Venetian Red (in oils)—Violet of iron (third group).
Yellows. (Second group.) Certain yellows greatly destroy the colors mixed with them, and even make them disappear entirely. This disadvantage is perceived when too much ivory yellow is mixed with red, or when that yellow is placed abundantly over other colors.
“The yellow called silver yellow contains no silver; it is composed of jonquil yellow and orange yellow. Yellows that contain no iron (yellow for mixing and jonquil yellow) are generally preferred for making fresh greens. On the other hand, for mixing with iron colors, yellows that contain already this metal are used.”—A. Lacroix.
Light yellows scale very easily; the dark yellows, being less fusible, need to be used moderately thin in the first painting, for the first fire develops them; at the second firing they increase in depth, and if they are too heavily loaded they cannot be made lighter again.
Avoid using yellows next to blues, which would produce a green tint. For the centers of blue flowers, which necessitates some yellow, the place must be well scraped before putting the color.
Permanent yellow, (half white and half yellow for mixing), serves for placing lights in drapery and yellow flowers, as well as high lights in ornaments.
Lemon Yellow—Yellow 47 of Sevres, with a touch of silver yellow.
Golden Yellow—Half silver yellow; half jonquil yellow.
Saffron Yellow—Two-thirds ivory yellow; one-third flesh No. 1; a touch of capucine red.
Salmon—Two-thirds ivory yellow; one-third flesh No. 2; a touch of carmine No. 3.