Please see the [Transcriber’s Notes] at the end of this text.
Gold Medals: Paris, 1878 and 1900.
Manufacturers of the Celebrated “Non=Poisonous Colours” in rich and delicate neutral tints, for High=Class Decorations.
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| COLOURS. | PURE. | WITH 25 PARTS ZINC. | WITH 100 PARTS ZINC. |
|---|---|---|---|
| TURKEY UMBER | |||
| FRENCH OCHRE | |||
| RAW SIENNA | |||
| ORANGE CHROME | |||
| PRUSSIAN BLUE | |||
| MEDIUM CHROME | |||
| MIDDLE CHROME GREEN | |||
| MOSS GREEN |
PAINT & COLOUR
MIXING
A PRACTICAL HANDBOOK FOR PAINTERS, DECORATORS AND ALL WHO
HAVE TO MIX COLOURS, CONTAINING 72 SAMPLES OF PAINT OF
VARIOUS COLOURS, INCLUDING THE PRINCIPAL GRAINING GROUNDS,
AND UPWARDS OF 400 DIFFERENT COLOUR MIXTURES, WITH HINTS
ON COLOUR AND PAINT MIXING GENERALLY, TESTING COLOURS,
RECIPES FOR SPECIAL PAINTS, ETC., ETC.,
ARTHUR SEYMOUR JENNINGS.
London:
E. & F. N. SPON, Ltd., 125, STRAND.
NEW YORK:
SPON & CHAMBERLAIN, 123, LIBERTY STREET
1902.
PREFACE.
The author would for some reasons be inclined to offer an apology for this work in its present form, because it falls so far short of what might be expected in a comprehensive treatise on the subject of which it treats. To understand colour mixing the student should first carefully study colour theory, and then the properties of pigments. But it will be observed that there is but little relating to theory in this work, and the reasons are given distinctly, and are, in brief, that the subject is too complex a one to render it possible for it to be dealt with in the limited range of these pages, while another reason is that the subject is very well covered in several books published in late years by Professor Church, George H. Hurst, Professor Rood, and others.
The author, however, has ample justification for the publication of this little work in the fact that he has during the last fifteen years received, in his capacity as editor of painters’ publications, enquiries almost daily for a book giving colour mixtures, with actual samples of colours, in other words, one which would be useful to the man who wants to mix paints but who has not made a study of the subject.
A critic might object that it is impossible to give accurate colour mixtures, because the actual appearance of colour varies according to the light in which it is viewed, and also because the result obtained by mixing coloured pigments of different manufacture must vary greatly according to the quality of those colours. All these objections have been carefully borne in mind in the preparation of the contents of this work. It has been assumed that the colour mixtures will be viewed in an average good light, and it is further assumed that the colours which have been employed will not necessarily be of the very best quality but certainly not those which are very inferior. The chapters on colour testing, etc., have been added not only because these properly form a part of the subject, but because so many painters are deficient in a knowledge of them.
It need only be added that every one of the mixtures given in this work has been carefully made with the actual colours. The preparation of the list has been no inconsiderable work. The author therefore leaves his little book in the hands of practical readers in the hope that even if it falls short of being a complete treatise it may, at least, prove of some service in everyday work.
CONTENTS.
The Composition of a Paint—Pigments, Oil, Turpentine, Driers, Colours—Practical Paint Mixing, Mechanical Paint Mixer—Paint Strainer—The Proportions of Materials for use on Pine and Soft Woods—On Hard Woods generally—On Iron—On Stucco—On Plaster, etc.
Colours or Stainers—The appearance in strong and subdued lights—The Nomenclature of Colours—Examples of variation in the names of Colours—Efforts made to establish a Uniform Nomenclature—The Economy of using Good Colours—Hues, Shades and Tints.
Whites—Recipes for various mixtures of White Pigments—The Advantages and Disadvantages of White Lead, Zinc White, Lithopone, etc., etc.
Grays and Greys—General Remarks—How to Mix various Greys and Grays.
Reds, Crimsons and Purples—General Remarks—How to Mix these Colours.
Blues—General Remarks—How to Mix Blue generally.
Yellows—General Remarks—How to Mix Yellows generally.
Greens, how to Mix them—General Remarks—Suggestions for Experiments.
Browns, and how to Mix them—General Remarks on Browns.
Graining Grounds and how to Mix them.
How to Test the Quality of Colours—The Characteristics of Good Colours—Greens, Venetian, Tuscan and Indian Reds—Red Lead—Chromes—Ochres—Blacks—Blues—Umbers and Siennas.
Recipes, Tables, Hints and Notes—List of Books useful to the Painter.
