Olive Green Stain
The circle D shows this stain to be slightly below yellow green, ¾M, in value and chroma. The hue rectangle containing it is nearer the green than the orange yellow rectangle; hence in mixing the stain we should keep the green hue dominant by adding more of it than of metanil yellow. As in other stains, nigrosene is added to reduce the full chromatic intensities of the aniline to the proper value and chroma of olive green stain.
Light Weathered Oak Stain
Color Changes of the Stain
This stain is practically blue, 1/4M, and is formed by thinning nigrosene to the proper value.
Aniline dyes are apt to fade if exposed to full sunlight. There are, however, certain preventives that are beyond the scope of this book to treat in detail. The natural color of the wood is inclined to make a stain warmer than when originally mixed. This should be allowed for. Wood filler, the wood grain, porosity, qualities, and hue of the wood, all influence the final value of the stain. It frequently becomes darker in value as may be seen by comparing [Figure 456] and [Figures 458] to [461]. It is good policy to test the stain upon different woods to observe the final effect. The tests may be kept for future reference.
It is readily seen from the few examples in [Figure 456] that, with the three basic stains, almost any other stains may be produced, thus affording a broad field for harmonious selection and adaptation to the environment. The [next chapters] will take up the question of color harmony and its application to wood, wall surfaces, clay, and metal.
SUGGESTED PROBLEMS
See paragraph upon "Technical Practice" in this chapter, [page 198].
REVIEW QUESTIONS
1. What pigments are best adapted to rendering design problems? What pigments are particularly adapted to the rendering of wood stains? How should each be applied?
2. What are standard hues? Why do we need standards of hue?
3. Define the term values.
4. What are tints and shades?
5. Define fully the term chroma.
6. Bound the hue rectangle and trace the value and chroma changes occurring on its vertical and horizontal lines.
7. Locate in its proper hue rectangle ([Figure 455]) the following hues: OY ¾HD; YG ½LL; RV ¾M; YL.
8. Name the three primary hues. How may an approximate scale of twelve hues be prepared from them?
9. Name the three basic aniline wood dyes and give their relation to the three primary hues. What is the practical use of nigrosene in stain mixing?
10. Give the symbol and explain the method of mixing Flemish oak wood stain. Name and explain the method of mixing two others.
11. How does its application to wood effect the color and value of aniline stain?
Plate 64