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.