The filling-brush (a rough brush kept for filling the pen) may rest in the pot (see fig. [112]), being given a stir round every time it is [p177] used to prevent the settling of the heavy parts of the colour. A drop of water is added occasionally as the liquid evaporates and becomes too thick.[35]
TINTS FEW AND CONSTANT.—Red, Blue, and Green (and perhaps purple) with Gold, White, and Black, are sufficient for everything but the most advanced type of Illumination. And it is in every way desirable that, until he has become a Master Limner, the Writer and Illuminator should strictly limit the number of his colours (see p. [215]).
It is one of the “secrets” of good “design” to use a limited number of elements—forms or colours or materials—and to produce variety by skilful and charming manipulation of these.
It is well to follow the early Illuminators in this also: that these few colours be kept constant. When you have chosen a Red, a Blue, and a Green—as pure and bright as you can make them—keep those particular tints as fixed colours to be used for ordinary purposes. For special purposes (pp. [182], [202]) paler tints may be made by adding white, and varied tints may be mixed, but even when your work has advanced so that you require a more complex “palette,” you should stick to the principle of constant tints and modes of treatment for regular occasions: this is the secret of method.
RED.—Vermilion is prepared in three forms: “Vermilion,” “Scarlet Vermilion,” and “Orange Vermilion.” For ordinary use “Scarlet Vermilion” is the best (it may be tempered with a minute quantity of white). “Vermilion” is not quite so bright, and tends more to crimson, but, mixed with [p178] “Orange Vermilion” it gives the “scarlet” form. The pan colour is generally most convenient.
Where scarlet is in juxtaposition with gold, their effect may be harmonised by having a large proportion of blue in the neighbourhood: sometimes a more crimson colour than vermilion may be used.
Chinese Vermilion is a fine colour, but difficult to obtain; it is even said that the genuine pigment is reserved exclusively for the Chinese Emperor (whose edicts are written with “The Vermilion Pencil”).
GREEN.—Verdigris is a very fine colour, closely resembling, and possibly the same pigment as, the green in early MSS., but I believe that it has not been rendered permanent in modern use.
Green Oxide of Chromium (transparent) (or “Veridian”) is a very good permanent green. It is rather a thin colour, and requires body, which may be given with lemon yellow, or with white and yellow ochre; being a rather bluish green, it is the better for a little yellow. This (mixed) green is most conveniently prepared from tube colours.
BLUE.—Ultramarine Ash (whole tube about 4s.) is a very beautiful colour. It is rather pale and transparent (and a little “slimy” to work) when used alone. A mixture (preferably made with tube colours) consisting of Ultramarine Ash and Chinese White and (a very little) Prussian Blue makes an extremely fine, pure blue. A similar mixture with cobalt as a base makes a very good blue.