the low ceiling type on the south side of a home which 
 actually becomes very warm during the summer; in 
 which case the cool, blue-grays with a bit of contrasting 
 orange, gold or pink are used. Cool bluish-greens and 
 ereenish-grays with pale lavender and black are useful 
 in such rooms. For other bedrooms light grays which 
 have yellow or red in their makeup for warmth, ivory 
 
SELECTING COLOR SCHEMES 235 
 
 with light olive green, dull blue or gold are good color 
 combinations, as are also delicate blues, creams and light 
 erays. 
 
 Mere common sense warns us also against the so-called 
 spring greens, or even the too strong blues in bed rooms. 
 But if the vivid hues are out of keeping, equally so are 
 the sad and sombre colors. Sheer common sense again 
 warns us against the depressing, melancholy tones, 
 against blues of too great weight, against the solemn pur- 
 ples that have been called the ‘‘ashes of color,’’ against 
 eertain dark reds which may be described as sullen. 
 
 There are left, then, for bedroom use, various shades 
 of yellow, soft greens, soft blues and grays; and the pos- 
 sibilities for working out variations upon these, as well 
 as for combining them into color chords, are infinite. 
 
 No color is more suited to the bedroom than grey, 
 which has been called the peacemaker of colors. Nature, 
 as we all know, uses grey and grey-browns lavishly when 
 she wishes foils for her particular beauties. We realize 
 this when we note her coloring of the ground, of rocks 
 and of certain lichen vegetation. 
 
 Grey is a versatile color, almost a treacherous one, for 
 in certain states—in that of steely tone, for instance, 
 where it is a mean between black and white—it is far 
 from friendly. Rather it is suggestive of mediaeval 
 prisons and of stern limitations. On the other hand, 
 when warmed with an admixture of yellow, or a small 
 amount of red, grey will prove essentially fit for the 
 restful room. 
 
 As sheer gray suggests limitation, blue, even in its 
 heavy forms, suggests the illimitable. In its lhghtest 
 tones a characteristic of the limitless sky, blue possesses 
 the rare quality of allurement. 
 
 Color Schemes for the Hall—The entrance hall is the 
 first introduction visitors have to the home and is re- 
 sponsible for the first impressions gained. It ought to be 
 
236 THE MIXING OF COLORS AND PAINTS 
 
 decorated in warm cheerful colors ordinarily and also to 
 harmonize with the living room. 
 
 Yellow tints or shades, tans, light browns and some- 
 times dull rose, buff, fawn, ivory and cream are desirable 
 in this room. 
 
 For large halls fairly dark greens and dull red, drabs 
 and browns are permissable but they are quite certain 
 to cause a small hall to appear still smaller. The tints 
 in small halls should be very light always. . 
 
 Color Schemes for School, Church and Bank.—Quiet 
 and dignified color plans are most suitable for these 
 buildings. Neither color or stencil design should be strong _ 
 enough to attract or divert attention. Dull, low tones of 
 buff, drab, green, gray, blue, russet and brown serve 
 the purpose admirably and offer a wide range of colors 
 but they are likely to be dull and monotonous unless a 
 certain amount of luminous or bright color is added such 
 as in a stencil here and there to give the necessary 
 amount of life and brightness without disturbing the 
 dominant tone of the quiet, restful colors. 
 
 Color Schemes for Children.—A much better choice of 
 decorations for a child’s bedroom or nursery is more 
 evident today than ever before, but there is still some 
 tendeney to force upon children color schemes which are 
 appreciated more by grown-ups. A child’s natural pref- 
 erence for colors tends towards bright, pure tones. It is 
 possible to satisfy that preference without making a 
 room too intensely stimulating to grown-ups. 
 
 When we attempt to force upon children a preference 
 for quiet, subdued harmony very early in their lives 
 nothing is really gained by it. In the beginning a child’s 
 preference is quite similar to the preferences of primi- 
 tive peoples and savages. When children are allowed to 
 exercise their preference at first they naturally become 
 satiated with brilliant, pure colors and come naturally to 
 
SELECTING COLOR SCHEMES 237 
 
 a preference for true color harmony of greyed tones 
 later in life. 
 
 The large surfaces such as walls and ceilings and 
 floors in a child’s room may well be given greyed, sub- 
 dued colors but let there be considerable areas of the 
 walls near the bottom which contain pictures or decora- 
 tions done in pure, bright complementary colors. The 
 pure intense reds, orange, yellow, blue, green and purple 
 in moderate areas will satisfy and amuse the children 
 without undue stimulation to mature persons. 
 
 The furniture of a child’s room may well be colored 
 with the greyed color hues, generally, but each piece of 
 furniture should have its small area of pure, bright color. 
 The toys will come naturally in bright colors, too. The 
 bright colors and the grayed colors of the furniture 
 should, of course, harmonize with the floor, walls, ceiling 
 and wood trim colors. 
 
 Large Rooms.—Moderately large rooms offer greater 
 latitude in choice of colors, textures and design than is 
 possible in small rooms. 
 
 Here color schemes may be used which utilize greater 
 contrasts ot values, as between tints and shades of one 
 color or as between lght and dark colors; also colors may 
 be used which constitute greater contrast of color hues, 
 of related colors or complementary colors; and here also 
 colors are permissible which show a greater contrast of 
 intensity in pure, brilliant tone as between complemen- 
 tary colors and related colors. 
 
 In other words, stronger, brighter colors, those which 
 have been grayed or neutralized to a lesser degree by 
 mixing in white or complementary colors may be used in 
 large rooms. 
 
 In moderately large rooms the advancing colors may 
 be effectively used, not in their pure brilliant tones be- 
 cause that might produce too great a contrast of inten- 
 
238 THE MIXING OF COLORS AND PAINTS 
 
 sity, contrast of color hue and contrast of values as well. 
 
 But the advancing colors which are orange, reds, yel- 
 lows, creams and light tans may be used in less greyed 
 or less neutralized degrees. 
 
 Pure, intense tones of blues and greens are advancing 
 colors as compared to greyed tints and shades of blues 
 and greens. As compared to pure intense reds, orange 
 and yellow, the pure bright blues and greens are, of 
 course, receding colors. 
 
 Gloss and semi-gloss finishes may be used in large 
 rooms but should not be used in small rooms, since they 
 apparently emphasize the limits of vision and appear to 
 make a room smaller. Flat finish is best for small rooms 
 and may also be used in large rooms. 
 
 On the walls of large rooms very rough textures in 
 special wall finishes like old English, Holland and Italian 
 Travertine are fitting, as also are stronger designs in wall 
 paper which contrast to a greater degree in values, hues 
 and intensities of colors than should be permitted in 
 small rooms. 
 
 Small Rooms.—A selection of color schemes for small 
 rooms usually involves a consideration of ways and 
 means to apparently increase the size of the room. Even 
 when this is not especially desired the decorator must at 
 least avoid a color treatment which will apparently 
 shrink the size of a room. 
 
 Walls of a room limit the vision. Colors on walls em- 
 phasize or minimize this limitation according to their 
 character. 
 
 Generally speaking, the receding colors are the blues, 
 greens and the darker shades of other colors. Pure in- 
 tense blues and greens are, however, receding colors only 
 when compared to other pure, intense colors like orange, 
 reds and yellows. Pure intense blues and greens are ad- 
 vaneing colors compared to light tints and greyed hues 
 of blues and greens when used in large areas. 
 
SELECTING COLOR SCHEMES 239 
 
 Greens, blues and blue-greys which can be used on 
 large wall areas to give a receding atmosphere are such 
 as range from pale, pure tints of these colors to greyed, 
 neutralized dark shades like olive shades and old blues. 
 
 When you reduce the intensity of these pure blues and 
 greens by mixing white with them, or neutralize them 
 with their complementary colors orange and red you re- 
 move their insistent display strength, you make them as 
 fully receding as possible, with the consequent effect of 
 apparently increasing the size of the room. 
 
 The use of strong advancing colors like yellows, 
 orange, reds and all tints which can be used to express 
 sunlight the wall limitations are emphasized and made 
 to appear nearer at hand—the room seems smaller with 
 bright colors on the walls. 
 
 Gloss colors are more advancing than flat colors. 
 
 Spotty and strong patterns, stripes and designs in 
 general which contrast sharply in values emphasize the 
 limit of vision and should not be used in small rooms. 
 Wall paper having large and prominent design which 
 contrasts highly in value, hue or intensity is especially 
 to be avoided in small rooms. 
 
 In nature’s great color schemes the foreground is 
 rough and broken but the distant hills and horizon are 
 visible only as grey-greens, grey-blues and misty greys. 
 In like manner we must construct color schemes for 
 rooms to be given an apparently larger size. 
 
 To sum up, then, color schemes for small rooms and 
 all decoration to give the effect of distance and recession 
 should be composed of weak, light patterns, if design is 
 attempted on the walls in the form of wall paper or as 
 rough textures of special wall finishes. Patterns of rugs 
 and linoleums for the floors in small rooms ought also to 
 be small, light in form and color contrasts of values, hue 
 and intensity ought to be low. In some rooms perfectly 
 smooth walls without texture are needed. 
 
240 THE MIXING OF COLORS AND PAINTS 
 
 Walls in small rooms should have a flat, not gloss, 
 finish and the greyed blues and greens and cold greys are 
 the colors to use for key colors. Self-tones and very 
 closely related colors are especially useful in small rooms. 
 
 If the ceiling of a small room is low, increased height 
 can be apparently given by the use of verticle stripes in 
 wall paper or stencil designs on the walls. These should 
 be in self-colors or very greyed tints of related colors 
 having little contrast of values. Strong contrasts of 
 values, hues or intensity will make the wall advancing in 
 color and apparently decrease the size of the room. 
 
 Verticle panels using picture mouldings will also ap- 
 parently increase the height of low ceilings. 
 
 A ceiling too high may be lowered apparently by use 
 of darker color on it, by lowering the picture moulding 
 to create a wide Rbinoe at the top of the wall to be colored 
 like the ceiling. Horizontal panels of picture mouldings 
 will also decrease the height of ceilings. 
 
 Rooms with North Exposure.—Obviously rooms on the 
 north side of the residence receive no direct sunlight and 
 while they may be just as warm in fact, owing to an effi- 
 cient heating plant, they often seem cold and lack the 
 cheer of rooms receiving the direct rays of the sun. This 
 condition then offers an opportunity to the decorator to 
 add to the room a warm, cheerful atmosphere. For both 
 walls and stencils tints and shades of the warm colors; 
 red, yellow, orange and warm brown are in order for 
 this purpose. Tan, cream, ivory, old rose, warm grey 
 (has red or yellow in its makeup) and green which is 
 toned with red, orange or yellow. 
 
 Often a wall color that is much too dull and cool for 
 a north room ean be brightened up materially by using 
 quite strong, warm colors in the stencils. A fairly dark 
 Cobalt Blue, for instance, on the upper side wall of a 
 north exposure dining room may effectively be warmed 
 up by stencil tints of Light Brown, Tan, Buff or Cream. 
 
SELECTING COLOR SCHEMES. 241 
 
 The woodwork would best be Fumed Oak or one of the 
 
 brown oak shades, Mahogany, Natural Birch, Maple, 
 Pine, Cherry, Cypress, Ivory or other warm colored 
 Enamel. 
 - Rooms with South Exposure.—The aim in decorating 
 such rooms is diametrically opposite from that for north 
 exposures. The colors ought to be such as will modify 
 the glare of direct sunlight and to cause the rooms to 
 appear cool. The cold colors; blue, green, grey, violet, 
 purplé and lavender, are now most useful. The grey 
 ought not to contain red or yellow and the green should 
 be one in which the blue, not yellow, predominates. In 
 @ room that is very light the greys may be most satis- 
 factory; they do not fade so soon or as readily as the 
 greens, blues, ete. 
 
 Blue-green and old blue made by tempering blue with 
 black are much to be preferred to either color in its full 
 or pure state. 
 
 Laight and Dark Rooms.—When rooms to be decorated 
 are lighter than average extra care ought to be taken to 
 avoid the use of pure, intense colors and even bright but 
 greyed colors in large areas. In such rooms the bright 
 light causes colors to display their: brightness to the 
 greatest extent. 
 
 In light rooms it is equally important to avoid great 
 contrast of values, hues and intensities of colors, also 
 strong patterns in wall paper and all greatly contrasting 
 design. 
 
 Useful colors in very light rooms are: French grey, 
 warm grey, pearl greys, olive, old blue, dull reds, neu- 
 tral greens. 
 
 Dark rooms, on the other hand, may well be decorated 
 in rather a colorful manner. Strong contrasts of value, 
 hue and intensity are permissable and are often urgently 
 needed; especially are the sunshine colors needed—y-l- 
 lows, reds and orange tints. : 
 
242 THE MIXING OF COLORS AND PAINTS 
 
 In dark rooms, too, the wall patterns in paper and 
 stencil design as well as rough textures of special wall 
 finishes can be more prominent. 
 
 Colors used in dark rooms may be selected to add light 
 to them. Yellow reflects more white light than any other 
 color; so the yellows, cream, ivory and light tans and 
 buff are useful colors in dark rooms. 
 
 Glaringly light rooms are made more restful by the 
 selection of dull greens, greyed blues and greenish or 
 bluish greys. These colors absorb more light than they 
 reflect. Deeper, darker, though neutralized, greens and 
 blues may be used in rooms which are possessed of strong 
 natural light. 
 
 Colors for Wood Trim.—Having wood trim which is 
 out of harmony with the decorative scheme preferred for 
 a room it is always possible, obviously, to paint or enamel 
 the trim a color which does fit in with wall colors wanted 
 and the furnishings. That, in fact, is the English and 
 European practice. In America where there is so much 
 beautiful wood trim naturally finished, many are reluc- 
 tant to enamel it and thus hide the grain. It is an out- 
 standing fact, however, that a color harmonious interior 
 as a whole is often not possible without changing the 
 color of the wood trim. Often by staining natural col- 
 ored trim, or restaining stained trim, its color can be 
 made to harmonize with the balance of the scheme, at the 
 same time preserving the beauty of the natural grain. 
 
 There is a much greater tendency today than ever to 
 subordinate the wood trim, to paint it out, in order to 
 make it a part of the color scheme in harmony with the 
 whole unit. Often, in small rooms especially, it is 
 painted or enameled the same color as the walls; or it 
 may be a tint or shade of the wall color—a bit lighter 
 or darker. 
 
 At times a related color or a complementary color in 
 ereved or neutralized degree is needed. The amount or 
 
SELECTING COLOR SCHEMES 243 
 
 area of the wood trim is the determining factor. The 
 greater the area of wood trim the less prominence and 
 less contrast in the color are needed. 
 
 Many have the idea that Colonial architecture must 
 invariably be enameled white. This is not in accord with 
 the dictates of history or of color harmony. In these old 
 homes the wood trim was also colored with greys, dull 
 ereens, yellowish browns and with other tints and 
 shades. 
 
 In any discussion of colors to combine with different 
 kinds of stained wood there is always the difficulty that 
 the name of the wood is taken as expressing a color 
 thought—while as a matter of fact it does nothing of the 
 kind. It means nothing but a crude material which may 
 alter in color according to how it is finished. . 
 
 Wood, as a rule when finished for interior trim or for 
 furniture, has a color, light or dark, produced by the 
 finishing materials which must be considered alone. To 
 say, therefore, that grey-blues combine with walnut or 
 dark greens combine with mahogany is meaningless ex- 
 eepting that it refers in a general way to the colors in 
 which these woods are commonly finished. It is unsafe 
 to depend on such rules excepting as the most general 
 of guides. A goodly number of shades of mahogany 
 finish and oak used in interiors may be colored grey, 
 green, black, yellow or brown. 
 
 If any degree of refinement is to be secured it is much 
 better to get down to basic principles of color harmony 
 and work out each problem independently with the color 
 of the particular piece of wood as a starting point. 
 
 It is often a mistake in redecorating rooms to leave 
 the woodwork in the color in which it is found. There 
 has been for years a tradition among decorators that it 
 is something akin to sacrilege to paint good woodwork. 
 
 The architect and the builder are accountable prim- 
 arily. Thev biild a house and put the dark-colored oak 
 
244 THE MIXING OF COLORS AND PAINTS 
 
 and mahogany trim in the hall-ways and the billiard- 
 room, in the library and the study in the time-honored 
 belief that these rooms call for dark shades in woodwork. 
 Notwithstanding tradition, common sense dictates that if 
 these rooms are in any degree lacking in natural light, 
 as they often are, they should be treated in receding, 
 light-reflecting colors—tones that make rooms look 
 larger, lighter and more cheery. 
 
 Ceiling Colorings——A lazy habit in our midst ‘is 
 largely responsible for the fact that most ceilings are 
 thoughtlessly colored plain white, ivory or cream as a 
 rule, giving an impression of a room without a roof; the 
 walls seem to stand alone. 
 
 It is said that these tints reflect light and so they do 
 but in most rooms that is of minor importance. Com- 
 plete color harmony is often sacrificed by our indiffer- 
 ence to ceiling colors. 
 
 Often on average jobs the contrast of values between 
 ceiling and walls is too great; the ceilings, then, are not 
 a continuation of the harmony of walls, trim, floor and 
 furnishings, yet a ceiling is just as much a part of the 
 _ room as these other elements. 
 
 It is true that dark colors are not permissable on ceil: 
 ings, unless they are unusually high and there is a wish 
 to apparently lower them by decorative treatment. But 
 more color can be earried to ceilings without lowering 
 them and greater unity in the harmony of interiors will 
 result. Related colors, or complementary colors much 
 greyed and in light tints, are quite as suitable as the 
 self-tints usually used. For example, in a color scheme 
 the key color of which is brown with climax color of 
 rather pure, intense orange and subordinate shades of 
 greyed blues, a selection for a ceiling color could be a 
 light tint or greyed orange or a light greyed-blue tint. 
 
 And when self-tints are used they may well be a bit 
 
SELECTING COLOR SCHEMES © 245 
 
 more colorful, since as a rule now the contrast of values 
 between ceiling and walls is too high, too great. 
 
 Colors of pure intensity must not be used on ceilings. 
 Strong contrasts of value, hue or intensity of ceiling 
 eolor makes a ceiling too prominent, too advancing. 
 
 Floor Colors and Designs.—-lf we would gain harmony 
 in a room as a whole and center attention on a climax 
 consisting of a single display of bright color or a con- 
 eentrated group of color, then strongly contrasting color 
 and design in rugs, tile or linoleums must not be allowed. 
 
 It is best to have floor colors and designs subdued and 
 quietly harmonious with the room as a whole. The floor 
 is the foundation, it should be a darker tone than walls 
 and should not be so strong in eolor or design as to com- 
 pete with the climax point of the room. Self-tones and 
 related colors low in contrast of value, hue and inten- 
 sity are essential. When complementary colors appear 
 they must be much subdued and greyed. 
 
 Colors wn Pictures, Frames, Mats—The selection of 
 pictures for a home is nearly always an exceedingly per- 
 sonal affair. Decorators have little opportunity to ad- 
 vise concerning the character of pictures which come 
 into a home, but they can as a rule have a voice in allot- 
 ting certain pictures to appropriate rooms. Personal 
 preferences of the occupants will be asserted, in some in- 
 stances, regardless of what their choice of pictures does 
 to a color scheme, but a decorator who ean point out 
 good reasons for his preference usually has his way. 
 
 Pictures which are very colorful displaying pure, in- 
 tense colors in large area should be used only as a cli- 
 max or central point of interest in a color scheme. One 
 to the average room is quite enough; more than one pic- 
 ture like the brilliant red English coaching scenes and 
 such as have strong contrasts like the poster style is like- 
 ly to set up competition for attention. Also too much 
 
246 THE MIXING OF COLORS AND PAINTS 
 
 eye stimulation will result, with attendant fatigue and 
 restlessness. 
 
 Picture frames should tone-in with the pictures, the 
 wall color, furniture and wood trim. Well framed pic- 
 tures as a rule have frames which repeat the key color 
 of the picture in self tints or shades; sometimes a greyed, 
 related color or a much greyed complementary color is 
 used on the picture frame. 
 
 Mats are quite useless on many pictures and are often 
 very bad for a color scheme. White and very light col- 
 ored mats give the effect of a hole in the wall; they 
 clamor for attention and irritate the eye nerves. White 
 is more advancing than many colors and is quite as likely 
 to be a note of discord in a color scheme as a vivid color 
 which is out of harmony. In fact pure white areas like 
 picture mats, table covers, scarfs and lace curtains are 
 likely to separate from the color scheme and jump out 
 at you, especially when the wall color and the whole 
 scheme is low in contrast of values or rather dark. | 
 
 A white area in a room is usually the first element no- 
 ticed on entering and it competes for attention always. 
 
 If mats are used they should be subdued by coloring 
 to harmonize in low value with the frames and pictures. 
 Self-tones repeating the frame colors are usually safest 
 to use. Sometimes a mat may be covered with a fabric 
 of just the right related color or greyed complementary 
 color, but extreme care must be taken to avoid making 
 the mat more prominent and advancing than the picture 
 itself. 
 
 Drapes and Window Shades——Window hangings are 
 often made the color climax of a room, rather uncon- 
 sciously, to be sure, but sometimes with good effect. 
 
 If the windows are not too large and too numerous and 
 other centers of interest are lacking a note of cheer may 
 well be given by using pure, intensely colored drapes. 
 
 The tendency now is to build more and larger win- 
 
SELECTING COLOR SCHEMES 247 
 
 dows in homes and there is considerable likelihood that 
 brightly colored drapes in such homes will be a jarring 
 note, because of the large areas. 
 
 In those cases where large areas of drapes are needed 
 the color should be of a very much greyed and subdued 
 character and of plain colors, rather than strong figures 
 and patterns of design like cretonne. 
 
 As a general rule where the color climax of a room is 
 at some point of interest other than the windows, the 
 drapes should be in subdued colors. The dominant color 
 note of the walls and the color scheme in general is the 
 key to correct and easy selection of the drapes and 
 shades. 
 
 When wall paper is used the drapes may repeat one 
 of the color notes of the paper, matching it in self tint 
 or shade, and in the case of drapes of silk or other fab- 
 rics with a sheen, the dominant hue of the wall color is 
 also repeated in the drapes. 
 
 When the wallpaper or all-over stencil designs are 
 rather prominent the drapes ought to be of plain, sub- 
 dued color fabrics. 
 
 Drapes, in general, may be a harmony self-tones with 
 the wall colors, they may be related colors or comple- 
 mentary colors subdued by having been greyed or neu- 
 tralized. And the contrasts of values should not be 
 sreat—a scheme of low tones is best. 
 
 Many textiles and objects of nature reflect a series of 
 related colors. Red velvet drapes in sunlight show 
 orange, where light strikes directly, shading to orange- 
 red, red and red-violet in the shadows. A green leaf on 
 a tree reflects yellow-green, green, blue-green and dark 
 blue in shadows. Such surfaces displaying a play of 
 light and shadow make charming drapes. 
 
 Effect of Panels and Stripes.—Although walls should 
 remain always as the background, the foil against which 
 the furnishings are displayed, it is, nevertheless, possible 
 
248 THE MIXING OF COLORS AND PAINTS 
 
 for a wall to be too flat, uninteresting and monotonous. 
 
 Walls of large area may be broken up in many ways. 
 The rough textures of special wall finishes like Italian 
 Travertine, Old English, Holland, Sand-Float and Tif- 
 fany Mottling and Blending accomplish this artistically. 
 Well selected wall papers serve the purpose. 
 
 Panels formed of picture mouldings and proportioned 
 with a good sense of balance are excellent. Vertical 
 panels apparently increase the height of a ceiling. Hori- 
 zontal panels lower a ceiling, apparently. 
 
 Vertical stripes in wall paper or applied by stencils or 
 the vertical textures of rough special wall finishes give 
 apparent increased height. 
 
 All-over patterns of wall paper break up an uninter- 
 esting wall and the all-over diaper stencil patterns so 
 much used in England give a very interesting note of 
 design and self-tones or related colors. Strong contrasts 
 of values, of color hues and of intensity of colors must 
 be avoided in all-over designs. 
 
 A flat, uninteresting wall may also be relieved by 
 slight changes architecturally; the addition of vertical 
 pilasters or columns against the walls reaching about 
 two-thirds or three-fourths of the way up to the ceiling. 
 These may be built in pairs or singly on all walls of the 
 room, being careful to balance them. With a projecting 
 cap at the top or cornice of mouldings, a finish is gained 
 and an opportunity offered for a decorative effect by 
 placing a vase, lamp, bit of pottery or a growing plant 
 on top. 
 
 A Suggested Expervment.—While it is always useful 
 to have a set of color cards handy showing individual 
 eolors this usually confuses the average customer. It 
 will be much more useful if you will make up a set of 
 color cards which is composed of perfect combinations of 
 colors. A search for such color combinations and the 
 
SELECTING COLOR SCHEMES ; 249 
 
 habit of making note of them is a profitable enterprise. 
 
 In your search for useful color groups it is well to 
 take particular note of the impression given by each 
 type of color combination. Note the simplicity, dignity 
 and attractiveness of the self-tone color schemes. Make 
 a search for these not only in the color schemes used on 
 the interior of homes, public buildings, show windows 
 and in merchants’ shops, but also, such color schemes in 
 nature. In your scrap-book make up half a dozen color 
 schemes after this principle, by mixing colors in the or- 
 dinary manner and spreading them on to sheets of heavy 
 water color paper, in two or three coats. When the 
 paint is dry cut out color chips two or three inches 
 square and paste them in your scrap-book. If you will 
 do this for each of the tints or shades used in a self- 
 tone color scheme you will have a group of harmonizing 
 eolors which will be useful for a long time and for many 
 jobs. 
 
 In this first group you should have color schemes each 
 one of which is made up of self-tones of one color and 
 which illustrate how contrasts in values—contrast of 
 light and dark colors, add life to the scheme. Then, this 
 eroup should include color schemes which are warm, 
 those which are cold and those which are composed of 
 greyed or neutral colors. 
 
 In this same scrap-book, but in another section, begin 
 a collection of color schemes which harmonize by the 
 principle of related colors-analogy. Note how the ad- 
 dition of related color adds life to a self-tone color 
 scheme. In this group divide the color schemes into 
 three classes, too,—color schemes which are warm, some 
 which are cold and some which are greyed or 
 neutralized. 
 
 In still another section of your scrap-book start a col- 
 lection of color schemes which are constructed after the 
 
250 THE MIXING OF COLORS AND PAINTS 
 % 
 
 principle of complementary colors and noting, particu- 
 larly, how much more perfectly they balance and satisfy 
 than either of the other two groups. 
 
 In searching for groups of colors which harmonize 
 there are many fields which offer both pleasure and pro- 
 fitable returns. Public buildings and homes which have 
 been decorated according to the plans of professional 
 decorators who are capable offer much material for 
 study. In museums and art galleries the paintings, tex- 
 tiles, pottery and art objects of many kinds offer numer- 
 rous illustrations of color harmony by one principle or 
 another. In nature, illustrations of color harmony are 
 limitless. 
 
 In all your observations following these suggestions 
 you will find great variety; there are color schemes of 
 greys alone, of several values of one color, of greys and 
 one other color, of black and one other color, of greys 
 and two other colors, of black and two other colors and 
 of three or more colors with the addition of grey or black. 
 
 Combinations of Colors in Harmony.— 
 
 Black, white and yellow, orange or gold. 
 Black, white and red, vermilion, crimson. 
 Black, blue-green, silver and lemon yellow. 
 Black, silver and light blue. 
 
 Blue and gold. 
 
 Blue and orange and gray. 
 
 Blue and salmon. 
 
 Blue and maize. 
 
 Blue and brown. 
 
 Blue and black. 
 
 Blue, scarlet and lilac. 
 
 Blue, orange and black. 
 
 Blue, brown, crimson and gold. 
 
 Blue, orange, black and white. 
 
 Blue (deep) and pink or maroon. 
 
SELECTING COLOR SCHEMES 
 
 Buff and violet, yellow, straw or claret. 
 Crimson and medium green. 
 
 Crimson and orange. 
 
 Gray and orange, pink, lavender or brown. 
 
 Green, olive and red, russet, maroon or chocolate. 
 
 Green and gold. 
 
 Green, crimson, turquoise and gold. 
 Green, orange and red. 
 
 Green (light) and Ivory White. 
 Lavender and warm gray or pale green. 
 Lilae and gold. 
 
 Lilae, searlet and black or white. 
 Lilae, gold, scarlet and white. 
 
 Lilae and black and crimson. 
 
 Maroon and warm green or deep blue. 
 Old rose and green. 
 
 Pink and black. 
 
 Purple and golden yellow. 
 
 Purple and green or citron. 
 
 Purple and gold. 
 
 Purple, scarlet and gold. 
 
 Red and gold. 
 
 Red, gold and black. 
 
 Red and olive or brown. 
 
 Red, deep and grey. 
 
 Red, normal, and blue-green. 
 
 Red, purple and greenish yellow. 
 
 ' Russet and green or olive. 
 
 Searlet, black and white. 
 
 Searlet and purple. 
 
 Searlet and turquoise blue. 
 
 Straw and violet. 
 
 Violet and reddish orange. 
 
 Violet and yellow, straw color or buff. 
 Yellow and purple, lavender or violet. 
 Yellow and purple. 
 
 251 
 
A 
 
 252 THE MIXING OF COLORS AND PAINTS 
 
 COLOR MIXING FORMULAS 
 
 There are no standard names for colors. Perhaps it 
 ought to be stated the other way—there are no standard 
 colors for color names. Lay out a certain medium shade 
 of warm yellow and ask several people what is it. One 
 will say buff, another fawn, others goldenrod, russet, 
 pumpkin color and so on. So it is with most colors. Per- 
 haps some day our government will establish color stand- 
 ards, as it has already declared how much weight con- 
 stitutes a pound, how much of any liquid equals a gallon, 
 ete. 
 
 The colors produced by the formulas given here are 
 considered correct by the average decorator for the 
 names attached to them. You must, however, mix any 
 one of them lighter, darker, or a little differently if 
 necessary to produce what your customer thinks is a 
 better color for the name given. 
 
 The tinting strength of different brands of colors var- 
 ies considerably. Some brands of tinting colors are 
 greatly extended by inert pigments, because some people 
 want cheap colors., The high class, strong colors are 
 cheapest in the end and far better and clearer tints are 
 produced with them. In mixing the colors to test these 
 formulas, first-class colors of a standard advertised 
 brand were used. ’ 
 
 Amber.—Burnt umber, 3 parts; medium chrome yel- 
 low, 3 parts; orange chrome yellow, 8 parts. 
 
 Argent (Grey).—Black, 9 parts; white lead, 16 parts; 
 red, 1 part; trace of orange chrome yellow. 
 
 Ash.—White lead, 50 parts; raw umber, 5 parts; 
 yellow ochre, 1 part. 
 
 Bay.—Black, 3 parts; Venetian red, 3 parts; a trace 
 of orange chrome yellow. 
 
 Black (Jet).—Ivory black, 10 parts; raw umber, 1 
 part; Prussian blue, 1 part. 
 
SELECTING COLOR SCHEMES 253 
 
 Black (Oliwe).—Vine-black, 20 parts; yellow ochre, 1 
 part. 
 
 Black (Purple).—Lampblack, 5 parts; rose pink, 1 
 part. 
 
 Blue (Antwerp).—Antwerp blue. Or compound 
 with bright green, 1 part; ultramarine, 2 parts; trace 
 of zine white. 
 
 Blue (Azure).—Azure blue. Or compound with: 
 Ultramarine blue, 1 part; zine white, 40 parts. 
 
 Blue-black.—Ivory-black, 40 parts; Prussian blue, 3 
 parts. 
 ~ Blue (Bronze).—Black, 3 parts; Prussian blue, 1 part. 
 
 Blue (Dark).—White lead, 1 part; chrome green, 2 
 parts; Prussian blue, 7 parts. 
 
 Blue (Delft).—Tint white lead with cobalt blue and 
 a touch of lamp black. 
 
 Blue (Deep).—Prussian or ultramarine blue. 
 
 Blue (Gobelin).—Ivory-black, 4 parts; white lead, 2— 
 parts; chrome green, 1 part; Prussian blue, 3 parts. 
 
 Blue (Granite).—Black, 2 parts; white, 6 parts; ultra- 
 . marine blue, 1 part. 
 
 Blue (Grayish).—White lead, 20 parts; Prussian blue, 
 2 parts; ivory-black, 1 part. 
 
 Blue (Indigo).—Indigo, or compound with: Black, 9 
 
 ‘parts; Prussian blue, 4 parts. 
 
 Blue (Light Prussian). —White lead with a touch of 
 Prussian blue. 
 
 ' Blue (Light Gray). —White lead with a touch of lamp- 
 
 black and of raw umber. 
 
 Blue (Marine).—Ultramarine blue, 1 part; ivory- 
 black, 9 parts. 
 
 Blue (Methyl).—Green, 1 part; blue, 12 parts; trace 
 of red. i 
 
254 THE MIXING OF COLORS AND PAINTS 
 
 Blue (Misty).—White lead, 50 parts; ultramarine, 10 
 parts; burnt umber, i part. 
 
 Blue (Mountain).—Mountain blue. Or compound 
 with: Ivory-black, 1 part; cobalt blue, 3 parts; rose mad- 
 der, 2 parts; white lead, 4 parts. 
 
 Blue (Old).—Mix from Prussian blue and a touch of 
 lampblack or ivory black. 
 
 Blue (Opaque).—Zine white, 1 part; French ultra- 
 marine, 1 part. 
 
 Blue (Oriental).—White lead, 100 parts; Prussian 
 blue, 9 parts; lemon chrome, 1 part. 
 
 Blue (Pale).—White lead, 30 parts; Brunswick blue, 
 i part. 
 
 Blue (Pure).—Zine white, 20 parts; English ultra- 
 marine, or cobalt blue, 2 parts. 
 
 Blue (Royal).—White lead, 1 part; ultramarine, 15 
 parts. 
 
 Blue (Sapphire). —Zine white, 4 parts; Chinese blue, 
 1 part. 
 
 Blue (Sea) ints lead, 16 parts; ultramarine, 3 
 parts; raw sienna, 2 parts. 
 
 Blue (Pale Sky).—White lead, tinted with cobalt blue. 
 
 Blue (Sky).—White lead, 300 parts; cobalt blue, 1 
 part; Prussian blue, 1 part. 
 
 Blue (Turquoise).—White lead, 20 parts; ultrama- 
 rine, 2 parts; light green, 1 part. 
 
 Brass Yellow.—White lead, 40 parts; light chrome 
 yellow, 12 parts; raw umber, 1 part; burnt umber, 1 
 part. 
 
 Brick.—Venetian red, 2 parts; white lead, 1 part. 
 
 Bronze.—Black, 14 parts; yellow, 1 part; green, 2 
 parts. 
 
 Bronze (Asiatic).—Medium chrome yellow, 1 part; 
 raw umber, 2 parts; very little white lead. 
 
SELECTING COLOR SCHEMES 255 
 
 Bronze Green.—Middle chrome, 2 parts; raw umber, 
 ©) parts; burnt sienna, 1 part; black, 1 part. 
 
 Bronze Yellow.—White lead, 10 parts; lemon chrome, 
 4 parts; raw umber, 5 parts. 
 
 Brown, (Alderney) .—Yellow, 3 parts; black, 14 parts; 
 white lead, 1 part; orange, 2 parts. 
 
 Brown (Amber).—Burnt umber, 9 parts; middle 
 chrome, 5 parts; Venetian red, 3 parts. 
 
 Brown (Chestnut).—Medium chrome yellow, 4 parts; 
 Venetian red, 2 parts. 
 
 Brown (Coach).—Indian red, 5 parts; ivory-black, 2 
 parts. 
 
 Brown (Cocoanut).—Burnt umber, 4 parts; yellow 
 ochre, 1 part; white lead, 1 part. 
 
 Brown (Coffee). —Burnt umber, 9 parts; yellow ochre, 
 4 parts; Venetian red, 1 part. 3 
 
 Brown, (Foliage).—Vandyke brown, 2 parts; burnt 
 sienna, 1 part. 
 
 Brown (Golden).—White lead, 20 parts; yellow ochre, 
 3 parts; burnt sienna, 1 part. — 
 
 Brown (Italian).—Vandyke brown, 4 parts; raw 
 sienna, 1 part. 
 
 Brown (Leather) —Yellow ochre, 4 parts; Venetian 
 red, 3 parts; white lead, 2 parts; blue-black, 1 part. 
 
 Brown (Olive).—Burnt umber, 3 parts; lemon chrome 
 yellow, 1 part. 
 
 Brown (Orange).—Burnt sienna, 5 parts; orange 
 chrome, 4 parts. 
 
 Brown (Pale).—White lead, 4 parts; burnt umber, 1 
 part. 
 
 Brown (Purple).—Indian red, 8 parts; burnt umber, 
 1 part; black, 1 part. 
 
256 THE MIXING OF COLORS AND PAINTS. 
 
 Brown (Seal).—Burnt umber, 4 parts; golden ochre, 
 1 part. 
 
 Brown. (Snuff). —White lead, 9 parts; orange chrome, 
 1 part; burnt umber, 2 parts. 
 
 Brown (Stone).—Burnt umber, 10 parts; golden 
 ochre, 1 part; burnt sienna, 2 parts. 
 
 Brown (Thrush) .—Yellow ochre, 1 part; burnt umber, 
 3 parts; white lead, 12 parts. 
 
 Brown (Walnut).—Burnt umber, 5 parts; raw sienna, 
 1 part. 
 
 Buff —White lead, 100 parts; yellow ochre, 7 parts; 
 middle chrome, 1 part. 
 
 Buttercup Yellow.—Middle chrome. 
 
 Canary.—White lead, 10 parts; lemon chrome, 1 part. 
 
 Chamois Yellow.—White, 4 parts; yellow ochre, 5 
 parts; green, 1 part. 
 
 Chamoline (Yellow).—Raw sienna, 3 parts; lemon yel- 
 low, 1 part; white lead, 5 parts. 
 
 Chocolate-—Burnt sienna, 5 parts; carmine, 1 part. 
 
 Cinnamon.—Golden ochre, 1 part; burnt sienna, 2 
 parts; white lead, 6 parts. 
 
 Citron (Yellow).—Raw umber, 2 parts; lemon chrome 
 5 parts. 
 
 Claret.—Carmine, 2 parts; ultramarine blue, 1 part. 
 
 Copper.—White lead, 100 parts; middle chrome, 19 
 parts; Venetian red, umber, and green, 3 parts each. 
 
 Cream.—White lead, 100 parts; raw sienna; 3 parts. 
 
 Cream.—White lead, 100 parts; Italian ochre, 3 parts. 
 
 Crimson (Amaranthine).—Vermilionette, 3 parts, 
 Prussian blue, 1 part. 
 
 Drab.—Burnt umber, 1 part; white lead, 10 parts. 
 
 Drab (Deep).—White lead, 20 parts; burnt umber, 14 
 parts; ochre, 2 parts. 
 
SELECTING COLOR SCHEMES 257 
 
 Drab (Light)—White lead, 50 parts; burnt umber, 
 12 parts; ochre, 1 part. 
 
 Drab (Medium).—White lead, 100 Ibs.; raw umber, 4 
 Ibs.; French ochre, enough to tone to tint wanted. 
 
 Drab (Warm) .—White lead, 100 lbs.; raw umber, 114 
 Ibs.; French ochre, 2 to 3 lbs. 
 
 Ecru.—Brunswick green, 1 part; medium chrome yel- 
 low, 3 parts; white lead, 8 parts; black, 3 parts. 
 
 Fawn.— White lead, 60 parts; burnt umber, 5 parts; 
 yellow ochre, 3 parts. 
 
 Fawn (Deep).—White lead, 10 parts; burnt umber, 
 4 parts; ochre, 1 part. 
 
 Flesh.—White lead, 50 parts; yellow ochre, 2 parts; 
 burnt sienna, 1 part. 
 
 Gold.—Color white lead with yellow ochre, raw sienna, 
 or chrome yellow, 5 parts; vermilion, 1 part. 
 
 Granite (Blue).—Black, 2 parts; white, 6 parts; ultra- 
 marine blue, 1 part. 
 
 Green (Aloes).—Black, 6 parts; white lead, 3 parts; 
 chrome yellow, 1 part; Brunswick green, 3 parts. 
 
 Green (Apple).—Medium chrome green, 1 part; white 
 lead, 30 parts. 
 
 Green (Autumn).—Emerald green, 2 parts; black, 7 
 parts; chrome yellow, 1 part. 
 
 Green (Blue).—Deep green, 7 parts; Prussian blue, 1 
 part. 
 
 Green (Bottle).—lLight green, 6 parts; lampblack, 1 
 part. 
 
 Green (Chartreuse).—Chrome yellow, 4 parts; chrome 
 ereen, 5 parts; tint with white. 
 
 Green (Chrome).—Chrome green. Or compound 
 with Prussian blue, 1 part; lemon chrome yellow, 8 
 parts. 
 
 Green (Citron).—White lead, 40 parts; middle 
 chrome, 3 parts; ivory-black, 1 part. 
 
258 THE MIXING OF COLORS AND PAINTS 
 
 Green (Emerald).—Emerald green. Or compound 
 with white lead, 8 parts; medium chrome green, 1 part. 
 
 Green (Foliage).—Blue-black, 1 part; lemon chrome, 
 4 parts. 
 
 Green (Gray).—Terre verte, 10 parts; raw umber, 1 
 part; white lead, 1 part. 
 
 Green (Invisible).—Black, 9 parts; bright green, 1 
 part. 
 
 Green (Light Olive).—Middle chrome, 3 parts; black, | 
 Z parts; burnt sienna, 1 part; trace of white lead. 
 
 Green (Marine).—Black, 4 parts; middle chrome 
 green, 1 part. 
 
 Green (Middle Chrome).—ULemon chrome, 1 part; 
 middle chrome, 1 part; Prussian blue, 2 parts. 
 
 Green (Mignonette).—Chrome green, 3 parts; black, 
 15 parts; Prussian blue, 1 part; chrome yellow, 1 part. 
 
 Green (Moss).—Medium chrome green, 30 lbs.; raw 
 umber, 1214 lbs.; medium chrome yellow, 6 lbs. 
 
 Green (Moss Rose).—Brunswick green, 1 part; yellow, 
 ’ 4 parts; white lead, 3 parts. 
 
 Green (Muscovite).—Prussian blue, 6 parts; chrome 
 green, 13 parts; orange chrome, 3 parts; white lead, 8 
 parts; black, 20 parts. 
 
 Green (Myrtle)—White lead, 20 parts; middle 
 chrome, 7 parts; ivory-black, 1 part. 
 
 Green (Nile).—Prussian blue, 6 parts; emerald green, 
 9 parts; white lead, 5 parts. 
 
 Green (Olive).—White lead, 12 parts; yellow ochre, 
 4 parts; umber, 1 part. 
 
 Green (Oriental)—White lead, 2 parts; lemon 
 chrome, 2 parts; umber, 1 part. 
 
 Green (Pale).—Zine green, 4 parts; zine white, 5 
 parts. 
 
 Green (Pale Emerald) —White lead, 2 parts; emerald 
 green, 1 part. 
 
SELECTING COLOR SCHEMES 259 
 
 Green (Pea).—White lead, 100 parts; lemon chrome, 
 1 part; light green, 13 parts. 
 
 Green (Peacock).—White lead, 7 parts; emerald 
 ereen, 50 parts; Prussian blue, 48 parts. 
 
 Green (Pistache).—Black, 7 parts; yellow ochre, 1 
 part ; chrome green, 114 parts. 
 
 Green (Prussian).—Prussian green. Or compound 
 with emerald or medium chrome green, 12 parts; chrome 
 yellow, 3 parts; black, 5 parts. 
 
 Green (Sage).—White lead, 30 parts; chrome green, 
 light, 2 parts; burnt sienna, 1 part. 
 
 Green (Sea).—White lead, 100 parts; deep green, 4 
 parts. 
 
 Green (Slate).—White lead, 16 parts; black, 5 parts; 
 raw turkey umber, 1 part; deep green, 3 parts; blue, 1 
 part. 
 
 Green (Velvet).—Burnt sienna, 3 parts; light chrome 
 green, 5 parts; white lead, 8 parts. 
 
 Green (Water) Be ihite lead, 25 parts; deep green, 
 1 part; yellow ochre, 5 parts. 
 
 Gray (Argent).—Black, 9 parts; white lead, 16 parts; 
 red, 1 part; trace of orange. 
 
 Gray (Ash).—Burnt sienna, 2 parts; ultramarine 
 blue, 3 parts; zine white, 60 parts. 
 
 Gray (Dove).—White lead, 50 parts; ultramarine, 4 
 parts; ivory-black, 1 part. 
 
 Gray (Greenish).—White lead, 100 lbs.; medium 
 chrome yellow, 8 oz.; medium chrome creen, 1 ithe ; lamp- 
 black, 1 oz. 
 
 Gray (Jasper).—Black, 9 parts; white, 2 parts; trace 
 of deep chrome. 
 
 Gray (Inght).—Prussian blue, 1 part; lampblack, 1 
 part; white lead, 10 parts. 
 
 Gray (Light).—Tint white lead with a little each of 
 lampblack, raw umber, and Prussian blue. 
 
260 THE MIXING OF COLORS AND PAINTS 
 
 Gray (Inght French).—White lead, 200 parts; ivory- 
 black, 2 parts; blue, 1 part. 
 
 Gray (Opal).—Burnt sienna, 1 part; zine white, 30 
 parts; cobalt blue, 2 parts. ; 
 
 Gray (Pearl).—White lead, 50 parts; Venetian red, 
 2 parts; deep green, 2 parts. 
 - Gray (Pure).—Raw turkey umber, 1 part; ivory- 
 black, 1 part; white lead, 40 parts. 
 
 Gray (Silver).—White lead, tinted slightly with a 
 touch of lampblack and raw umber. 
 
 Gray (Warm).—White lead, 100 lbs.; French ochre, 
 4 to 6 lbs.; lampblack, 2 oz.; Venetian red, 2 oz. 
 
 Hay.—White lead, 100 parts; yellow ochre, 4 parts; 
 raw umber, 4 parts; deep green, 1 part. 
 
 Helotrope. —Zine white, 2 parts ; red, 3 parts; ultra- 
 marine blue, 4 parts. 
 
 Indigo.—Indigo. Or compound with black, 9 parts; 
 Prussian blue, 4 parts. 
 
 Ivory.—White lead, 56 parts; yellow ochre, 2 parts; 
 Venetian red, 1 part. 
 
 Ivory. opie white lead with raw sienna aud a touch 
 of American vermilion. 
 
 Lavender.—White lead, 100 parts; ultramarine, 3 
 parts ; madder lake, 1 part. 
 
 Lead.—White lead, 100 parts; ivory-black, 8 parts. 
 
 Leather.—White lead, 20 parts; yellow ochre 4 parts; . 
 Venetian red, 2 parts. 
 
 Lemon.—Lemon chrome. Or compound with chrome 
 5 parts; white lead, 2 parts; very little green. 
 
 Inlac.—White lead, 100 parts; ultramarine, 1 part; 
 rose madder, 1 part. ; 
 
 Inmestone.—White lead, 100 parts; yellow ochre, 1 
 part; raw umber, 1 part. 
 
 Mahagony.—Orange chrome, 10 parts; pari sienna, 
 3 parts ; white lead, 1 part. 
 
SELECTING COLOR SCHEMES 261 
 
 Maple.—White lead, 100 parts; yellow ochre, 3 parts; 
 raw umber, 1 part. 
 
 Maroon.—Venetian red, 2 parts; Indian red, 4 parts; 
 lampblack, 1 part. 
 
 Maroon (Acacia).—Black, 4 or 5 parts; Indian red, 3 
 parts ; Prussian blue, 1 part. 
 
 Maroon (Black).—Black, 4 parts; bright red, 1 part; 
 trace of Prussian blue. 
 
 Mascot (Blue).—Black, 7 parts; blue, 1 part; trace of 
 green. 
 
 Mauve.—wWhite lead, 6 parts; Prussian blue, 2 parts; 
 madder red, 1 part. Or add blue to brown. 
 
 Mouse Color.—Lampblack, 3 parts; Prussian blue, 1 
 part; white lead, 16 parts. 
 
 Oak (Dark).—White lead, 2 parts; yellow ochre, 3 
 parts; Venetian red, 1 part; umber, 3 parts. 
 
 Oak (Light).—White lead, 6 parts; yellow ochre, 6 
 parts; Venetian red, 2 parts; umber,-1 part. 
 
 Ochre (Golden).—Yellow ochre, 5: parts; lemon 
 
 chrome, 2 parts. | 
 
 Ochre (Roman).—Yellow ochre, 50. parts; turkey 
 umber, 3 parts. 
 
 Old Gold.—White lead, 6 parts; ochre, 12 parts; mid- 
 dle chrome, 3 parts. 
 
 Olive-—White lead, 12 parts; yellow ochre, 4 parts; 
 ivory-black, 1 part. 
 
 Olive (Gray).—Chrome green, 1 part; lampblack, 3 
 parts; white lead, 40 parts. 
 
 Olive (Light).—Middle chrome, 3 parts; black, 2 
 parts; burnt sienna, 1 part; trace of white lead. 
 
 Olive (Yellow).—Burnt umber, 3 parts; lemon chrome 
 yellow, 1 part. 
 
 Orange.—Orange chrome, 18 parts; white lead, 1 part; 
 yellow, 1 part. 
 
 Orange (Bright).—Orange chrome, 1 part; orange 
 lead, 2 parts. 
 
262 THE MIXING OF COLORS AND PAINTS 
 
 Orange (Scarlet).—Orange lead, 2 parts; white lead, 
 Lopart 
 
 Orange (Persian).—Orange chrome, 14 parts; white 
 lead, 1 part; yellow ochre, 5 parts. 
 
 Peach Bloom.—Indian red, 3 parts; white lead, 17 
 parts. 
 
 Pink.—White lead tinted with American vermilion. 
 
 Pink (Aurore).—Indian red, 1 part; orange chrome, 
 2 parts; blue, 2 parts; trace of lemon chrome; tint with 
 white. 
 
 Pink (Coral).—Vermilion, 5 parts; white lead, 2 
 parts; chrome yellow, 1 part. 
 
 Pink (Indian) .—White lead, 100 parts; Indian red, 3 
 parts; rose madder, 1 part. 
 
 Pink (Light).—White lead, 100 parts; rose madder, 
 4 parts; vermilion, 1 part. 
 
 Pink (Royal).—Zine white, 2 parts; carmine lake, 2 
 parts. 
 
 Pink (Venetian).—White lead tinted with trace of 
 Venetian red. 
 
 Porcelain (Blue).—Zine white, 1 part; chrome green, 
 1 part; ultramarine blue, 4 parts; trace of black. 
 
 Primrose.—Pale zine chrome. Or compound with: 
 White lead, 10 parts; green, 3 parts; yellow, 4 parts. 
 
 Purple.—White lead, 1 part; ultramarine, 1 part; In- 
 dian red, 1 part. 
 
 Purple (Anemone).—Black, 2 parts; white lead, 1 
 part; bright red, 6 parts; Prussian blue, 6 parts. 
 
 Purple (Begonia).—Uampblack, 4 parts; bright red, 5 
 parts; Prussian blue, 4 parts. 
 
 Purple (Royal).—Royal purple. Or compound with: 
 Vegetable black, 2 parts; red, 3 parts; Prussian blue, 14 
 parts. 
 
 Red (Armentan).—Yellow ochre, 1 part; Venetian red, 
 2 parts. 
 
SELECTING COLOR SCHEMES 263 
 
 Red (Bordeaux).—Black, 1 part; orange chrome, 2 
 parts; Prussian blue, 1 part. 
 
 Red (Carnation).—Carmine lake, 3 parts; white lead, 
 1 part. 
 
 Red (Cherry).—Rose madder, 1 part; vermilion, 2 
 parts. 
 
 Red (Deep Indian) .—Indian red, 5 parts; lampblack, lt 
 part. 
 
 Red (Egyptian).—Black, 10 parts; white, 3 parts} 
 orange, 4 parts; blue, 2 parts; trace of red. 
 
 Red (Geramium).—Bright red, 9 parts; blue, 1 part. 
 
 Red (light Indian).—Venetian red, 1 part; Indian 
 red, 3 parts. 
 
 Red (Mexican).—Red lead, 1 part; Venetian red, 4 
 parts. 
 
 Red (Mikado).—Blue, 3 parts; red, 7 parts; small 
 quantity of white. 
 
 Red (Moorish).—Vermilion, 3 parts; rose pink, 1 part. 
 
 Red (Orange).—Orange chrome. 
 
 Red (Oriental ).—Rose madder, 2 parts; orange lead, 1 
 part. 
 
 Red (Poppy).—Blue, 1 part; vermilion, 24 parts. 
 
 Red (Turkish).—Pale vermilion, 4 parts; mahogany 
 lake, 1 part. 
 
 Red (Tuscan).—Rose pink, 2 parts; Indian red, 4 
 parts. 
 
 ose (Carnation).—Rose madder, 1 part; zine oxide, 
 8 parts. 
 
 Rose (Inght)—White lead tinted lightly with rose 
 lake, turkey red, or vermilion. 
 
 Rose (Old).—White lead, 16 parts; crimson madder, 1 
 part. 
 
 Rosewood.—Bright red, 1 part; black, 6 parts; trace 
 of green. 
 
 Russet (Dull).—White lead tinted to desired shade 
 
264 THE MIXING OF COLORS AND PAINTS 
 
 with raw sienna and a touch of vermilion or Indian red. 
 
 Salmon.—White lead, 40 parts; golden ochre, 5 parts; 
 Venetian red, 1 part. 
 
 Sapphire.—Zine white, 4 parts; Chinese blue, 1 part. 
 
 Scarlet (Bright).—Vermilion, 20 parts; pale chrome, 
 7 parts; golden ochre, 1 part. 
 
 Scarlet (Orange).—Orange lead, 2 parts; white lead, 1 
 part. 
 
 Slate.—White lead, 100 parts; ivory-black, 3 parts; 
 ultramarine, 1 part. . 
 
 Snuff—White lead, 9 parts; orange chrome, 1 part; 
 burnt umber, 2 parts. 
 
 Stone-——Burnt umber, 1 part; French yellow ochre, 
 2 parts; white lead, 5 parts. 
 
 Stone (Bradford).—White lead, 100 lbs.; raw sienna, 
 3 Ibs.; shade with lampblack. 
 
 Stone (Brown).—Burnt umber, 10 parts; golden 
 ochre, 1 part; burnt sienna, 2 parts. 
 
 Stone (Dark).—White lead, 20 parts; yellow ochre, 
 12 parts; raw umber, 4 parts; Venetian red, 1 part. 
 
 Stone (Inght).—White lead, 100 parts; and either 
 Italian ochre, 5 parts, or yellow ochre, 6 parts. 
 
 Stone (Middle)—White lead, 100 parts; yellow 
 ochre, 12 parts. 
 
 Tan. White lead, 20 parts; burnt umber, 6 parts; 
 burnt sienna, 3 parts; yellow ochre, 2 parts. 
 
 Tan (Auburn).—Burnt umber, 1 part; golden ochre, 
 3 parts; white lead, 20 parts. 
 
 Tan (Coffee).—White lead tinted with burnt umber. 
 
 Tan (Soft).—Tint white lead with raw sienna. 
 
 Tan (Warm).—Tint white lead with raw sienna, 
 chrome yellow, and vermilion. 
 
 Terra Cotta.—White lead, 2 parts; burnt sienna, 1 
 part. : 
 
 Terra Cotta.—White lead, 2 parts; Venetian red, 1 
 part; burnt sienna, 1 part. 
 
SELECTING COLOR SCHEMES 26 
 
 ol 
 
 Turquoise.—White lead, 20 parts; ultramarine, 2 
 parts; light green, 1 part. 
 
 Violet.—French ultramarine, 14 parts; crimson lake, 
 3 parts. 
 
 Violet (Transparent).—Ultramarine blue, 4 parts; 
 crimson lake, 1 part. 
 
 Walnut.——Burnt umber, 5 parts; raw sienna, 1 part. 
 
 White (Clear).—White lead, 300 parts; ultramarine, 
 1 part. 
 
 White (Flake).—Pure English white lead. 
 
 White (Kremnitz).—Pure zine oxide, 100 parts; ultra- 
 marine, 1 part. 
 
 White (Permanent ).—Finest barytes, 200 parts; blue, 
 1 part. 
 
 White (Pure).—Equal parts white lead and zine 
 white. 
 
 White (Translucent).—White lead, 1 part; barytes, 
 10 parts. 
 
 White (Transparent ).—Zine white, 1 part; barytes, 
 20 parts. 
 
 Yellow (Alabaster).—White, 4 parts; middle chrome 
 yellow, 1 part. 
 
 Yellow (Light Colonal).—White lead, 100 lbs. ; med- 
 tum chrome yellow, 1 to 2 lbs.; raw sienna, 1 lb. 
 
 Yellow (Orange Chrome).—Use orange chrome yellow 
 or same plus a touch of vermilion. 
 
 Yellow (Inght Orange Chrome).—Use orange chrome 
 yellow and a little white lead. 
 
 Yellow (Brass).—White lead, 40 parts; light chrome 
 yellow, 12 parts; raw umber, 1 part; burnt umber, 1 
 part. 
 
 Yellow (Bronze).—White lead, 10 parts; lemon 
 chrome, 4 parts; raw umber, 5 parts. 
 
 Yellow (Buttercup ).—Middle chrome. 
 
266 THE MIXING OF COLORS AND PAINTS 
 
 Yellow (Canary).—White lead, 10 parts; lemon 
 chrome, 1 part. 
 
 Yellow (Chamoline).—Raw sienna, 3 parts; lemon 
 yellow, 1 part; white lead, 5 parts. 
 
 Yellow (Chamois).—White, 4 parts; yellow ochre, 5 
 parts; green, 1 part. 
 
 Yellow (Citrine).—Raw umber, 2 parts; lemon chrome 
 yellow, 5 parts. 
 
 Yellow (Golden).—Middle chrome, 16 parts; yellow 
 ochre, 1 part. 
 
 Yellow (Italian).—Yellow ochre, 14 parts; burnt um- 
 ber, 1 part. 
 
 Yellow (Jonquil). —Indigo, 1 part; light red, 2 parts; 
 white lead, 16 parts; tint with chrome yellow. 
 
 Yellow (Lemon).—Lemon chrome. 
 
 Yellow (Olive).—Burnt umber, 3 parts; lemon chrome 
 yellow, 1 part. 
 
 Yellow (Primrose).—Pale zine chrome. 
 
 Yellow (Transparent ).—Yellow ochre, 1 part; barytes, 
 10 parts. 
 
CHAPTER XIV 
 
 PRINTING INKS 
 
 The advent and early history of printing inks is of 
 little practical use to the printer seeking knowledge 
 about present day problems, yet there is much of in- 
 terest in them. Through the courtesy of Philip Rux- 
 ton, Incorporated, the author is able to present this 
 brief history. 
 
 Very early in the history of every race printing was 
 done first upon skins and fabrics and later upon linen, 
 papyrus, parchment and hand-made papers. The stamp- 
 ing of designs and patterns upon textiles was commun 
 in India and China even before available records place 
 definite dates on such arts and crafts. In China the 
 classics were cut into tablets which were printed from 
 by hand in 175 A. D. In the sixth century classical 
 books were engraved into wood by the command of the 
 Suy Dynasty and hand prints made therefrom. And 
 as early as the ninth century books were engraved in 
 stone; ink was spread upon these forms and rough 
 prints taken by hand from them. 
 
 The printing of textiles from blocks of wood, stone 
 and clay was indulged in by many of the historic peo- 
 ples of India, Egypt, Greece, Rome and the ancient 
 Ineas of South America, as well as by North American 
 Indians. 
 
 At later periods the medieval kings and nobles used 
 wood block monograms and printing inks to stamp 
 their approving mark on charters and other official 
 papers. 
 
 267 
 
268. THE MIXING OF COLORS AND PAINTS 
 
 The date of the invention of paper is lost in antiquity. 
 Paper was made and used for hand writing long before 
 the advent of block or type printing. There were paper 
 mills in Toledo as early as the tenth century. In 1102 
 the king of Sicily paid marked attention to paper mak- 
 ing. Copyists or letterers of his time used vellum in 
 preference to the rough hand made papers. 
 
 Books at first were lettered by hand. Next came the 
 first printed book made by cutting the letters or char- 
 acters upon wood blocks, covering the blocks with ink 
 and making a rough impression by hand ;—a slow and 
 tedious job, indeed. Such block plates were known as 
 Xylographs. 
 
 The very early block printed books have been lost 
 or destroyed but one bearing the date of 1470 is still in 
 existence today. The use of type for printing, however, 
 began some forty years previous to this date. 
 
 The making of printing ink evidently was of little 
 importance until the invention of the printing press by 
 Gutenberg and, of course, the quantity used was insig- 
 nificant. 
 
 From the records it appears that the first printing 
 press operated in Venice was in 1469, but by 1470 there 
 were about eighty German printers at work in Rome. 
 By the first year of the 15th century there were over 
 two hundred presses at work in Venice. By the early 
 part of the sixteenth century printing as an art was 
 well established and well patronized. The makers of 
 playing ecards, especially, made use of printing. 
 
 Only black ink was used for many years. When a 
 color was wanted for initials or for ornamentation it 
 was hand lettered. Ink was made by the printers in 
 -yather a simple way. A fire was built in the open and 
 a huge kettle was suspended over the fire. In the ket- 
 tle linseed oil was boiled until it was reduced to a thick 
 varnish. Bread was put into the hot oil to. soak up 
 
PRINTING INKS 269 
 
 excess grease. The bread was eaten and relished; thus 
 a feast was enjoyed by the printers at this work. 
 
 Having the linseed oil reduced to a thick varnish, 
 the printers then mixed a black pigment, carbon black 
 _ or lamp black, as a rule, with the varnish. This was a 
 slow process ealling for a great expenditure of labor. 
 _ Power mills were unknown then, so a large stone and 
 muller were used to grind the black pigment and var- 
 nish together. 
 
 In making the linseed oil varnish a gum of one kind 
 or another was usually cooked with the oil; this to give 
 - a binder or adhesive which would make the ink stick 
 ~ to the paper. : 
 
 As greater use was made of the printing press up 
 through the sixteenth and seventeenth centuries, print- 
 ers continued to make their own ink, using the same 
 basic materials—linseed oil, juniper gum or rosin and 
 earbon black. Good quality inks from the viewpoint 
 of permanence were made. The first edition of Virgil 
 printed in 1502 by the Germans was done with good 
 cuality of ink, permanently black; although a bit slow 
 to dry, perhaps, since the pages are offset a little. The 
 inks used on ancient Italian and Dutch books appar- 
 ently contained a black charcoal pigment made from 
 twigs or burned peat; they faded to a brown tone. 
 
 The development of colored inks probably occurred 
 during the latter part of the seventeenth and early 
 part of the eighteenth centuries, about the time cyl- 
 inder and power printing presses were introduced. 
 
 Previous to the nineteenth century the manufacture 
 of printing inks was accomplished by haphazard rule- 
 of-thumb methods. But from this time on down to our 
 day the industry has been one in which chemistry has 
 taken hold and developed ink making into a highly 
 technical science. | 
 
 The invention of coal tar colors has been especially 
 
\ 
 
 270 THE MIXING OF COLORS AND PAINTS 
 
 influential upon the manufacture of a more extensive 
 line of colors and inks of higher quality. Many bril- 
 hant color pigments were made available to the ink 
 maker by the coal tar industry development. Many 
 such colors faded greatly as made at first, but con- 
 stant improvement in their permanency of color has 
 been made until today some of the coal tar colors are 
 the most permanent known. From about forty colors 
 commonly sold in 1870 the list of available colored inks 
 now numbers in the hundreds or thousands ;—prac- 
 tically any color wanted may be secured. 
 
 The manufacture of dyestuffs from coal tar originated 
 12 England. France took up the manufacture next and 
 then both Switzerland and Germany began to make 
 such colors. Germany soon developed this industry to 
 a point after 1870 where almost a monopoly of the 
 world business was in her possession. From that time 
 most of the improvements and valuable discoveries in 
 the coal tar industry have been made by Germans. 
 
 In 1875 the important discoveries were made which 
 led to the manufacture of Malachite green, methylene 
 blue, eosine and chrysoidine. Between 1880 and 1890 
 vast improvements and many important discoveries oec- 
 eurred. Such dyestuffs as auramine, tartrazine, congo 
 red and rhodamine were then introduced. A little 
 later para red and lithol were produced. 
 
 Germany supplied America with about eighty per 
 cent of the dyestuffs used in 1913. Estimates indicate 
 that the German investment in dyestuffs manufacture 
 before the world war was in the neighborhood of four 
 hundred million dollars. During the war America was 
 thrown on her own resources for the manufacture of 
 dvestuffs and while the first dyestuffs made were not 
 equal in quality to the imported colors, great improve- 
 ments have been made continuously. All of the pre- 
 
PRINTING INKS 271 
 
 war colors are not made, but a sufficient number of 
 high quality is made to serve all practical purposes. 
 
 ESSENTIAL CONSTITUENTS 
 
 Printing ink is composed of color pigment, liquid ve- 
 hicle and drier. There are about five hundred basic 
 materials used in the manufacture of inks today which 
 include oils, resins, color pigments, white pigments, 
 waxes, dyes and various acids and other chemicals. 
 
 Color Pigments and Dyes.—The principal colors now 
 used for the manufacture of printing inks are those 
 made by chemical processes and to some extent earth 
 pigments such as raw and burnt sienna, raw and burnt 
 umber and yellow ochre. For descriptions of these see 
 Chapter II. Generally earth colors are not used ex- 
 cept for certain shades; they are apt to be gritty and 
 to cause excessive wear on type, half tones, zines and 
 electros. 
 
 Such chemical colors as the iron blues like Prussian, 
 Chinese, bronze and Milori blue are extensively used 
 in the manufacture of modern inks. Chrome yellows, 
 light, lemon, medium and orange, are used a great deal 
 as are also such colors as ultramarine blue and ver- 
 milion. For descriptions of these colors see Chapters 
 II and III. 
 
 The basic white pigments used in printing inks are 
 white lead, zine oxide, lithopone, blane fixe and mag- 
 nesia. See Chapter V. 
 
 Black pigments used are carbon black, lamp black, 
 bone or ivory black, aniline black and mineral black 
 oxide of iron. 
 
 Extreme care must be exercised in selecting carbon 
 blacks from which all grit and crystalline particles have 
 been removed by the air-floating process. Should such 
 impurities as crystallized carbon, small particles of iron 
 rust or other grit be allowed to remain in the carbon 
 
272 THE MIXING OF COLORS AND PAINTS 
 
 black, the ink will cause fill-ups in half-tone screens 
 and fine lines of zines. Also excessive wear of plates 
 and ink rollers will result from the use of such ink. 
 
 Coal tar colors used in modern ink making are these: 
 Para red, lithol red, eosine, madder lake, red for lake 
 C, toluidine, lithol rubeine, scarlet, methyl violet, alkali 
 ‘blue, peacock blue, auramine yellow, tartrazine yellow, 
 Malachite green, fuchine, Victoria green, rhodomine, 
 scarlet 2R, permanent red 4B, orange Y and chrys- 
 oidine. All of these colors belong to the transparent 
 lake class except para red and toluidine red. The lake 
 colors are made by precipitating the coal tar dyestuff 
 as an insoluble salt on an inert, rans base such 
 as alumina hydrate. 
 
 The ink manufacturer differentiates between color 
 pigments and dyes. The former are such colors as are 
 rot soluble in water or oil, whereas the dyes are soluble. 
 
 Oils and Varmshes.—Pure linseed oil is: the principal 
 liquid constituent of printing ink just as it is of paint. 
 See Chapter VI. 
 
 The linseed oil is reduced to a thick varnish by boil- 
 ing after it is refined and purified by chemical processes. 
 The product resulting from this treatment is called lith- 
 ographic varnish. It is produced in several grades clas- 
 sified according to body or viscosity, varying from a 
 very thin varnish to one as thick as molasses. These 
 thick and thin varnishes are usually blended in making 
 ink to gain just the right body and working qualities. 
 
 While linseed oil varnish is the chief one used in the 
 making of high quality printing ink, there are other 
 varnishes which are-also used in inks for certain spe- 
 cific purposes. Such special purpose varnishes are 
 compounded of various gums and resins with linseed or 
 mineral oil. To a large extent the same materials are 
 used for ink varnishes as are made for general house 
 and cabinet varnishing purposes. 
 
PRINTING INKS 273 
 
 The gums and resins in common use for ink making 
 varnishes are these: 
 
 Rosin, which is the residue left from the distillation 
 of turpentine; 
 
 Copal gum, a soft gum taken from live trees in Java, 
 Sumatra, the Philippines, Australia and New Zealand. 
 The hard copal.gum is a better quality and is dug out 
 of the ground in South America, West Africa, Mada- 
 gascar and the East Indies. It is a fossil formation 
 from the buried trees of past ages; 
 
 Damar gum is a resin exuded by a certain conifer- 
 ous tree in the Moluccas; - 
 
 Kauri is a resin secured from New Zealand. Some 
 of it is in the fossil state; 
 
 Rosin oil, obtained by the distillation of rosin. It 
 is used for special purposes in ink making. 
 
 Wases for Ink Making.—In the manufacture of some 
 inks waxes are used to gain certain desirable qualities. 
 
 Bees-wax, secured from the honeycomb of bees, is a 
 common ingredient of ink. 
 
 Carnauba wax, made from the Brazilian palm tree, is 
 another inkmaker’s wax. 
 
 Wool-grease, a product secured by scouring sheep 
 wool, is commonly used in printing ink. 
 
 Petrolatum and paraffin are wax products secured 
 from petroleum and they are useful for some kinds 
 of ink. : 
 
 Ink Driers—These are such liquids or pastes as will 
 naturally hasten the drying of inks. They are added 
 to the varnish or to the ink. They are compounded 
 chiefly from soaps of the three drying metals—lead, 
 manganese and cobalt. The linoleates and resinates are 
 usually used but borate of manganese and lead acetate 
 are commonly used too. Each type of drier has its own 
 peculiar reaction and is used to gain certain qualities. 
 
274 THE MIXING OF COLORS AND PAINTS 
 
 And all are used to speed the drying of printing inks. 
 See Chapter VII. 
 
 The drying of ink on paper is a process which ac- 
 complishes its aim by oxidation (taking up oxygen from 
 the air), by absorption or by evaporation. All three 
 methods may occur with the same ink. At any rate 
 the ink must dry within certain time limits to allow 
 handling of the paper for further printing, for cut- 
 ting and binding. 
 
 Inks which dry by oxidation depend upon the var- 
 nish and drier added; inks which dry by absorption 
 depend upon the paper partly and partly upon the 
 varnish vehicle; inks made to dry by evaporation de- 
 pend upon the rapid volatilization of the vehicle which 
 may be xylol, gasoline or alcohol. 
 
 Some colors are naturally rapid in drying while 
 others dry slowly. Quick drying varnishes are added 
 to slow drying colors to make the ink dry normally 
 rapid. 
 
 Driers are added to ink varnish by the manufac- 
 turers, but sometimes the printer must add more to 
 the ink in the fountain when the weather is humid or 
 when the paper contains too much humidity. 
 
 Driers should be added to ink with the greatest of 
 care. They constitute a stimulant and if an overdose 
 is added to ink the drying may be retarded instead of 
 speeded up. 
 
 Characteristics of Ink.—The requirements which must 
 be met by the inkmaker of today are complex as com- 
 pared to the simple needs of hand block printing and 
 early printing presses. 
 
 Since that ancient day the introduction of lithog- 
 - raphy by Senefelder in 1796 called for the production 
 of colored inks while black sufficed before. 
 
 And from then until now has followed a continuous 
 procession of inventions and improvements, each pre- 
 
PRINTING INKS 276 
 
 senting problems for the inkmaker, until now we have 
 inks for lithography, letterpress, gravure and offset; 
 for job press, cylinder and rotary; for steel and copper- 
 plate engraving and embossing. 
 
 Changes and improvements in press speeds and in 
 paper qualities require modification or adjustment of 
 printing inks to fit the condition. 
 
 The introduction of photo-engraving to supercede 
 wood-cut plates again set up a problem for inkmakers; 
 and today the constant refinement in color process 
 printing and betterment of paper constantly calls for 
 vigilance and understanding on the part of the printer. 
 
 Standardization of raw materials and uniform qual- 
 ity are absolutely essential to successful adjustment 
 and tempering of inks to fit every purpose, where 
 color, body, drying ability, penetration of paper, ad- 
 hesiveness, fineness of pigment, transparency . and 
 opaqueness all are vital factors in the making and mix- 
 ing of printing inks. 
 
 Printing inks today are made for use on paper of 
 many grades, on wood, burlap bags, waxed paper, 
 glassine, fibre board, tin and iron. 
 
 The mixing of printing inks to match any given sam- 
 ple is done by substantially the same working methods 
 as were outlined in Chapters VIII, X and XI. The 
 principal difference to be noted is that instead of add- 
 ing a little color to a quantity of white basic pigment, 
 as painters and decorators do, the printer selects an 
 ink which is near the color wanted and adds a little 
 white or other color to correct it. 
 

 
INDEX 
 
 A 
 pemerates, Mivi.....ss lo... 99 
 Acetic acid, vinegar...... 100 
 Adding the colors........ 17 
 
 Agricultural vermilion, dry 60 
 
 oy) 99 
 Alizarine crimson........ 52 
 Sramascn lake, ....s..... 31 
 POEM OLE ois cso ve 55 
 (Cl eG eee ai, ot 
 et EE are eels ad ewes goes 31 
 Alpine green, Japan...... 57 
 Alsace blue, Japan....... bt 
 Aluminum A bronze, dry. 63 
 ee es bese sss 120, 188 
 
 striping bronze, dry.... 63 
 Amber 
 American powdered drop 
 
 MANOEL YO sida dis os 0: 59 
 vermilion ....24, 29, 54, 57 
 Wermi0N, OFy.........- 60 
 vermilion, Japan ...... 57 
 Byermmiion, Ol «........ 55 
 
 Amounts in paint mixing.122 
 Amount of zine with lead.114 
 Amyl acetate ......... 66, 99 
 Aniline and coal tar colors 24 
 Animal colors Zt 
 Annapolis blue, Japan.... 57 
 
 mamewerp blue’......... 34, 53 
 OSES | ee 55 
 PGW IODA. Gakic cs- 58 
 Sa TO en a 54 
 
 Apple green, Japan ...... 57 
 
 Appropriateness of color 
 
 schemes 22 
 UNC a) 252 
 PArtioelal, COLOTS .......+. 25 
 
 Artillery gray, Japan.... 59 
 
 Artists’ and decorators’ 
 COLES, Pag Ae eyes ee 
 Artists’ ofl colors... ...... 54 
 
 and decorators’ palette. 40 
 
 PBVeGtine io ba can oot 74 
 STO eo. pa cel ae eine 252 
 ADLER ODT LIIG he Ae Sree 55 
 ASD Lith ey 4h ats ee es 2c ST 
 THUUIROT Rr ha void eee oe 52 
 OLR Be pie ee cee ee oars 55 
 ALRCO LIN Baron ed Sud ear Asete 35 
 OL and ks wo ee 56 
 Automobile and sign paint- 
 ers’ Japan colors..... 56 
 Average bulking values. .121 
 AAT OM DIMGU as esis Bae eee Be 
 2rOUnG wCOlGm 1. 3 ee 59 
 ADOT A Gr eh el cents aif 
 B 
 Balancing a color scheme 226 
 BAN SNA Os cain a ices 93, 99 
 IDAPVLCS me nda Ge wi eee 18 
 DASE FOMCL SOS soit 32 
 Basic paint pigments..... 65 
 Battleship gray, Japan... 59 
 PAV OCW Hie hd dard, ok OL eee 252 
 Beaver brown, Japan..... 58 
 Bench, paint mixing...... 1109 
 BePIStiG ec: oe wt che cee 98 
 IROTIEING | apsiad oe cee toe 97 
 Benzo as seek.2 tee ee 98 
 Biege brown, Japan...... 58 
 Bismarck brown (red), 
 CLI Fe ee eases ee 61 
 Bitainens ia vo. aa eee 37 
 AspnAaItUIM wicca es sas 52 
 AY DROW OR Spt A Ra Pe ae 55 
 Black, Victis. Powe le whe ster caesse: 252 
 olive, purple ........ 0% 253 
 
 277 
 
278 
 
 Blacks ..16, 40, 50, 51, 53, 55 
 
 Blue, 40, 55; bone, 17; 
 brunswick, 27; coach, 
 17, 50; drop, “17,..00, 
 53; English blue, 50; 
 gas, 16; indigo, 40; 
 iron oxide, 50; ivory, 
 17, RLS? SORc5 I obo, 0s; 
 Japan, v7 lamp elo. 
 50, 58, 55; lettering, 
 51; nigrosene, 25; su- 
 garhouse, 17. 
 
 Blacks, distemper, water 53 
 HVOry GFOp, JAmIp< vee s oo 
 sla CR SOT Vil etate te ciate olen 59 
 
 American powdered drop, 
 coach painters’ English 
 powdered drop, German- 
 town, graphite, lamp 
 black, Swedish 
 Blacks, Japan colors 
 C. P. lamp, coach paint- 
 ers’ drop, English coach, 
 English drop, ivory jet. 58 
 Black, Lamp, C. P. Japan. 58 
 
 Black lead, graphite...... (5 
 Blacks; Ol Colors... cert 51 
 ivory, lamp black, letter- 
 
 (5 Ch i Nb rite ree ams A BE 
 
 Blacks, oil tinting colors.. 50 
 black iron oxide, car- 
 bon, coach, English blue, 
 ivory drop, lamp, 50. 
 
 Blane de Laque, white, dry 40 
 
 Bleeding. colors)... .. as <6 46 
 DINO stra oar eee teers 19,33,51 
 Bleaching of colors.... 48, 45 
 
 Antwerp, 34, 51, 53, 55, 
 200; 1 OSULe eo ete. 
 black, 253; bronze, 253; 
 cerulean, 33, 55; Chi- 
 nese, 34, 49, 58, 55; co- 
 balt, -20, 33,49, 51, 53, 
 55; cobalt purple, 34; co- 
 balt violet, 34; dark, 253; 
 delft, 253; deep, 253; 
 gobelin, 253; granite, 
 253; grayish, 253; indi- 
 #0, 55, 253; Italian, 53; 
 
 INDEX 
 
 light gray, 253; light 
 Prussian, 253; marine, 
 258; methyl 253ssaniswy. 
 254; mountain, 254; new, 
 55; old, 254; opaque, 254; 
 oriental, 254; pale, 254; 
 Paris, 53; permanent, 
 55; Prussian, 21, 34, 49; 
 51, .58,. 55; “pure aoa 
 royal, 254; sapphire, 254; 
 sea, 254; pale sky, 254; 
 sky, 254; turquoise, 254; 
 ultramarine, 19, 49, 51, 
 53, 55; verditer, 34. 
 Blue Black 
 Ol 6%. Sakai oe eileen 
 
 Blue bronze, dry 
 Patent, dry 
 
 Blue Devil Blue, Japan... 
 
 Blues, distemper, water .. 
 Antwerp, azure, Chinese, 
 
 cobalt, Italian, Paris, 
 Prussian, ultramarine, 
 5s. 
 
 Blues, ‘G2y-0¢ hs en cae eee 
 celestial cobalt, C. P. 
 
 Prussian, soluble, ultra- 
 marine, H. B., 62. 
 
 Blue, Freneh <..... eens 
 
 Blue, glaZe:\.2i5 «See eee 
 Chinese, cobalt, Italian, 
 steel, ultramarine, ver- 
 diter, 52. 
 
 Blues, Japan colors 
 Alsace, Annapolis, azure, 
 light; blue devil, car 
 body, light; coach, light; 
 coach, deep; Coventry; 
 57; English violet, Hol- 
 land, insignia, Packard 
 violet, peacock, Prus- 
 sian, Rolls-Royce, subur- 
 ban, light; suburban, 
 ‘medium; town car, light; 
 town car, medium; town 
 car, deep; ultramarine, 
 violet purple, 58. 
 
 Blue Lake 33.5. /2eeeae 
 
 62 
 
 33 
 52 
 
 o7 
 
INDEX 
 
 ies, Ol COIOTS «.:...... 
 Antwerp, cobalt, Prus- 
 sian, ultramarine, 51. 
 
 Blues, oil tinting colors.. 49 
 
 Chinese, cobalt, Prus- 
 
 sian, ultramarine, 49 
 Boiled Linseed Oil ...... 84 
 Bolted Whiting .......... 72 
 Bottle Green, dry ....... 60 
 PeroepeyCUOW: cc. .k ss sss 254 
 VSI COLO a I 26 
 Hera Aiewoud AVC: 2... 12s 26 
 Brewster green, Japan suff 
 
 Brick, stucco, concrete sur- 
 
 TOe OS AR Re 129 
 TOL GRGS 0. AL a rr 254 
 Briliant yellow, oil ...... 56 
 PerOaUrSCLaADer ..e.'s os. e's 108 
 RS re 254 
 
 Asiatic, 254; green, 255; 
 
 yellow, 255; colors, 28; 
 
 green, dry, 60; metal 
 
 powders, 62, 75. 
 mronuwne [yquids ........ 93 
 
 Bronze powder colors, dry 62 
 aluminum A, aluminum 
 striping, chemically pure 
 aluminum, 63; copper, 
 crimson, dark _ green, 
 decorators’ bronze pow- 
 ders, extra fine pale or 
 rich gold, fine pale or 
 rich gold, French gold 
 leaf, gold, 62; handmade 
 lining and striping, 63; 
 Hochglands pale gold, 
 karet gold leaf, Koh-i- 
 Noor pale and rich gold, 
 light blue, 62; natural 
 copper, 63; orange, 62; 
 radiator gold, 63; purple, 
 red, 62; statuary bronze, 
 63; Roman gold, super- 
 fine pale or rich gold, 
 Vernis Martin, XX deep, 
 62. 
 
 oh i 
 alderney, 
 
 af, 90, 
 amber, 255; 
 
 51 
 
 asphaltum, bone, bitu- 
 men, 37, 55; Brunswick, 
 50; burnt sienna, burnt 
 umber, 50, 51, 55; Cale- 
 donian, 37, 55; coach, 
 cocoanut, coffee, chest- 
 nut, 255; flesh ochre, 55; 
 foliage, golden, Italian, 
 leather, 255; madder, 
 38;  madder oil, 56; 
 mars, 36, 37, 55; ochre, 
 37, 55; olive, orange, 
 pale, 255; pink, 52, 38, 
 55; purple, 255; raw 
 sienna, raw umber, 50, 
 51, 55; seal, 256; sepia, 
 ot, 552° ‘snuff, — stone, 
 thrush, 256; Vandyke, 
 15, 37, 50, 51, 55; wal- 
 nut, 256. 
 
 Brown, distemper, water. 
 Cologne, raw and burnt 
 sienna, raw and burnt 
 umber, Vandyke, 53. 
 
 Brow oary, cas as siete wow oe 
 Bismarck (red), raw or 
 burnt American sienna, 
 raw or burnt Italian 
 sienna, raw or _ burnt 
 American umber, raw or 
 burnt Turkey umber, 
 Vandyke, 61 
 
 Brown, oil colors ..... 50, 
 burnt sienna, burnt um- 
 ber, 50, 51; bone, 55, 
 Brunswick, 50; ochre, 
 55; raw siena, raw um- 
 ber, Vandyke, 50, 51. 
 
 Brown, Japan colors 
 Antwerp, beaver, biege, 
 light; biege, deep; Brus- 
 sels, French, golden, 
 khaki, moleskin, light; 
 moleskin, deep; Mojave, 
 olive, Onondaga, Pack- 
 ard, sienna, raw; sienna, 
 burnt; umber, raw; um- 
 ber, burnt, 58 
 
 Brunswick green ....... 
 
 Brussels Brown, Japan... 
 
 279 
 
 53 
 
 61 
 
 51 
 
 . 58 
 
 39 
 58 
 
280 INDEX 
 
 ES ULL SB are voce aig tee ea eee 256 
 Bulk of lead and zine ...118 
 Bulking values of  pig- 
 MCRTLS SD Sivaty ected Beer uaF 
 Bung-hole boiled oil .... 85 
 Burnt umber, oil, ..... 14, 55 
 Burnt sienna, oil ..... 13.65 
 Buttercup yellow ....... 256 
 C 
 Caledonian brown, oil. .37, 55 
 Cadmium, deep oil ap La 56 
 lemon, ‘oil: pale, oil, 55; 
 yellow, oil, 35, 55;  or- 
 ange, oil, 56 
 Canary yellow........ 22, mooG 
 Carmine 2ru4 4s nee aT; 00 
 
 Lake No. 40, dry, 60; 
 maroon, 54; Nakaret, 
 French, 52; No. 2, oil, 
 55; No. 40, 52; 
 Car body blue, Japan.... 57 
 green, Japan, 57. 
 Carriage part lake, Japan 57 
 
 Carter =Process 2 See 68 
 Cerulean blues. i. sk wee 33 
 blue, oil, 55. 
 Ceiling colorings ..2..... 244 
 Celestial blue, dry ...... 62 
 Chamois ‘yellow 2365. 2-62 256 
 Chamoline, yellow ...... 256 
 Chemical colors ......... 15 
 
 Chemically pure _ bronze, 
 UD ge PRU REPU Mat “ar 4 
 Chrome yellow, dry...... 61 
 green, Japan, 57; 
 black, Japan, 58. 
 Chemical reaction of some 
 
 LOLOTS) noice oe Cee Perr 45 
 Cherry. red, Japan. <.. 57 
 China-wood oil .......... 89 
 Chinese blue ...... 34, 52, 53 
 
 QU aS cha din aie Wheelers 
 Chinese and English ver- 
 
 millions’ i.Jjaea ees , 54 
 Chinolin’y oie Pcie peeves 25 
 Chocolate. <4sa se eee 256 
 Choice of tinting colors.. 162 
 
 OTT tient eres netene emer 56 
 Chrome green ........ 23, 54 
 
 Chrome orange, oil 
 
 Lestat 55 
 Chrome oxide green...... 39 
 Chrome yellow ........ 2a, 08 
 Japan, 58; ochre, dry, 
 61; oil, 55. 
 Cinnabar red, Japan ..29, 57 
 Cinnamon” “4. .o. eee 256 
 Citron, yellow ........ 36,256 
 Oil |. ui.'s niece ee 55 
 Claret. ean ees ta tees 256 
 Cliff stone whiting ...... 72 
 Climaxes and centers of 
 interest... ...). 0 eee 224 
 Coach and car lead ..... 79 
 Coach blue, Japan ...... 57 
 painters’ black, dry.. 59 
 Coal tar colors 72.332 
 Cobalt blue ....20, 33, 52, 53 
 OPY. 1. ele clslas ee 62 
 Oil” oss os wid bbs ae ele eee 55 
 Cobalt green ... eres nee 38 
 Oil» 0. 5 a2 eee 56 
 Cobalt. purple . .2ee eee 34 
 Violet... ss ce eee 34 
 violet, of] -.. Ae 56 
 Cobalt: yellow .2 230457 3D 
 yellow, light, oil) fae 55 
 Cochineal 22.333 eee 26 
 Cold, sombre colors...... 217 
 Cologne, brown .......... 53 
 Color and artificial light.219 
 —and light 1.4.2.3 fg 
 eard mixing chart) 7. o>. 152 
 differences and descrip- 
 tive terms \<.2- 2. 192 
 harmony and manage- 
 ment i... .40 ee See 192 
 influences life ......... 215 
 influences —. .5..2 7.0 ae 171 
 —in pictures, frames, 
 Mats “2 6a ot nae ee 245 
 lacquers: ..3-4 < cae eee 63 
 mixing formulas <a Se 252 
 TOrMS 6 kink te eee 149 
 pigments to match spec- 
 trum. colors...... 144, 150 
 theory, principles and 
 USC | o2ls So yi ee eee 142 
 Varnish 5c. 2450 mts 63, 188 
 for wood trim....0....e8¢2 
 
 ‘ 
 
INDEX 281 
 Coior schemes ....... 227-236 Copper green, malachite, 
 RC OTIS pire aials a 2 3s es 234 WEFUienis wi 6s 4 tes chia 
 SPPOTOT Fc caileip ele ccs ss 236 Coventry blue, Japan..... ot 
 GOT OFOUUY «2 0% oc se oo 231 Covering capacity of paint 118 
 Sera, heres. os ace eo o's 235 Craydon, English Venetian 
 TRACTS 6 5 cscs ss 0 0 os 232 TEU, SURV eee ee 60 
 library and private of- Creamasecs cc Kaistete tee van 256 
 SS [ante SE 230 COLON, © Japan... su we 58 
 PVA TOUM 6.4.5.5 8. Zot PeAsTeMmnite WHITE» oe. 8 ou eens 51 
 school, church and bank 236 Creosote oil ............. 91 
 Colors that give distance.218 Crimson, alizarine ....... 52 
 that give largeness....218 amaranthine, 256, 
 ; aes -bronze, dry, 62, 63; 
 Colored paint mixing lakRasO ubl oe BE: lake 
 BNGEHOUS tas aces ccewss 157 permanent, 52; madder, 
 DE Rte iin spss see's e we 49 30, 54. 
 BOMPCOUUE® 8 < si cre'cisle o's se ses 24 D 
 artificial Gilere elers ood cosa 25 Dark colored Danis. oe oe 158 
 artist’S .......++..-. 28, 52 Dark red iron paint, dry.. 61 
 PMIDUOTMODLIG., J 5. c.ce esses 56 Decorators’ colors. .28, 50, 52 
 bronze SikeMici elie) eysiie|ia| o © 010.0 0 « 28 Deep maroon, ground color 59 
 Garriaze, Japan ........ 56 Deep wine, Japan........ 57 
 coal tar ............4-. 24 Denatured alcohol ....... 99 
 EO Te a i ae 15 Dental plaster Paris, dry. 62 
 @ecorators’ .....5..-.: 28, 52 Descriptions of color pig- 
 distemper atetenaieietone (sial4 tere 53 MCTES aes SDE Soke | 11 
 ae ae 59 Distemper water colors... 53 
 dyestuff SHaMe Teta aves ekctietelre: sass 24 Dominant hue AT Ne Wena 152 
 furniture, Japan ...... DMT IT ADM ao a ihe ct ota 256 
 glaze colors Oh 5s Og ae 52 deep, 256; light, me- 
 Be ate ike ctiate Saws s 53 dium, warm, 257. 
 LES Rae a 56 Drapes and window 
 mabutay dye... 6... ... 26 ehatesa eth ost eee 246 
 polychrome, glaze ..... 52 Drawing the oil for dead 
 polychrome, Japan ..... 56 HARA NISH Ie 2 ee 117 
 UC NOES Sa ara 49 dricre ees. oo ee 100 
 ON eee ... 50 Drier needed, amount....124 
 Wason, Japan. ......... DOMED PODIMAN ACK 014.1. 2 se aetna 17 
 RR WMP aie ial wie a so ss 53 FAD AILE ace aioe ee 58 
 Combinations of colors in Dry tinting colors........ 59 
 MR VOMIGTLY CS cis geal. sos 250 Dustproof gray, Japan.... 59 
 Complementary colors...._: Dutch pink........ 37, 52, 53 
 ie icles ss 47, 205 ATY ...eeeeeeeeeeeeeees 61 
 Concrete, mixing paint Dyestuff colors. ......:...-. 24 
 Uo 2S a so ae 129 
 Wonvrist OF HUC,.......55 194 
 Or einvensity ..5........ 104) Wari becolore> 4. e's. ce ee 12 
 WV UCS Si Gale os wis sss a POCe PCTs chee Rare teen Abt 
 Copper base colors........ 29 Effect of panels and 
 POU OLY occu ss 0:0 62 SLTIDESS Sao ee ee 247 
 COL OT. a toves tet eYo lar < s'ciece 256-— AMOSINe red ane nag. tee e 31 
 
282 INDEX 
 Emerald green......... 38, 54 nakaret carmine, 52; 
 ALL Air ptt ehes ciate wahy ee ee Ree 56 Naples yellow, nil, 55; 
 Japan ey ees Lien 57 vermilion, oil, 55; yel- 
 Emeraude green ......... 39 low ochre, Bie 
 OL on meg teens oo Wustic eee ose ah osmium 
 
 Enamels, white, colored. .187 
 English coach black, Japan 58 
 
 English powdered drop 
 black dryset: 59 
 English rose lake, ary.. 60 
 Tose: Dink: # Oli way en 60 
 VOPrMULOM nye tee atthe 23, 54 
 dry, 60; oil, 55. 
 violet blue, Japan...... 58 
 Excitable, tiresome, irri- 
 tatdn ee ColGrd 42. ee. 218 
 Experimental mixing ....159 
 Exterior metal work..... 128 
 Extra drier needed....... 124 
 F 
 Mading <Ote GOLOTS io. . cate 43 
 OA WITH ce Sols eee eee 257 
 ETAV, JADEN poe oe wee 59 
 BPillers? MOOT fis.icn eee as 186 
 Fine pale or rich gold 
 bronzespdry ae ee 62 
 Fire bronze, patent, dry.. 63 
 Flake white........ 51, 54, 70 
 dry, 61; Japan, 58. 
 Flat mixing varnish...... 91 
 Flatting oil, use of...91, 127 
 1OaAd Se, Ke ee ee 117 
 Flaxseed oil, linseed..... 81 
 Flesh™ color. «conten 257 
 OCHTe COM S cventictien al 5D 
 Floor colors and designs.245 
 DIGS aus ie aan eee 186 
 Pay SST cpae Nt dale eters fataterattets 91 
 DAINTSING Sie cc ceases et ee 184 
 Mlorentine Jake nin. seus 52 
 Formulas, color mixing...252 
 standard mixing ....... 122 
 for white enamel...... 135 
 white: Paints +... kie aoe 124 
 Mrencle Dine sana le mites eee 33 
 
 brown, Japan, 58; car- 
 mine, oil, 54; gold leaf, 
 dry, 62; gray, dry, 61; 
 gray, Japan, 59; ivory, 
 Japan, 58; maroon, 54; 
 
 Fugitive colors <i os.seuueae 
 
 G 
 Galvanized iron wash.... 
 Gamboge 
 
 Geranium lake. .30, 51. 52, 54 
 dry, 60; oil, 55. 
 Germantown black, dry... 59 
 
 Gilders’ whiting, ...... 61-72 
 Glass equilateral prism...153 
 Glass mixing slab........ 108 
 Gloss. OIL ous. pis tain ee 92 
 Glue SiZ@ . ss viss eee beeen 132 
 Gold... visas eee eee 257 
 Gold bronze, dry......... 62 
 Golden brown, Japan..... 58 
 
 ochre sa..5 se 3 Geos 
 
 royal, lake”. ic )csi. same 52 
 Granite, blue -.c J. saan 257 
 Graphite... 13453 fi 
 
 dry .diseee a eee 59 
 Gray and grey paints..... 166 
 Gray, argent \i2..oeeeee 259 
 
 ash, dove, greenish, 259; 
 gun metal gray, 59; jas- 
 per, 259; light, 259; 
 light French, 260; opal, 
 260; Payne’s, 55; pearl, 
 pure, silver, warm, 260. 
 Grays, in Japan... .:oeeee 59 
 artillery, battleship, 
 dustproof, deep; fawn, 
 French, light; French, 
 medium; French, double 
 deep; gun metal, light; 
 gun metal, deep, 59. 
 Greentia7.e ae 23, a8, aL eee 
 
 alizarine, 52; aloes, 257; 
 Antwerp, 54; apple, 257; 
 autumn, 257; blue, 52, 
 257; bottle, .50, 257; 
 bronze, 50; brunswick, 
 39; chartreuse,’ ~ 257; 
 chrome, lead, 257, 23, 50, 
 51, 54, 56, 60; chrome 
 
oxide, 56, 39; citron, 
 Pi COualt, 38, 565 ¢ 
 emerald, Paris, 258, 38, 
 50, 52, 54, 56; emeraude, 
 39, 52, 56; foliage, 258; 
 forest, 50; gray, 258; 
 invisible, 258; lake, 51, 
 52, 54; leaf; 54; light 
 Olive, 258; lime-proof, 
 39; . 54; malachite, 39, 
 52, 54, 56; marine, mid- 
 dle chrome, mignonette, 
 258; moss, 54, 258; moss 
 rose, moscovite, myrtle, 
 Nile, 258; Neuwieder, 
 54; olive, 50, 54, 56, 258; 
 oxide of chromium, 39, 
 56; oriental, pale, pale 
 emerald, 258; Paris, 38; 
 pea, 259; peacock, 259; 
 permanent, 38, 56; pis- 
 tache, Prussian, sage, 
 goer cap, 39, 51, 52, 56; 
 sea, 259; slate, 259; 
 terre verte, 56; ultra- 
 marine, 51; velvet, 259; 
 
 Verdieris, $9, 52, 56; 
 veronese, 56; viridian, 
 39, 56; water, 259; zinc 
 chromate, 40; zinnobar, 
 Bi 56. 
 
 EOC. TV ob eis's ver vee ne 
 bottle, 60; bronze, 60, 
 62; chrome, medium or 
 
 dark; craydon English, 
 olive, Paris, regent Eng- 
 lish, York Venetian, 60. 
 areens, distemper, water.. 
 Antwerp, chrome, light, 
 medium and dark; emer- 
 ald, leaf, lime, mala- 
 chite, moss, Neuwieder, 
 olive, 54. 
 
 areen, glaze colors....... 
 alizarine, light; 
 rine, deep; blue, emer- 
 ald, green lake, perma- 
 nent; malachite, sap, 
 vert emeraude,  verdi- 
 gris, 52. 
 
 INDEX 
 
 . 60 
 
 54 
 
 Greens, Japan colors..... 
 Alpine, apple, deep; 
 Brewster, light, medium, 
 deep; car body, double 
 Ment Ge Plight Pp. 
 medium; C. P., double 
 deep; emerald, light; 
 Itberty, ~ Milori, light, 
 deep; Napier, light; 
 olive, medium; phaeton, 
 Roumanian, sage brush, 
 light, 57. 
 
 Greens, oil tinting colors 
 bottle, 50; bronze, 50; 
 chrome, 50, 51; emerald, 
 forest, light, medium 
 and dark; olive, 50; 
 sap, ultramarine, zinno- 
 bar, 51. 
 
 Grey and gray paints... 
 
 Greying colors 
 
 Ground colors, in Japan.. 
 azure blue, light blue, 
 light red, deep red, rich 
 red, medium vermilion, 
 deep vermilion, deep ma- 
 roon, 59. 
 
 51 
 
 .166 
 
 Hand mixer 
 
 Handy paint mixing bench 110 
 
 Harmony Principle No. 1.195 
 2 
 
 NINN hes ie ccs kaso iet oot arate cee 196 
 IN ORES. Grrtcitels a valle e vs eon tte 197 
 PIATTISON POG hs os elt 3 
 OLB i leciwie & tin cee eters 55 
 EAA Vira oh crs Soe sie.ctescinie oth cae 260 
 FLOLUOLFODE. 5 tics ea sie tie 53, 260 
 High and low values..... 193 
 Hochglands pale gold 
 DrOUZON GOT Van 9 ieee 62 
 Holland blue, Japan...... 58 
 BET WEG aN, Sag Reais tea teeters nan etene 149 
 I 
 Imported French ochre, 
 CE Peer oa as eee 
 golden ochre, dry...... 61 
 Prdlan rede. auraentr 18, 54 
 BUDGE AUrVitet nc «scare 60 
 
INDEX 
 
 284 
 Ce aoe Ay atta bats! went 55 
 
 Indian. yellow «a. = se 36, 52 
 Ol Sem cele vidios vie eters eas 55 
 
 Indigo.... .25, 40, 260 
 ORLA a crete ig Pe nis ates eared 5D 
 
 PES DTD S ie tte ee 267 
 
 Insignia blue, Japan...) 4. 58 
 POO DADAN tise ange stevens sire 
 
 Intermediate colors ...... 8 
 
 Tron mixing paddles...... 108 
 
 Tron oxide ‘black. ..4...<. 50 
 
 Italian cream, Japan...... 58 
 Dink. Ge oe ee ee 31, B2 
 AVTTEOCE Ce. coltetatter tieteehetpeae: 52, 03 
 pink, OWVS eo arcs 56 
 
 PVOLY? youre vac eee 3 cae 260 
 DPC Oe ete oe rate ore 18;°5a 
 Dla CkK. Oll> cat ns ee ee 5b 
 Act black, Japana. «<= yen 58 
 
 J 
 SADAN, LICL sie ee ce ee 100 
 K 
 
 Karet gold leaf, dry...... 62 
 
 Kerosene olla. Gac. aes ee 90 
 
 Khaki brown, Japan...... 58 
 
 Kings’ yellow, oil........ 55 
 
 Knife, palette, putty...... 108 
 
 Hatin’ Dutt ys ee eee 182 
 
 Koh-i-Noor pale and rich 
 
 gold bronze, dry...... 62 
 L 
 
 TAG oie oes iene nibsiek cree aed 26 
 
 Lacquers, color .........- 63 
 
 Hake (cOlors<.235 5 saws oer 25 
 
 Wualkkras -NO:AT OG OOLY coe cere. 60 
 
 Lakes, distemper, water.. 54 
 carmine maroon, French 
 maroon, dark; geranium 
 lake, green, maroon, 
 purple, rose, rose mad- 
 der, 54. 
 
 Lakes, sry css: detrei ee 60 
 carmine, No. 40; Ger- 
 anium, AA; Vienna, No. 
 16 lake, 60. 
 
 Lakes, oi] eolors.4 2257... 51 
 
 alizarine, blue, carmine, 
 crimson, geranium, 
 green, light; green, 
 
 dark; mauve, olive, 
 orange, rose, scarlet, 
 yellow, 51. 
 
 Lamp: blacks... 45020 16, 53 
 C. P. Japan)... ee 58 
 dry cies oe a oe 59 
 Ol) . eit ee 55 
 
 Large rooms color 
 
 schemés >... ee 2u0 
 
 Lavender... 044.5 260 
 
 Law of simultaneous con- 
 
 trast. 5). Ai0 e022 eee Bae 
 
 Lead... Sassen 67, 14> 2ee 
 
 Lead chromate vermilions 28 
 
 Leaf green =.. 2.8: oe 54 
 
 Leather « 6 odsiclo nee 260 
 
 Lemon \..5 250. eee 260 
 bronze, patent, dry.cee 63 
 cadmium yellow ....... 35 
 yellow i.ve2 aesea eee 22, 230 
 yellow, Japan 2.02528 58 
 yellow, 011 3.44 awe 55 
 
 ’ fine yellow soe eee 35 
 
 Liberty green, Japan..... 57 
 
 Light;. 3 2.22) ee poi, 
 and dark rooms........ 241 
 blue, ground color...... 59 
 for matching colors....170 
 TCG oa i Se 30 
 red, ground color....... 59 
 red, oil ....%. . ohne 5) 
 
 Lila. \.lis'es sts a 260 
 
 Lime vb. ewe atom) -o whe a eneeheenetane 54 
 
 Lime-proof green ........ 39 
 
 Limestone: 92). 2536. eee 260 
 
 Lining and _ striping 
 
 bronze, dty-.3 yao 63 
 
 Linseed oil 232 23 ae 
 oil manufacturers ..... 88 
 
 Litharge *..55. Ag. 74 
 OLY fii ioe 60 
 
 Lithopone 9.4.2 ae Ya 
 
 Lumbang. oil ..43,..50 eee 80 
 
 M 
 
 Machine paint mixers....112 
 
 Madder, crimson ........ 30 
 pink, 80; rubensiieac. 
 rose, 32, 52; scarlet, 32; 
 brown, 38, 56; purple, 
 
 56. 
 
INDEX 
 
 Madder carmine, oil...... ae 
 Meer IARC 6604.50 cee 32 
 1G NT GS 55 
 Ee A. viele aes ss 55 
 REMORIUAT gdh s + le case BO bs 
 Oo) oho a a 56 
 Oe a 260 
 SUES 54 
 OP A oe ou, b2 
 2D 56 
 
 Manufacturers of pure lin- 
 Beer Oll es. ol Sore ee 87 
 
 CSC i A, 261 
 
 OS ES 261 
 acacia, 261; black, 261; 
 lake, 54. 
 
 USB SEOMOWIY wo. o sas see Di, 
 Ul) 2 3 ee 55 
 eee e is ee oe Gane es 36 
 
 ee 8 30, 36 
 eee ee 55 
 
 Vis ea te) fe, 34, -36 
 COL, Gaal sega ee agra 56 
 
 Pee VOLIOW. a es ke oe 36 
 RIN ects cok bien cisis bo» s 56 
 
 eC G IIE... a ee ek 261 
 
 Matching color samples. .168 
 dry paint. color sample.174 
 fabric color samples...177 
 
 BP ADROLOSS. ¢e sce oe es 175 
 PADGSETO TNALin ccs ge os ss 175 
 MTD SAMI DICS 2... se. Ri 
 rough and smooth sur- 
 US Me a ghel Gite a's ev nies 177 
 EP AMCs see, wa, eos 40s =. 30, 261 
 ROE rc Se dh keels oa a + 5 
 PL) a 56 
 UIE ew bree oo 106 
 Mreaqium Chrome ......... 22 
 OLS CESS | el a or 92 
 Menmnanden O11 ..... 2456s. 90 
 Mercury vermilions ...... 28 
 “Metal bronze colors....... 28 
 Metallic brown, dry...... 61 
 Method of examining color 
 oh a ee a 161 
 Drea weaICONOl se se 66 
 AN ie eras ve neue ee iby bal 
 Milori green, Japan...... a7 
 
 Mineral paints, drv...... 61 
 French gray, zinc white 
 
 mineral, metallic brown, 
 
 Prince’s shade; dark red 
 iron paint, Prince’s met- 
 talic brown, red iron 
 primer, red oxide, 61. 
 
 MAINGrAIOSDITICS ey eae ee 97 
 Mixing bench, paint...... 110 
 COlOrEO SDAInts Griese ck 157 
 color to match samples.168 
 formulas, colors, (.)0) 2.4 252 
 SECOUS Aes ca hert serene 154 
 
 lead and zine paint....114 
 
 MOLUOUSs @, bite oes vo oe 105 
 paddles, iron, wood..... 108 
 paint for brick and ce- 
 TROT Leer. ec Beane ce 129 
 paint for new plaster. ..130 
 purple and violet....... 154 
 paint for old plaster....132 
 DOU Aw eee ale cents ee LT 
 pots, tubs and _  equip- 
 TITOU howe fois cine rae 106 
 ready-mixed paints ....111 
 special purpose materi- 
 IG cette tal alate tka Ch IN 179 
 WOO S irae ara sata sickle 106, 108 
 ars EM RCT ATP Tip Ss Meta eet ANS Sem EA 91 
 White, enamel aes sce « 135 
 white and colored 
 CNAMICT eth oad elon we 187 
 white: lead: paint... 5.5. 113 
 White’ paint. ‘fore datk 
 POO coe tee es we Ia 128 
 
 Mojave brown, Japan.... 58 
 Moelskin brown, Japan... 58 
 Moss 
 Motor car red, Japan... .. 57 
 
 MOUS. COlOl t..05 0 cae 261 
 N 
 Nakaret carmine, French. 52 
 Napier green, Japan...... DL 
 Naples yellows Jo. 20 mies 36 
 yellow, No. 1-L, oil..... 55 
 yellow, No. 2-M, oil..... 55 
 yellow, No. 31-D, oil.... 55 
 Naptna Solvent ays a. oa 99 
 Natural copper bronze, dry 63 
 Natiral dye colors 1.0 2.2). 2€ 
 IN AUT MEE. ote wey ate 40 
 
286 
 Neutralizing and greying 
 ROLOTSA A Scant staan 209 
 cement surfaces ....... 130 
 INGIIWIGOEr® 23.5). a) aea aes s 54 
 New Dlie? Olle Vee saree 55 
 New color theory......... 155 
 New plaster walls........ 130 
 Nigrosene black ......... 25 
 Non-radine colors 1.42 2.5% A4 
 Nopal orange, oil......... 55 
 TGQ ch Pea Mak ote canes 32 
 POR OL Os Oeics ieee fie 55 
 Number of gallons from a 
 WWERIN Oo We sieves oe potent s 120 
 ITE COL Ph cae we oe abo eee eee 80 
 O 
 Oak, dark  Vsse cee eee 261 
 tights. tists oa ee eee 261 
 Ochre, golden icv ae t 261 
 Romar ae. sat. eee 261 
 WOLLOW ans asters 14.587,, 50,953 
 (OTE pRInt, aes oners ie eke ree 80 
 
 linseed, 81; ‘boiled, 84; 
 perilla, 89, China wood, 
 tung, 89; soya- bean, 
 menhaden, fish kerosene, 
 petroleum, 90;  flatting, 
 flat mixing, floor, 91; 
 gloss, polishing, rubbing, 
 megilp, 92; bronzing 
 liquid, 98. 
 
 Oil and glue size.........134 
 Oil, Colors os cee 49 
 CLTIOr re kc ao ea eee ae 100 
 Old Dutch process........ 68 
 OWE OL rice eeen eens 261 
 Oldiivory, JapAancn.a see 58 
 Old plaster walls......... 182 
 OM GR) rs ome eee 54, 261 
 brown, Japan, 58; gray, 
 261>. green,, dry; 60; 
 green, Japan, 57; green, 
 oil, 56; lake, 51; light, 
 261; yellow, 261. 
 One color to match sev- 
 Oral. Udy cn eee ee ee 176 
 Onondaga brown, Japan.. 58 
 Opaawe colors 2s cles wae 42 
 PanisnDlueec nce was 53 
 
 INDEX 
 
 STeen = i..hae ee eee 38 
 green, drys. ee ee 60 
 green, emerald ........ 38 
 whiting... 222 oe eee 72, 
 Patent bronzes ~......90 eee 62 
 lemon, fire, crimson, 
 orange, blue, 63. 
 Payne’s 2ray, Oil. . oe Dh 
 Peach. bloom |..2. Se. eee 262 
 Peacock blue, Japan...... 58 
 Perfect yellow ...i(.eeee 36 
 Per gallon coverage...... 119 
 Perilla oil”... )2) eee 89 
 Permanent blue, oil....... 55 
 crimson lake <. tape ee 52 
 sreen | .2.%. cine eee 38 
 green, deep, oil.) aoe 
 green, light, oil :. see 56 
 green, medium, oil...... 56 
 red, dry <i... See 60 
 Turkey. red. 3)... oen 52 
 yellow ..: i... Gee 36° 
 yellow, Japan <)..))eee ee 58 
 yellow, Ol] 3.) ).a eee 56 
 Perfect vellow, oil........ 56 
 Petroleum oil |. .24 25,558 90 
 Phaeton green, Japan..... 57 
 Pigments’... 2 eee 61-75 
 mineral paints, 61; 
 bronze, 62, 75; paint, 
 basic, 65; white lead, 
 67; sublimed lead, 69; 
 
 zine oxide, 70; titanium, 
 71; lithopone, 72; whit- - 
 ing, 72; silica, 73; bary- 
 
 tes, 73; asbestine, red 
 lead, litharge, 74; graph- 
 ite, 75. 
 Pink»: 25.48 s2 ee Sige 262 
 
 aurore, 262; brown, 52; 
 coral, 262; Dutch, 31; 
 Indian, 262; Italian, 52; 
 light, 262; madder, 31; 
 madder, oil, 55; royal, 
 262; Venetian, 262. 
 
 Plaster of Paris “72 
 dental, dry. i... neem 62 
 putty” 3... eee 184 
 
 Plumbago, graphite ...... 1D 
 
 Polishing and rubbing oils 92 
 
INDEX 
 
 BOON e wo ae ens es y's 22, 201 
 bright, 261; bronze, dry, 
 62; bronze, patent, dry, 
 
 63; lake, 51; mineral, 
 qa se -mineral; dry, 62; 
 Persian, 262; _ scarlet, 
 
 * 262; vermilion, 33; ver- 
 
 milion, oil, 55; yellow, 
 Japan, 58. 
 
 Oxide of chromium, oil.. 56 
 OS oN A a 6 50 
 OEMS 2 ee 60 
 EGP sgicte is dos to a 70 
 
 Packard violet blue, Japan 58 
 
 CS ee 109 
 PPM COIOLIS. 5... sc cs ce cess 49 
 SU LE Oo 111 
 
 COO Se € fl rr 
 (3206) 111.118, 114, oe 
 
 mixing bench Sg 
 mixing formuals Besa s ie 
 BPN dtp oacd 40.0 ale 6 Og ee 80 
 REP IMONUS 5. tu seco ase cs 63 
 Painters’ colors ......... 49 
 
 Painter-made ready-mixed 
 paints 
 
 Painting galvanized iron.129 
 
 Pale or rich gold bronze, 
 
 eocevereeoeree ee eee & o 
 
 ce) Ses ea 62 
 Palette and putty knives 
 Meee ehahe « stereie niga'es 108, 109 
 Panels and stripes, walls.247 
 eI UG! si. ccs ae. 26 
 UMM TEN slisidin’ picesoie «x 5's + + gh 
 Parisian red, Japan...... 57 
 Polychrome colors, glaze, 
 BEM ERre o oo etn See es 52, 54 
 AD AL sess 0 a 56 
 Pompyvscet Ol. .6...5.-.5. 80 
 moreeiain, DING ........-. 262 
 Beer wer erixerT -. 43... 2.0- 112 
 Preparing galvanized iron.129 
 Primery colors......... 8, 146 
 PMT MIRO Sais ssiccs cscs 4s 262 
 Princess Louise lake red, 
 Be ph og akc) Ass ss oe 
 ere KS oe ee we 267 
 
 color pigments and dyes, 
 
 287 
 
 271; oils and varnishes, 
 272; rosin, Copal gum, 
 Damar gum, Kauri, 
 rosin oil, waxes for ink 
 making, bees-wax, Car- 
 nauba wax, wool-grease, 
 petrolatum wax, paraffin 
 
 wax, ink driers, 273; 
 characteristics of ink, 
 274, 
 ISIE Ohs ter chat sie wie core o.8 (fea lsy: 
 Properties of color pig- 
 INONUSe rhe slate ences ois 432 
 Proportions in paint mix- 
 Di ca mot Sp Reece RR eta 122 
 Ofaleatvands Zin. e. pose 114 
 Prussian blue......21, 34, 53 
 BONO =O) leaerrce cts: sac Cone ee 55 
 Digs DAN Fs as cas cos ae 58 
 Pure blue spectrum light 
 EAMG Tc ywhslo c smie ete bine 145 
 Pure Coloravars ct as Gate aie 152 
 
 Pure oil manufacturers... 88 
 Pure red spectrum light 
 rays 
 
 rays 
 
 Purple 
 anemone, 262; begonia, 
 262; bronze, dry, 62; co- 
 balt, 34; lake, 34, 54; 
 lake, oil, 56; madder, 
 56; royal, 262. 
 
 Purple, glaze colors...... 53 
 deep, extra; royal, helio- 
 trope, magenta, 53. 
 
 Purples, distemper, water. 54 
 ultramarine violet ..... 54 
 
 Putty 
 window glass, 182; 
 knife, 108; knifing, 182; 
 Swedish, 183; quick-set- 
 ting, 183; plaster of 
 paris, 184. 
 
 Quantities in paint mixing 
 
 A ogi wenn ie hr rns LL ten 
 QOuartnine de oot ae 73 
 QOuercitroneoark ae ee 26 
 Quick-setting putty ...... 183 
 
R 
 
 Radiator bronze, gold, dry 
 Ray GION NA] |. nus eke ete oe 
 Raw sienna, o1l.., 2. .6.-es 
 Haw MIDer. ou. ee ee eset 
 
 PGE cei ie cae 18, 28, 49, 50, 
 
 alizarine, 25, 31; aliza- 
 rine crimson lake, 31, 
 55; Armenian, 262; Bor- 
 deaux, 263; carmine, 30, 
 54, 55; carnation, 263; 
 cherry, 2638; chrome 
 orange, ip crimson 
 lake, 54; crimson mad- 
 der, 30, 54; deep Indian, 
 263; Egyptian, 263; eo- 
 sine, 31;° geranium, 263; 
 geranium lake, 30, 55; 
 Harrison, 30, 55; Indian, 
 18, 49, 50, 54, 55; light, 
 a0, b5se-lieht indian: 
 263; madder carmine, 
 55; madder lake, 32, 55; 
 magenta, 30, 56; mars, 
 30, 55; mauve, 30, 56; 
 mercury vermilions, 28; 
 Mexican, Mikado, Moor- 
 ish, 263; nopal, 32; no- 
 pal red, 55; orange, 263; 
 orange vermilion, 33, 
 55:5 Oriental, 20a... paras 
 25, 31; permanent, 49, 
 50; pink madder, 31, 55; 
 poppy, 2638; rose car- 
 thame, 32, 55; rose dore, 
 oo; Do; rose lake, 32; 
 rose madder, 32, 54; 
 rose” pink; 322050.) 54; 
 Rubens madder, 32, 55; 
 scarlet lake, 30, 38, 54; 
 scarlet madder, 32, 55; 
 searlet vermilion, 55; 
 terre rosa, 30, 55; To- 
 luidine, 32; Turkey, 49, 
 bO.- 54 -Purkishs e265" 
 Tusean, 29, 49, 50, 54, 
 263; ultramarine rose, 
 54; Venetian, 19, 49, 50, 
 54, 55; vermilions, 23, 
 
 Redsj.0ryeawseerae 3 
 
 INDEX 
 
 24, 29, 30, 33, 49, 50, 54, 
 55, 57, 
 
 Reds, distemper, water... 
 
 American vermilion, 
 light and dark; English 
 vermilion, light and 
 dark; Indian, rose pink, 
 Turkey, light and dark; 
 Tuscan, Venetian, ultra- 
 marine rose, 54. 
 
 red lead, Indian, super; 
 oxide of red, permanent, 
 English rose pink, Eng- 
 lish rose lake, Turkey, 
 light, No. 2; Turkey, 
 deep, No. 3; English 
 vermilion, agricultural 
 vermilion, American ver- 
 milion, Tuscan, litharge, 
 60. 
 
 Red, 176°. <5. oe 
 
 alizarine crimson, aliza- 
 rine lake, asphaltum, 
 carmine No, 40, floren- 
 tine lake, French naka- 
 ret carmine, geranium 
 lake, bluish; geranium 
 lake, yellowish; - perma- 
 nent crimson lake, per- 
 manent Turkey red, per- 
 manent vermilion, light; 
 permanent vermiilon, 
 deep; rose madder, scar- 
 let lake, Vienna rose 
 lake, «52. 
 
 Reds, Japan colors.....4. 
 
 American vermilion, 
 pale; American vermil- 
 ion, deep; carriage part 
 lake, light; cherry, Cin- 
 nabar, insignia, motor 
 car red, light; motor car 
 red, medium; motor car 
 red, deep; Parisian, 
 Princess Louise lake, 
 Runabout, light; run- 
 about, deep; Saginaw, 
 light; Saginaw, me- 
 dium; Saginaw, deep; 
 Tuscan, Tuscania, 57. 
 
 54 
 
 . 60 
 
 52 
 
 57 
 
INDEX 
 
 Reds, oil tinting colors.49, 50 
 American vermilion, 50; 
 decorators’, 50; English 
 vermilion, 49; Indian, 
 49-50; permanent, 50; 
 permanent red, 49; rose 
 pink, 50; scarlet ver- 
 milion, 49-50; Turkey, 
 49; Turkey red, 50; Tus- 
 ean, 49-50; unfading 
 vermilion, 49; Venetian, 
 49-50. 
 
 Pree@a bronze, OTy.......... 62 
 Red iron primer, dry..... 61 
 ian Us ns a 74 
 CSD anne 60 
 Ee ic Ped sees 120 
 feearomioe, dry....5..... 61 
 TES See i a 28 
 Regent English Venetian 
 oh SSS oe ee 
 
 Related colors—analogy...202 
 
 faeetn COOLS ce. 6. sve 6 oy BA 
 Rich maroon, Japan...... TT 
 Rich red, ground color.... 59 
 Rochelle ochre, dry...... 61 
 
 Rolls-Royce blue, Japan... 58 
 Roman gold bronze, dry.. 62 
 Rooms with north expo- 
 
 EIN RE. 20S Se ag 240 
 Rooms with south expo- 
 
 Ee aye lates aGhers + « 241 
 
 frase Carnation ........... 263 
 carthame, 32; carthame, 
 oil, 55; dore, 32; dore, 
 
 oil, 55; lake, 32, 51, 54; 
 lake, Vienna, 52; light, 
 
 263; madder, 32, 54; 
 
 madder, oil, 54; old, 
 
 263; pink, 32, 54. 
 oO ls OS 263 
 
 Roumanian green, Japan. 57 
 Royal purple 53 
 
 see eee eee ee eo 
 
 meupets madder........... 32 
 
 SEG 9) | 55 
 Runabout red, Japan..... 57 
 “aie To eg heh 0 263 
 
 Ss 
 Sage brush green, Japan.. 57 
 Saginaw red, Japan...... iif 
 
 289 
 
 SCLLTOT Pca oe cael nen geen ot 264 
 SAD METOOM oll tas coels cle Sale 397-52 
 CM Ny ison eae yah gies a Do ted 56 
 wapanwood dye sc 2k. eS 26 
 SAD DULIT OM ner nytacdee ee Tees 264 
 ICU LOS myPae ear Ghats ocukart mation 106 
 mCaIVeLs OT Ete fo oid nt. week 264 
 
 lake, 30, 33, 51,52; lake, 
 oil, 54: madder; 32: 
 madder, oil, 55; orange, 
 264; vermilion, 30; ver- 
 milion, oil, 55. 
 
 melaVerDrOAt io. zs cee. 108 
 Secondary colors ...... 8, 146 
 elfen, Hae eee ces wee 37 
 EBL ate tare cle cies fe oes 55 
 PANG ee terres oe hetaly see, 149 
 Pienna- sDUIms, Japan... 58 
 MD Wiese aio hasan oiead ees 2, SO os 
 TET tapes ates os 3, Owe 
 
 raw, burnt, American, 
 WE TCV QE coca u ete eee eats 61 
 
 raw, burnt, Italian, dry 41 
 
 RAs UAT a5. Reames 58 
 BU eater ah cee woale atote ave, eee 3 
 CEPR an see dibs «tina: deo ee 62 
 SAUCE aes cohey som cae kt 2 RT ne 12 
 ib ip A ee eR arc Rd 62 
 Silver white wood filler, 
 CLIVV Nd ah ot at nbd eos Stes oes 62 
 Sir Isaac Newton’s experi- 
 TRETLE ic ahaa nee 143 
 SIZG ww lUGm asc d Sis at 132 
 varnich, «33; on and 
 
 glue, 134; sugar, 135. 
 
 CODU Se Ato sete hae sate eee 131 
 Slab, Sinss.anlxin2 3.22.1 198 
 Slate awk soe eas eee ae 264 
 Slow-drying colors ...... AT 
 
 Small rooms, color schemes ?38 
 
 STULL sy otras cate Rie ee 264 
 Soluble blue, dry...... re 
 SOMVentenNaptiigunas..jet cee 99 
 SPITS Wee: oF ARO ee 66 
 Soya-pean voll *... 2625 wees 90 
 SDECIPUINY aces fut oes i 
 Standard formulas —-.+;.. 2. 123 
 Standard formulas for 
 white pain’ =. ee 124 
 statuary. bronze, dry..4.5 63 
 Steeleeplwewss. ©. oo, ae eee 52 
 
290 
 Stippled pure colors...... 208 
 BPUELET Cre foe avare ls ok re eter ete Pane 264 
 
 Bradford, brown, dark, 
 light, middle, 264. 
 
 PULHITIOLS iki ey cwcecen Cees 108 
 Straining paints and col- 
 Ta PAS yale die aie eeetNe ke 116 
 
 Straw color, Japan....... 58 
 
 Strontian yellow ........ 36 
 RPL eeietaicie encals Sate Sine ee tae BD 
 
 Stueco, mixing paint for. .129 
 
 Sublimed white lead...... 69 
 
 Suburban blue, Japan.... 58 
 
 MIG OI ZO Mike esate a9 135 
 
 Sulphate of limesou... «: 3 
 
 Sunflower seed oil........ 80 
 
 Surface covered per gal- 
 
 lon: Gf *palntse ae eee 118 
 
 Swedish’ blacks. i406 59 
 
 ILEUS Acide patentee Bee 183 
 4% 
 
 AT). ose aves Sete ease eee 264 
 auburn, coffee, soft, 
 warm, 264. 
 
 POY TA COLTS y scs, siaaes eect 264 
 
 [Rorrer FOSS ian. at crite pobre One 30 
 OE aie ee sere Bee ee 55 
 
 rrerre, Verte, OUR nee. 56 
 
 ertiary: COLOTGS-> .5.aen ome 146 
 
 Testing for color match...17 
 
 mhinn ers = paints, 22. 80-100 
 “5 BOAE Ee Seep COMPROMSD Werenty w ACTS airs, 149 
 Tinting colors in oil..... 49 
 NEAT SOR 1G es re etree 71 
 Toluidine -Tred. 53 foe eee oe 
 ON EU wis «ete a ae ae eee 152 
 Tones of one color........ 198 
 Tools needed, mixing....106 
 Town car blue, Japan.... 58 
 Transparent colors ...... 43 
 
 gold o¢hre,, oll. .aco.; 56 
 Pune O1L. 4 scat eee 80, 89 
 SL AITIR OV CLO Wiig) vue at gts eee 54 
 
 Vey) one aah anes cee rere 60 
 
 Permanent: eo .1ci oe ee 52 
 fburpen tine) <3... eso 95 
 
 SUDStITITeS. a eee fee 97 
 PUTauGise Fea tose wee ee 265 
 PPUSCAN Ww TOU. oc cae oe 29, 54 
 
 CEE Ta ahcuas the vos racus te tecne Peat 60 
 
 JAaDAN |... ces) 57 
 Tuscania red, Japan...... bT 
 U 
 Ultramarine ash, oil...... 55 
 blue, 19, 62, 563s Japan, 
 58; H. B. dry, 62; rose, 
 one violet, 54; yellow, 
 Umber, burnt, Japan..... 58 
 raw, 138, 50,9534 "burn 
 14, 50, 58; raw, burnt, 
 American, dry, 61; raw, 
 burnt, Turkey, dry, 61; 
 
 raw, Japan, 58. 
 Undercoat colors ........ 179 
 
 OLY? ont ye ees oe eee 61 | 
 Oil. 22. BAe 55 
 Varnish, color. 63, 188 
 S1ZO iw ake Se 133 
 Veeetable colors ......... 27 
 Vehicles; ‘paint 2 ee 89-100 
 Venetian red. fi. sa ee 19, 54 
 Ol]. a ah 55 
 Verdigris green........ 39, 52 
 Oily 2 eae 56 
 Verditer biue..4... eee 34, 52 
 Vermilionetie: Yo. ae 29 
 
 Vermilion, ground color.. 59 
 
 Vermilions <0: ae 28 
 American, 24, 29, 50; 
 English, 23, 49; French, 
 23, Chinese, 23; scarlet, 
 30, 49, 50; orange, 33; 
 unfading, 49; perma- 
 nent, 52. 
 
 Vernis Martin bronze, dry 62 
 
 Veronese green, oOil....... 56 
 
 Vert HEmeraude........ 39, 52 
 
 Vienna lake; ory. caoaeee 60 
 rose lake 32)... .2) eee 52 
 
 Vinegar. .4.. cba ee 100 
 
 Violet: (oh ie cs uls ste eee 265 
 
 carmine, oil, 56; cobalt, 
 34; Mars. 34. 36; purple, 
 Japan, .58; transparent, 
 265. 
 
INDEX 
 
 291 
 PIMOLANO VEEN |... oo ee oo) NVOGE-TNeTs, OLY ss i« fein 62 
 SE ere eee esac oe she as 56 silver white filler, or- 
 Volatile thinners and ange mineral, pure silex 
 OLIVES WIESE te. 5 aa Sa 95 (silica), 62. 
 Wood mixing paddles....108 
 W 
 BRPAUANG Het? cc ece cds ks ete BM 265 Y 
 Warm, cheerful colors....217 Yellow..22, 35, 50, 51, 52, 53 
 Match crystal test........ 172 alabaster, 265; aureolin, 
 
 Water colors, distemper.. 53 
 Weight of linseed oil per 
 gallon 
 ready mixed paint...... 118 
 turpentine per gallon. .118 
 
 white lead paint per 
 PICS aare Sua vie sas + * s 118 
 PRPS ClOCAT Acc i ee eee 265 
 
 flake, kremnitz, perma- 
 nent, pure, translucent, 
 transparent, 265. 
 
 Whites, distemper, water. 54 
 flake (white lead), 54; 
 zine, 54. 
 
 Seem Gees OLY. ose ee Der AeG 
 flake (white lead), ex- 
 tra gilders’ whiting, 
 lump or bolted; zinc, 
 French green filler, 61; 
 white primer, _ silica, 
 dental plaster paris, 
 pure white lead, 62. 
 
 Sviites..in Japan.:....... 58 
 flake (white lead), 58; 
 zinc white, in Demar, 
 58. 
 
 CO 2R Ps eel ea 51 
 flake (white lead), zinc 
 (zine oxide), Cremnitz 
 (white lead), 51.. 
 
 White and colored enam- 
 
 BE eae hohe is, a's... 6 187 
 COTE oe i 67 
 White paint, for dark 
 
 oD Ce 128 
 White primer, dry....... 62 
 PORTO Oy hen a's vs oe va 1S 
 
 Window glass putty. .181, 182 
 Wines and maroons, Japan 57 
 rich maroon, 57; deep 
 
 wine, 57. 
 BVOGUNAICORG) J).o assess 99 
 
 35, 56; brass, 265; bril- 
 liant, 56; bronze, 265; 
 brown pink, 52; butter- 
 cup, 265; cadmium, 35, 
 55, 56; canary, 22, 50, 
 266; chamois, 266; cha- 
 moline, 266; chrome, 22, 
 o1) 58.555, Citrine... 266; 
 citron, 36, 55; cobalt, 35, 
 55; Dutch pink, 37, 50, 
 51,533, gamboge, 37, 52; 
 56; golden, 266; golden 
 ochre, 37, 50, 51, 53, 56; 
 Indian, 36, 52, 55; Ital- 
 ian, 266; Italian pink, 
 37, 52, 56; jonquil, 266; 
 King’s, 55; lake, light, 
 deep, 37, 52, 56; lemon, 
 2a; 100,00, DL, DD, 266; 
 light, 22, 50;-51, 538, 50; 
 light colonial, 265; light 
 orange chrome, 265; 
 Mars, 36, 55, 56; me- 
 dium, 22; 50, 51,58, 55? 
 
 nopal orange, 55; Na- 
 ples, 36, 55; ochre, 50, 
 51, 53, 56; olive, 266: 
 
 orange, 22, 50, 51; 55; 
 orange chrome, 265; or- 
 ange lake, 52; perfect 
 yellow, 36, 56; perma- 
 nent, 36, 56; primrose, 
 266; raw sienna, 12, 52; 
 royal golden lake, 52; 
 strontian, 36, 55; trans- 
 parent, 266; ultrama- 
 rine, 53; zine, 56. 
 Yellows, distemper, water. 53 
 
 chrome, light, medium 
 and dark; Dutch pink, 
 golden ochre, ultrama- 
 rine, yellow ochre, 53. 
 
292 
 
 Venlows, QvY Aikastcee vie Wee 
 C. P. chrome, light, me- 
 dium or dark; genuine 
 chrome, light, medium 
 or dark; Dutch pink, 61. 
 
 Yellow, glaze colors...... 
 brown pink, gamboge, 
 Italian pink, Indian, or- 
 ange lake, yellow lake, 
 light; yellow lake, deep; 
 royal golden lake, raw 
 sienna, 52. 
 
 Yellows, Japan colors.... 
 cream  -color, light; 
 chrome, light; chrome, 
 medium; French ivory, 
 Italian cream, lemon, 
 pale; old ivory, orange, 
 light; orange, medium; 
 orange, double deep; 
 permanent, medium; 
 straw color, 58. 
 
 Yellows, oil colors........ 
 chrome, light; chrome, 
 lemon; chrome, medium; 
 chrome, orange; Dutch 
 pink, golden ochre, vel- 
 low ochre, French, 51. 
 
 Yellows, oil tinting colors 
 light, canary chrome, 
 medium chrome, orange 
 chrome, Dutch pink, 
 
 INDEX 
 
 58 
 
 51 
 
 50 
 
 Yellows 
 
 golden ochre, yellow 
 
 ochre, French yellow 
 ochre, 50. 
 chrome,.C. Po arya 61 
 lake. 223.3 eee RY MEER hs 
 lake, oil. .2 3345 2 eee 56 
 ochre = )...44 «eee 14,- 538 
 ochre, oll’ 4.5 4. eee 56 
 Yellow ochres, dry........ 61 
 chrome ochre, light or 
 dark; imported golden 
 ochre, Rochelle ochre, 
 
 imported French ochre, 
 61, 
 
 Zine, ~ bulky sas ee 70 
 chromate green ........ 40 
 French green filler, dry 61 
 oxide 2 .tJ Ae eee 51, 70 
 use Of “...°G5.0e:eeee 127 
 sulphate... 2 esa 100 
 sulphate wash for ce- 
 
 MeENE. 36 4.45 ae 130 
 white... 64 ieee 54 
 white, in Demar.y. cae 58 
 white mineral, dry..... 61 
 yellow, oll 22... 5. 56 
 
 Zinnober green, deep, oil. 56 
 
 light, oil 
 medium, oil 
 

 

 

 

 
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