PI – PL

Mixing Oil Colors and Tints.— It must not be expected that the formulas given will produce the exact effect desired, because the strength of the various brands of colors vary to a great extent, and therefore the painter must exercise his own judgment. The table simply gives an idea of what can be produced by following the formulas given, when chemically pure material is employed in the mixing. It is also recommended that the parts mentioned be weighed out in paste form, and the white or black and each color separately thinned and strained before mixing them together, because the arriving at the proper hue of color or depth and tone of tint will be simplified by using that precaution. By thinning it is not meant that they should be quite ready for application, but of such consistency that they will pass an ordinary strainer with the aid of a brush. Unless otherwise indicated, the materials are understood to be ground fine in paste form. NOTE.—The majority of the following are by Joseph Griggs, in the Painters’ Magazine: GROUNDS FOR GRAINING COLORS.— Ash Ground.—Four hundred parts white lead; 4 parts French ocher; 1 part raw Turkey umber. Ash.—Raw umber; raw sienna; and a little black or Vandyke brown. Hungarian Ash.—Raw sienna and raw and burnt umber. Bun Ash.—Raw sienna; burnt umber; and Vandyke brown. Cherry Ground.—One hundred parts white lead; 5 parts burnt sienna; 1 part raw sienna. Natural Cherry.—Raw and burnt sienna and raw umber. Stained Cherry.—Burnt sienna; burnt umber; and Vandyke brown. Chestnut.—Raw sienna; burnt umber; Vandyke brown; and a little burnt sienna. Maple.—Raw sienna and raw umber. Silver Maple.—Ivory black over a nearly white ground. Light Maple Ground.—One hundred parts white lead; 1 part French ocher. Dark Maple Ground.—One hundred parts white lead; 1 part dark golden ocher. Oak.—Raw sienna; burnt umber; a little black. Pollard Oak.—Raw and burnt sienna, or burnt umber and Vandyke brown. Light Oak Ground.—Fifty parts white lead; 1 part French ocher. Dark Oak Ground.—Fifty parts white lead; 1 part dark golden ocher. Satinwood.—Add a little ivory black to maple color. Mahogany.—Burnt sienna; burnt umber; and Vandyke brown. Mahogany Ground.—Ten parts white lead; 5 parts orange chrome; and 1 part burnt sienna. Rosewood.—Vandyke brown and a little ivory black. Rosewood Ground.—Drop black. Walnut Ground.—Fifty parts white lead; 3 parts dark golden ocher; 1 part dark Venetian red; and 1 part drop black. Black Walnut.—Burnt umber with a little Vandyke brown for dark parts. French Burl Walnut.—Same as black walnut. Hard Pine.—Raw and burnt sienna; add a little burnt umber. Cypress.—Raw and burnt sienna and burnt umber. Whitewood.—Ground same as for light ash; graining color, yellow ocher, adding raw umber and black for dark streaks. POSITIVE COLORS.— Blue.—Twelve parts borate of lime; 6 parts oxide of zinc; 10 parts litharge; 9 parts feldspar; 4 parts oxide of cobalt. Blue Black A.—Nine parts lampblack; 1 part Chinese or Prussian blue. Blue Black B.—Nineteen parts drop black; 1 part Prussian blue. Bright Mineral.—Nine parts light Venetian red; 1 part red lead. Brilliant Green.—Nine parts Paris green; 1 part C. C. chrome green, light. Bronze Green, Light.—Three parts raw Turkey umber; 1 part medium chrome yellow. Bronze Green, Medium.—Five parts medium chrome yellow; 3 parts burnt Turkey umber; 1 part lampblack. Bronze Green, Dark.—Twenty parts drop black; 2 parts medium chrome yellow; and 1 part dark orange chrome.